Posted in बॉलीवुड - Bollywood

Why Leela Samson said “no scene will B deleted


Why Leela Samson said "no scene will B deleted........

Leela Samson's mother is Roman Catholic (from Asansol, and "looks" Anglo-Indian), and her father is Jewish (Bene Israeli from Maharashtra).

Read The Leela Samson Scandal

Rukmini Arundale, a guru who rescued the dance form from the era of colonial evangelism, speaks of dance as â€Sadhana which requires total devotion.[1] Kalakshetra, the institution she founded to specifically stress the Hindu spiritual roots of Bharata Natyam, was recently captured by Christian evangelists led by Leela Samson. Samson started her connection to Kalakshetra as a high school student and went on to a career as a dancer and teacher. Rukmini had reservations about admitting Leela Samson, according to a contemporary guru who knew Rukmani:

Leela Samson a senior artist today, came to Kalakshetra as a young girl. Because of her Judeo Christian background she had not had much exposure to traditional Indian culture. [Rukmani] was therefore hesitant about including her as a student. However on examining her on various related aspects we found that she had the attributes of a good dancer. I then persuaded [Rukmani] to give her a chance and she did so, but with some reluctance.

[2] In 2005, Samson was appointed as the new director of Kalakshetra. In 2006, she provoked a media storm by justifying the elimination of the spiritual roots of Bharata Natyam. Trouble started in 2006 when Sri Sri Ravi Shankar, the head of “Art of living†meditation, expressed his concern over the attempt of Leela Sampson to thwart the participation of Kalakshetra students in the inaugural function of a “Health and Bliss†religious course being conducted by him in Chennai. According to Ananda Vikatan, a popular Tamil weekly, the most disturbing aspect was the reason cited by Leela Samson. She explained: “This function is concerned with Hindu religion. So Kalakshetra students need not participate in it.

[3] This was soon followed by an article that appeared in Hindu Voice, a magazine run by Hindu nationalists, which claimed that under the Samson tutelage at Kalakshetra, most of the Vinayaka images for which regular poojas had been historically conducted by the students were removed. Only after a lot of criticism did she replace one image but not all. Samson ordered all prayers to the deity to be stopped, and the clothes adorning the deities were removed.

[4] As this progressed into a major controversy, Samson was forced to react but denied all the charges. She made the claim that "Kalakshetra never had idols that were worshipped. A lamp was all that was lit in every place we worshipped, according to Theosophical principles and the highest philosophical principles upheld by our elders."

[5] Whereas Siva's Nataraja form represents the Cosmic Dancer, the dancing form of Ganesha has customarily been invoked by Indian dancer and worshipped before a performance. The suppression of these "idols" by Leela Samson was an attempt to detach Bharat Natyam from its traditional roots under the guise of secularization, and then remapping it within Christian theology and symbolism. Her response against idol worship contradicts her mentor and the institution's founder, Rukmini Arundale, who had defended the Hindu worship of various deities' images:

All the songs we dance to are of Gods and Goddesses. You may ask, Why so many Gods and Goddesses? The only reply I can give is, “Why not so many Gods and Goddess?

[6] Rukmini did not support a vague notion of a œuniversal religion and in fact specifically critiqued this sort of generic spirituality, saying:
Some people say I believe in universal religion, but when I ask them whether they know anything about Hinduism, they answer in negative. They know nothing about Christianity, nor about Buddhism or about any other religion either. In other words, universality is, knowing nothing of anything. Real internationalism is truly the emergence of the best in eachâ. But in India when I say India I mean the India of the sages and saints who gave the country its keynote, there arose the ideal of one life, and of the divinity that lives in all creatures; not merely in humanity.

[7] In the morning assembly, Samson allegedly told the students and teachers that "idol worship" is superstition and should be discouraged at Kalakshetra. There were complaints that her hand-picked teachers explained the Geeta-Govindam in denigrating tones. The certificate that was designed by Rukmini Arundale with Narthana Vinayakar had the emblem of Siva on it. The present certificate has been changed and is without any Hindu symbols.

[8] Samson has been criticized for undervaluing the Hindu stories and symbols to the point of ridicule, comparing them with Walt Disney's characters, Batman and "the strange characters in Star Wars."[9] In contrast, Rukmini explains the deep meaning of symbolism in the ballad, Kumarasambhava:

Why does the story of Kumarasambhava please me? It is because of the symbolism. Finally what Parvati wins is not passion but the devotion and sublimation of herself. Parvati wins Siva and she becomes united with Him, because she has discovered the greater, indeed the only way of discovering God. This is very beautiful symbology. Siva burnt to ashes all that is physical. So must a dancer or musician burn to ashes all thought which is dross and bring out the gold which is within.

[10] She speaks of the Ramayana and Mahabharatha as the “essential expressions of Indian dance.

[11] Far from being manmade stories as Leela Samson considers Indian narratives to be, Rukmini Arundale speaks of Sri Rama, Sri Krishna and Buddha in the following manner:

Why was India a world power? Because Sri Krishna had lived in this country, Sri Rama had lived here and so had Lord Buddha. It was their Teaching that made India a great world power.

[12] Where Leela Samson sees the equivalents of Batman and Mickey Mouse characters, the founder of Kalakshetra sees great world teachers and symbolism of the most sublime kind. In Sampson is appropriation, Bharata Natyam was denied its vital spiritual, devotional, aesthetic and pedagogical dimensions, and dragged down to the fantastic garish mass level of cartoons. Thus in Leela Samson own words the process of usurpation can be seen in its crucial stages: initially de-Hinduising and secularizing the art form and then Christianizing it.

http://christianizingbharatanatyam.blogspot.in/2011/09/leela-samson-romilla-thapar-prakriti.html

हिन्दू धर्म का मजाक उड़ाने बाली रोमिला थापर और लीला का भी सम्बन्ध 

http://christianizingbharatanatyam.blogspot.in/2011/09/leela-samson-im-catholic-by-habit.html

हा में ईसाई हु........कहने वाली लीला 

The Times of India TIMES NOW NDTV IBN Lokmat IBN7 ibnlive.com ABP News ABP Majha indiatvnews.com NewsX Online Aamir Khan Rajdeep Sardesai Rashtriya Swayamsevak Sangh : RSS BJP Delhi State Bharatiya Janata Party (BJP) Arvind Kejriwal Narendra Modi

http://christianizingbharatanatyam.blogspot.in/…/leela-sams…
ये सेक्युलर गैंग की सदस्य भी रही है 
http://christianizingbharatanatyam.blogspot.in/…/leela-sams…

Why Leela Samson said “no scene will B deleted……..

Leela Samson’s mother is Roman Catholic (from Asansol, and “looks” Anglo-Indian), and her father is Jewish (Bene Israeli from Maharashtra).

Read The Leela Samson Scandal

Rukmini Arundale, a guru who rescued the dance form from the era of colonial evangelism, speaks of dance as â€Sadhana which requires total devotion.[1] Kalakshetra, the institution she founded to specifically stress the Hindu spiritual roots of Bharata Natyam, was recently captured by Christian evangelists led by Leela Samson. Samson started her connection to Kalakshetra as a high school student and went on to a career as a dancer and teacher. Rukmini had reservations about admitting Leela Samson, according to a contemporary guru who knew Rukmani:

Leela Samson a senior artist today, came to Kalakshetra as a young girl. Because of her Judeo Christian background she had not had much exposure to traditional Indian culture. [Rukmani] was therefore hesitant about including her as a student. However on examining her on various related aspects we found that she had the attributes of a good dancer. I then persuaded [Rukmani] to give her a chance and she did so, but with some reluctance.

[2] In 2005, Samson was appointed as the new director of Kalakshetra. In 2006, she provoked a media storm by justifying the elimination of the spiritual roots of Bharata Natyam. Trouble started in 2006 when Sri Sri Ravi Shankar, the head of “Art of living†meditation, expressed his concern over the attempt of Leela Sampson to thwart the participation of Kalakshetra students in the inaugural function of a “Health and Bliss†religious course being conducted by him in Chennai. According to Ananda Vikatan, a popular Tamil weekly, the most disturbing aspect was the reason cited by Leela Samson. She explained: “This function is concerned with Hindu religion. So Kalakshetra students need not participate in it.

[3] This was soon followed by an article that appeared in Hindu Voice, a magazine run by Hindu nationalists, which claimed that under the Samson tutelage at Kalakshetra, most of the Vinayaka images for which regular poojas had been historically conducted by the students were removed. Only after a lot of criticism did she replace one image but not all. Samson ordered all prayers to the deity to be stopped, and the clothes adorning the deities were removed.

[4] As this progressed into a major controversy, Samson was forced to react but denied all the charges. She made the claim that “Kalakshetra never had idols that were worshipped. A lamp was all that was lit in every place we worshipped, according to Theosophical principles and the highest philosophical principles upheld by our elders.”

[5] Whereas Siva’s Nataraja form represents the Cosmic Dancer, the dancing form of Ganesha has customarily been invoked by Indian dancer and worshipped before a performance. The suppression of these “idols” by Leela Samson was an attempt to detach Bharat Natyam from its traditional roots under the guise of secularization, and then remapping it within Christian theology and symbolism. Her response against idol worship contradicts her mentor and the institution’s founder, Rukmini Arundale, who had defended the Hindu worship of various deities’ images:

All the songs we dance to are of Gods and Goddesses. You may ask, Why so many Gods and Goddesses? The only reply I can give is, “Why not so many Gods and Goddess?

[6] Rukmini did not support a vague notion of a œuniversal religion and in fact specifically critiqued this sort of generic spirituality, saying:
Some people say I believe in universal religion, but when I ask them whether they know anything about Hinduism, they answer in negative. They know nothing about Christianity, nor about Buddhism or about any other religion either. In other words, universality is, knowing nothing of anything. Real internationalism is truly the emergence of the best in eachâ. But in India when I say India I mean the India of the sages and saints who gave the country its keynote, there arose the ideal of one life, and of the divinity that lives in all creatures; not merely in humanity.

[7] In the morning assembly, Samson allegedly told the students and teachers that “idol worship” is superstition and should be discouraged at Kalakshetra. There were complaints that her hand-picked teachers explained the Geeta-Govindam in denigrating tones. The certificate that was designed by Rukmini Arundale with Narthana Vinayakar had the emblem of Siva on it. The present certificate has been changed and is without any Hindu symbols.

[8] Samson has been criticized for undervaluing the Hindu stories and symbols to the point of ridicule, comparing them with Walt Disney’s characters, Batman and “the strange characters in Star Wars.”[9] In contrast, Rukmini explains the deep meaning of symbolism in the ballad, Kumarasambhava:

Why does the story of Kumarasambhava please me? It is because of the symbolism. Finally what Parvati wins is not passion but the devotion and sublimation of herself. Parvati wins Siva and she becomes united with Him, because she has discovered the greater, indeed the only way of discovering God. This is very beautiful symbology. Siva burnt to ashes all that is physical. So must a dancer or musician burn to ashes all thought which is dross and bring out the gold which is within.

[10] She speaks of the Ramayana and Mahabharatha as the “essential expressions of Indian dance.

[11] Far from being manmade stories as Leela Samson considers Indian narratives to be, Rukmini Arundale speaks of Sri Rama, Sri Krishna and Buddha in the following manner:

Why was India a world power? Because Sri Krishna had lived in this country, Sri Rama had lived here and so had Lord Buddha. It was their Teaching that made India a great world power.

[12] Where Leela Samson sees the equivalents of Batman and Mickey Mouse characters, the founder of Kalakshetra sees great world teachers and symbolism of the most sublime kind. In Sampson is appropriation, Bharata Natyam was denied its vital spiritual, devotional, aesthetic and pedagogical dimensions, and dragged down to the fantastic garish mass level of cartoons. Thus in Leela Samson own words the process of usurpation can be seen in its crucial stages: initially de-Hinduising and secularizing the art form and then Christianizing it.

http://christianizingbharatanatyam.blogspot.in/…/leela-sams…

हिन्दू धर्म का मजाक उड़ाने बाली रोमिला थापर और लीला का भी सम्बन्ध

http://christianizingbharatanatyam.blogspot.in/…/leela-sams…

हा में ईसाई हु……..कहने वाली लीला

The Times of India TIMES NOW NDTV IBN Lokmat IBN7 ibnlive.com ABP News ABP Majha indiatvnews.com NewsX Online Aamir Khan Rajdeep Sardesai Rashtriya Swayamsevak Sangh : RSS BJP Delhi State Bharatiya Janata Party (BJP) Arvind Kejriwal Narendra Modi

http://christianizingbharatanatyam.blogspot.in/…/leela-sams…
ये सेक्युलर गैंग की सदस्य भी रही है
http://christianizingbharatanatyam.blogspot.in/…/leela-sams…

Posted in भारतीय मंदिर - Bharatiya Mandir

PRAMBANAN


PRAMBANAN

PRAMBANAN

PRAMBANAN 2

Prambanan temple

Location

Jonggrang loro temple is often referred to Prambanan located right on the border province of Yogyakarta special region and Central Java provinces.Approximately 17 km to the east of the city of Yogyakarta or about 53 km west solo. This Prambanan complex enshrinement into two regions namely complex western part of Central Java province in area. Prambanan monument standing on the east side Opak approximately 200m north Jl. Yogya-Solo highway.

Origin of name
Cluster of temples is called “PRAMBANAN” because it is located in the Prambanan. The name “Loro Jonggrang” relates to the legend of a virgin meceritakan Jonggrang or daughter of King Boko tall girl.

history
Prambanan is the enshrinement of Hindu kings built by the Sanjaya Dynasty in the ninth century. Found article luring the name of this temple raises the idea that the temple was built by Rakai Pikatan are then solved by the Rakai Balitung by stone inscription dated 856 AD “Inscription Siwargrha” as a political manifest to confirm kedudukanya as a great king. The transfer of the center of the kingdom of Mataram to East Java terawatnya not result in the temples in the area plus the earthquake and the eruption of Mount Merapi several times made ​​the temple Prambanan tinggslal collapsed rock debris scattered about. It is sad that the state at the time of the rediscovery of Prambanan temple.
Restoration efforts undertaken Dutch government is running very slow and ultimately valuable restoration work was completed by the Indonesian people. On December 20, 1953 the restoration of the temple of Loro Jonggrang officially declared over by Dr. Ir. Sukarno as the first President of the Republic of Indonesia.
Until now the restoration work continues, the restoration of the temple of Brahma Vishnu temple. Brahma temple restoration began in 1977 and was completed and inaugurated on March 23, 1987. While Vishnu temple restoration began in 1982, completed and inaugurated by President Soeharto on 27 April 1991.

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bagan prambanan

siwa design

Building Description
Enshrinement Prambanan complex consists of the background, middle ground and background of the (background center) are increasingly in the direction of the higher lying.
Consecutive sequential breadth: 390 square meters, 222 square meters and 110 square meters. Lower background did not contain any. In the middle ground there are ruins of temples ancillary.
If seluruhya been completely refurbished, there will be 224 temples that are all the same size, namely broad basic 6 meters and 14 meters high. Background center is paramount above background stand 16 large and small temples. The main temples consist of two rows facing each other. The first row is the temple of Shiva, Vishnu, and Brahma temple. The second row of the Nandi temple, the temple and the temple Garuda Geese. At the opposite end of the hallway that separates the two rows of the temple there is a temple Apit. Eight other smaller temples. Four of them temples screen and four other temple called temple Angle. Overall enshrinement consists of 240 temples.

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candi siwa

Relief-Candi-Prambanan

TEMPLE SIWA
The temple with a base 34 meters high and 47 meters square is the largest and most important.
Named siwa temple because in it there is a statue of Siwa Mahadewa the biggest statue. The building is divided into three sections vertically legs, body and head / roof. Foot of the temple depict “the underworld” where humans are still shrouded in lust, the temple described the “middle world” where people who have left the world and the roof depict “the world over” place of the gods. Figure cosmos appears also in the presence of statues of gods and celestial beings who describing Mahameru mountain (Mount Everest in India) where the gods. Prambanan is the enshrinement reflika mountain was proved by the statues of gods carved Lokapala siwa temple on foot. Four entrances to the temple according to the four cardinal directions, the main door facing east with the greatest entry stairs. On either side stand two giant statues guard with a mace which is the seminal vestment of siwa. In the temple, there are four rooms facing the four cardinal directions and surround biggest room in the middle. Rooms forefront empty, while the other three rooms each containing statues’ siwa guru, ganesha and durga “. Basic foot of the temple surrounded corridor bordered by balustrades. In the dining ledge next to the story of Ramayana there is a relief which can be followed by “circumambulation” (running clockwise)  starting from the main door. The ornaments on the outer wall of the form “-Kinari Kinari” (bird-headed human bodied creatures) “kalamakara” (the head of a giant tongue tangible mythology) and other heavenly beings. The temple roof terraced with a very complex arrangement each decorated srjumlah “jewel” and the peak there is a “jewel” greatest.

mahadewasiwa

ARCA Siwa Mahadewa
According to the teachings of the most revered Hindu trinity of Brahma is the creator, then as a custodian of Lord Vishnu and Lord Shiva as the destroyer of nature. But in India and Indonesia, the most famous is Lord Shiva. In Java, Lord Shiva is considered the most high, because there is honor as Mahadeva. This statue has a height of 3 feet standing on a stone foundation as high as 1 meter. Among the statues legs and bases are round-shaped stone lotus flower. This statue depict King Balitung, signs as Shiva is the skull on top of the crescent moon on his crown, third eye on his forehead, with four sweepstakes snake, tiger skin around his waist and arms trident on the back of the statue. His hands were holding a fan, rosary, lotus buds and round object as a seed of the universe. King Balitung seen as the embodiment of Shiva that was established after the death of a Shiva statue by heredity and its people.

relief siwa

Grand Master Shiva statue
This statue of a bearded old form standing with belly fat. kananya hands holding prayer beads, his left hand holding a jar and shoulders are fans. All these are signs of a hermit. Trident is located on the right rear indicates the typical weapon Siwa.Arca illustrates a priest of nature in the court of King Balitung well as an advisor and teacher. Because of great merit in spreading Hindu-Shiva, he is viewed as one aspect (shape) of Shiva.

arca-ganesha-candi-prambanan

Ganesha statue
This statue of the elephant-headed human form handed sitting with belly fat. Hands holding prayer beads and ax behind him while holding hands depanya own fault tusks and a bowl. The tip is inserted into the bowl trunk illustrating that he was never satisfied gulp science. Ganesha is a symbol of wisdom and knowledge, blocker every difficulty. On the crown there is a skull and crescent as a sign that he is son of Shiva and Uma, his wife. This statue depict crown once warlord King Balitung.

loro jonggrang

Durga or Loro Jonggrang
This statue is eight-handed form of a woman holding a wide range of weapons: Chakra, Gada, darts, bulls, Sankha, shields, bows, arrows and hair-headed Mercury Asura. He stood on top of Nandi bull in a “Tribangga” (3 styles of motion that form the hollow body 3). Nandi bull actual incarnation of Asura in disguise.
Durga successfully beat and stepped out of his mouth so forth Asura ago arrest. He is one aspect of the “magic” (wife) of Shiva.
According to mythology he created from the flames coming out of the bodies of the gods. Durga is the goddess of death, because the statue is facing north which is the cardinal’s death. This statue is actually very beautiful when seen from a distance looks like a living da smile but his nose has been damaged by ignorant hands. This statue illustrates consort of King Balitung.

brahma candi

Brahma Temple
Basically spacious 20 square meters and 37 meters high.In the only room there stood the statue of the four-headed Brahma and sleeves 4. This statue is actually very beautiful but it is damaged.One hand holds a rosary that only holds “Kamandalu” place of water. The four face Vedic scriptures describe four each facing the four cardinal directions. Fourth by hand describes the four cardinal directions. As a creator he is carrying water for the whole universe out of the water. rosary describe the time. Basic foot of the temple is also surrounded by a restricted corridor next to the carved balustrade reliefs of Ramayana continued story and similar relief at the Shiva temple to finish

candi wisnu

Vishnu Temple

Shapes, sizes and wall hangings outer relief with Brahma temple. In the only room there stood the statue of four-armed Vishnu who holds Gada, Chakra, oysters. On the wall to the ledge next to the carved reliefs of Krishna’s story as “Avatara” or incarnation of Vishnu and Balarama (Balarama) brother.

candi nandi

Nandi Temple

Basically spacious 15 square meters and a height of 25 meters. didala the only room available, lies the statue of a bull in a manner merseka length of approximately 2 meters. In the back corner there is a statue of the god Chandra. Candra-eyed 3 standing on a chariot drawn by seven horses ekir. This temple collapsed.

candi angsa

Angsa Temple

The temple has a room that is not filled with anything. Basically spacious 13 square meters and a height of 22 meters. Perhaps this room is only used for the enclosure Geese, animals usually driven by Brahma.

candi-garuda

Garuda Temple

The shape, size and ornate temple walls with Geese. In the only room that was there in the form of a small statue of Garuda on a dragon.
Garuda is the vehicle of Vishnu.

candi apit

Apit Temple

Essentially broad 6 meters with a height of 16 meters. The room is empty. Perhaps this temple used to meditate before entering the main temples. Because keindahanya he probably used to implant aesthetics in Prambanan complex enshrinement.

candi kelir prambanan

Kelir Temple

Basically spacious square with a height of 1.55 meters 4.10 meters. This temple has no entrance stairs. Its function as a repellent reinforcements.

sudut candi

Sudut Temple

The size of the temples is the same as the temple Kelir.

candi-lumbung

Lumbung Temple

candi bubrah

Bubrah Temple

sewu candi

Sewu Temple

Temple Barns, Bubrah, and Sewu temple is in ruins but still enjoyed keindahanya Sewu all located in the complex of Prambanan Garden.

Plaosan_candi

Plaosan Temple

It is located 1 km to the east of the temple Sewu. The temple was built in the mid 9th century AD by Rakai Pikatan as a gift to the queen. Group Plaosan Lor temple (north) consists of two main temple, 58 and 126 pieces ancillary stupas. Group South Plaosan temple (south) only in the form of a temple. Divided into 2 main temple courtyard, each of which stands on top of a two-storey convent. Level up to the abode of the Buddhist monks and the lower level for religious activities.

candi sojiwan

Sojiwan Temple

The location of this temple is 2 km to the south east of the enshrinement of Prambanan. Some are just in ruins. At the foot of the temple reliefs sculpted animal stories containing the values ​​of philosophy.

candi-boko-

Boko Temple

It is located 3 km to the south of the monument Prambanan, stood on the hill that the South is the continuation of a Thousand mountains with scenic views of the surrounding nature. The building is very unique, different from other buildings and more impressive each other a palace (palace).
Estimated Balaputra Gods of the Buddhist Sailendra dynasty, founded in the mid-9th century AD as a strategic bulwark against Rakai Pikatan. According to legend this is where lies the Ratu Boko, Loro Jonggrang father.

Banyunibo_candi

Banyunibo Temple

The temple is located 200 m to the southeast of the Boko temple, standing on top of a valley. “Banyu” means “water”, “Nibo” means “falling drip”. Both have a poetic meaning for the Javanese people. This Buddhist temple was founded in the 9th century AD.

Sari_candi

Sari Temple

ari means “beautiful” or “pretty” as the slim shape .. Perhaps because keindahanya that interest he is so called. Peak of the roof is decorated with the same nine stupas congruent and arranged in 3 rows. At the bottom of each stupa contained 2-storey rooms were used as a residence, a place of meditation and teaching.
Bodhisattva statues carved on the outer walls. The walls are decorated with very beautiful. Buddhist monastery built in the 8th century AD, is located on the left side of Yogya-Solo highway, go 500 meters to the north. Building with panjang17, 32 meters and 10 meters wide is a part of a collection of temples that have been lost.

candi kalasan

Kalasan Temple

Remains of Buddhism in Yogyakarta and Central Java are Kalasan.Letak temple on the right side of Yogya-Solo highway miles. 13 entered a few hundred meters towards the south. The temple was founded by Panangkaran, the second king of the ancient Mataram kingdom in the 8th century BC as an offering to the goddess Tara. Curved “Kala-makara” with ornate carved above the heaven above the entrance so beautifully. The beauty of the decoration and relief-relief caused by the use of the same ancient cement “Bajralepa”. This temple is considered a gem of art in Central Java.

candi sambisari

Sambisari Temple

It is located approximately 5.5 km from Prambanan enshrinement to the west and about 2.5 km to the north of the highway Yogya-solo. Once buried for centuries because of the eruption of Mount Merapi in July 1966 it was rediscovered by chance by a farmer working on his land. In 1986 has been completely refurbished. Keunikanya he located 6.5 meters below the ground surface and do not have the actual foot of the temple. The building consists of a main temple and three ancillary temples discarnate or legs. On the sides of the outer walls of the temple are the parent niches containing statues: Durga, Ganesh and Shiva are Mahaguru.Di in ruanganya phallus and yoni, the two aspects of Shiva. Totality and unity they represent fertility. This Hindu temple is expected to start up between approximately 812-838 AD.

https://getsomefun2.wordpress.com

Posted in भारतीय मंदिर - Bharatiya Mandir

The symbol of the Swastika and its 12,000-year-old history


  • Swastika

The symbol of the Swastika and its 12,000-year-old history

http://www.ancient-origins.net/myths-legends/symbol-swastika-and-its-12000-year-old-history-001312

The swastika is a symbol used by of one of the most hated men on Earth, a symbol that represents the slaughter of millions of people and one of the most destructive wars on Earth.  But Adolf Hitler was not the first to use this symbol. In fact, it was used as a powerful symbol thousands of years before him, across many cultures and continents.

For the Hindus and Buddhists in India and other Asian countries, the swastika was an important symbol for many thousands of years and, to this day, the symbol can still be seen in abundance – on temples, buses, taxis, and on the cover of books. It was also used in Ancient Greece and can be found in the remains of the ancient city of Troy, which existed 4,000 years ago. The ancient Druids and the Celts also used the symbol, reflected in many artefacts that have been discovered. It was used by Nordic tribes and even early Christians used the Swastika as one of their symbols, including the Teutonic Knights, a German medieval military order, which became a purely religious Catholic Order. But why is this symbol so important and why did Adolf Hitler decide to use it?

The word ‘swastika’ is a Sanskrit word (‘svasktika’) meaning ‘It is’, ‘Well Being’, ‘Good Existence, and ‘Good Luck’. However, it is also known by different names in different countries – like ‘Wan’ in China, ‘Manji’ in Japan, ‘Fylfot’ in England, ‘Hakenkreuz’ in Germany and ‘Tetraskelion’ or ‘Tetragammadion’ in Greece.

Swastika - Positive and Negative ShapesA Sanskrit scholar P. R. Sarkar in 1979 said that the deeper meaning of the word is ‘Permanent Victory’. He also said that as any symbol it can have positive and negative meaning depending on how it is drawn. So in Hinduism, the right-hand swastika is a symbol of the God Vishnu and the Sun, while the left-hand swastika is a symbol of Kali and Magic. The double meaning of symbols is common in ancient traditions, like for example the symbol of the pentagram (five pointed star), which is viewed as negative when pointing downwards, and positive when pointing upwards.

Mezine SwastikaThe earliest swastika ever found was uncovered in Mezine, Ukraine, carved on an ivory figurine, which dates an incredible 12,000 years, and one of the earliest cultures that are known to have used the Swastika was a Neolithic culture in Southern Europe, in the area that is now Serbia, Croatia, Bosnia and Herzegovina, known as the Vinca Culture, which dates back around 8,000 years.

In Buddhism, the swastika is a symbol of good fortune, prosperity, abundance and eternity. It is directly related to Buddha and can be found carved on statues on the soles of his feet and on his heart.  It is said that it contains Buddha’s mind.

Lalibela SwastikaOn the walls of the Christian catacombs in Rome, the symbol of the Swastika appears next to the words “ZOTIKO ZOTIKO” which means “Life of Life”. It can also be found on the window openings of the mysterious Lalibela Rock churches of Ethiopia, and in various other churches around the world.

 

Navaho - SwastikaIn Nordic Myths, Odin is represented passing through space as a whirling disk or swastika looking down through all worlds. In North America, the swastika was used by the Navajos. In Ancient Greece, Pythagoras used the Swastika under the name ‘Tetraktys’ and it was a symbol linking heaven and earth, with the right arm pointing to heaven and its left arm pointing to Earth.

It has been used by the Phoenicians as a symbol of the Sun and it was a sacred symbol used by the priestesses.

Swastica - Phoenicians

The swastika, the Phoenician sun symbol, on the Phoenician Craig-Narget stone in Scotland, and on the robe of a Phoenician high priestess. (Source)

How and why did so many diverse countries and cultures, across many eras, use the same symbol and apparently with the same meaning?

It is ironic, and unfortunate, that a symbol of life and eternity that was considered sacred for thousands of years has become a symbol of hatred.

Featured Image: Ancient Roman Mosaics in Villa Romana La Olmeda (Wikipedia)

By John Black

Related Links

The History of the Swastika

Reclaim the Swastika

Nazi Swastika or Ancient Symbol? Time to Learn the Difference

About Swastika

Related Books

Related Videos

– See more at: http://www.ancient-origins.net/myths-legends/symbol-swastika-and-its-12000-year-old-history-001312#sthash.xJc8SkOK.6Zz6oiVu.dpuf

Posted in भारतीय मंदिर - Bharatiya Mandir

King Sized Bhojpur Temple – The Incomplete Last Act


King Sized Bhojpur Temple – The Incomplete Last Act

http://justrippingg.blogspot.com/2014_06_01_archive.html

The stage was set for the magnum opus. Somnath Temple had been rebuilt. Bhoj Tal, the huge lake spread over forty kilometres, a marvel of civil engineering, provided water to the people of Bhopal and Malwa. On the banks of Betwa, the city of Bhojpur was founded. Two dams were built on Betwa to channelize water to feed the lake. Hundreds of artisans have sculpted the group of most magnificent temples on the banks of Bhoj Tal at Ashapuri. The treatise called Samarangana Sutradhara on classical Indian architecture was complete. The curtain was raised. The act lasted for several years. Sadly the magnum opus ended without the climax for reasons we might never know.

Bhojpur Temple – Looming Solidity
Bhojeshwar Temple

From a distance, the temple looks like a massive cube of stone sitting on a hill dwarfing the town below. You have not seen anything like this before. For a temple, the shape and dimensions are truly majestic and colossal. You have never seen a temple so different, so huge, and so bare outside. The sqat position provides intimidating presence and conveys massive solidity. You walk up the hill towards the temple on a freshly laid tar path.

Bhojpur Temple – The Huge Platform

The path leads to the stairs that brings you on the top of the seventeen foot high platform or forecourt. The platform has huge dimensions of 106x78x17 feet. There are a couple of chattris in the middle of the platform. And beyond the platform is the colossal west facing facade of the Bhojpur or Bhojeshwar Temple. Looking at the seemingly incomplete temple with no shikhar or superstructure, it is apparent that the platform’s large dimensions were designed to incorporate mandap, mahamandap and antaral that were never built.

Bhojpur Temple – Western Gateway
Images on the Western Wall
Ishaan or Shiv Dwarpal

ASI has installed wooden steps to enter the girbhgriha. The gateway (33 feet high and 16 feet wide) is flanked by huge pillars. The pillars are bare except kirtimukhs and chains with bells. You have seen similar pillars at Qutb complex in Delhi. On both sides of the walls are few images including that of Sursundaris, Yamuna and Ganga. At the base of the pillars on the either side are beautifully sculpted possible Ishaans or Shiv Dwarpal. They seem to be a secondary placement.

Bhojpur Temple – The Massive Shivling
Pillar Capitals and Domed Roof

As you step into the doorway you are blown away by the enormous Shivling mounted on a three stepped pedestal. The priest on the top of the pedestal has climbed with the help of a ladder. The pedestal is about 15 feet high. And in the middle of the pedestal rises the polished Shivling. The ASI sign says that the Shivling (6.7 feet high and 8 feet diametre) along with Yoni Patta rises to a height of 22 feet and is the tallest in the world.

View of the Shivling and Roof
Gandharv

You step down into the girbhgriha. Surrounding the Shivling are four massive pillars. The pillars carry some ornamentation. The inside walls are bare. It is when you look up that you are amazed. The pillar capitals are sculpted with images of deities. The brackets holding the ceiling have bharvahaks. The domed ceiling is generously carved. Eight Gandharvs adorn the outer rim of the dome along with dense carvings of motifs. Gandharvs are celestial beings who guard som and also play music in Indra’ s durbar. According to Vishnu Puran they are sons of Brahma. They have incredible healing powers and are also considered to be divine messengers between humans and Gods.

A Devotee Offers Prayers

You circumambulate the Shivling. High above and unseen, the priest washes the top platform. You try to be careful just in case the pail of water hits you and the camera. On a cold winter morning, there is a steady stream of devotees who offer flowers and light incense sticks at the base of the pedestal. Thousand years later nothing seem to have changed.  And what remains unchanged is the amazing ability of India’s history to leave you wonder struck.

View from Canopies on Platform

You come out to the platform.  Visitors pray at the shivlings on the platform. It is time to explore the complex.

Bhojpur Temple – View from South East with the Projecting Balconies

Lush grounds on the south of the temple look inviting. There are a couple of structures here that could be temple, tomb or stup. The east wall still has the scaffolding as part of continuing conservation of the temple. And then you see the ridge meeting the temple at the north-east corner. This in fact is the extant ramp that was used to haul up the huge blocks of stones to erect the walls of the temple. The stones pushed up on the ramp would be as big as 35x5x5 feet and weigh as much as 70 tonnes each. This is the only temple in the world where the ramp used to carry stones is still extant otherwise it would have been a big mystery figuring out the technology used!

The Ramp and Temple Fragments – View from North West

The temple’s imposing external walls are largely bare except with the relief of balconies high up. There is a possibility that deities were arranged on these balconies. Makar Mukhi Jalashay or Somsutra pierces the north wall from where the water used for washing the ling flows out. People believe drinking this water after pradakshina has curing powers. There are some fragments lying around. They could have come from this temple or were never used as the temple was left incomplete.

Looking at some old photos, it is apparent that the temple has gone large scale conservation. Due to unknown reasons, the dome of the temple had collapsed breaking the yoni patta into two pieces and since then the temple remained open to the sky. The stones from upper levels of walls had fallen off. The platform was in a ruined state. Mr. KK Mohammad of ASI who brought back Bateshwar Temples in Morena back to life, again led the restoration efforts here.

After 1000 years, the temple finally has a roof – no not carved out of red sandstone but a canopy built of fibreglass with inverted lotus motif. ASI did not want to risk another cave-in and therefore installed a lighter dome. From inside, looking up at the ceiling you could have never figured that out. One of the 33 tonne original missing pillar was replaced with a 12 tonne pillar. The structure looks quite impressive and solid in appearance. Good work again by ASI!

Bhojpur Temple – Enclosures with Rock Etchings
Rock Etchings with Temple Plans – Photo Courtesy Gency Chaudhuri
Shivling and Padavali – Photo Courtesy Gency Chaudhuri

You walk towards north west of the temple where you can see some cordoned off enclosures over the rock outcrops. Now this is a surprise. You have seen Ashok Rock Edicts, paintings on rock, but here on the rocks are extensive etchings of buildings and plans. The etchings include elevation and plans; pillars, shikhars and kalas; all pointers that there were elaborate plans to build a large complex of temples. Looking at at drawings of a mandap, it is apparent that the design is entirely new and never seen before. Just beyond is a shivling with footsteps. It is apparent that engraved on rocks are the elaborate blueprints of a large complex of temples that was never built for reasons we will probably never find out.

Raja Bhojdev (1010-1055AD) the greatest ruler of Parmar dynasty ruled over Malwa in Central India where he led several military campaigns in all directions. Once he went after Mahmud Ghazni who had come to sack Somnath. Ghazni promptly retreated to Sindh. As part of North Indian Confederacy, Bhoj fought with Salar Masud, nephew of Ghazni, in the battle of Bahraich where Salar Masud was killed. Bhoj also battled the Western Chalukys of Deccan. Here he partnered with Rajendra Chola I of the powerful Tamil dynasty of Cholas. So while Cholas pushed the Chalukyas from South, Raja Bhoj attacked from the North. The outcome is not clear of this war with Chalukyas. King Bhoj died fighting his one time ally Bhimdev Solanki from present Mahim in Mumbai that was then part of Gujarat and Kalachuri King Vishnukarna ruling from present day Jabalpur in MP.

Raja Bhoj in addition to being a strong military general was a great patron of art, architecture and learning. He was a writer too who authored eleven books out of which Samarangana Sutradhara is the most famous. The 83 chapter treatise on civil engineering systematically explains how to construct buildings, forts and temples. It even has a discourse on building flying machines. To walk his talk Raja Bhoj along with Bhimdev Solanki rebuilt the Somnath Temple after it was sacked by Ghazni in 1024. AtAshapuri, few kilometres from Bhojpur, a complex of twenty six temples was built with the finest architecture. New temple form of Bhumija style was innovated here. Ashapuri was a laboratory where artisans arrived from places as far as the Deccan to develop new styles and forms. It is possible that Bhojpur Temple could have been a new form in the making.

It was time to lift the curtain on the Magnum Opus – time to build a temple so majestic that there would be no parallels in the history of temple building.

Bhojpur the city founded by Raja Bhoj was appropriately chosen as the stage for the magnum opus. The inspiration for the mammoth temple could have come from his comrade King Rajendra Chola.  Rajendra Chola’s father Chola Chola had built the towering Thanjavur Brihadeeswara Temple and Rajendra Chola had built an equally imposing temple nearby. It is also possible that Bhoj might have taken consultation from the Chola stapathis. In that case the engineering aspect in addition to Raja Bhoj’s own temple construction competence would have been foolproof.

Brooding Behemoth

The site chosen was on a hill, overlooking the Betwa river. The palace was nearby so Raja Bhoj could himself keep an eye on the progress. The quarry was again close to the temple site. Remains of unfinished temple members at the site of quarry can be still seen. The planning was perfect. But what could have gone wrong?

The biggest unanswered question is why was the last act left unstaged? Why did the temple remain unfinished even though the Parmar dynasty lasted for another 250 years and grand temples like Udayeshwara Temple continued to be built? Was royal patronage discontinued and there was a funds crunch? Did a natural calamity like an earthquake strike damaging the temple? Was it a case of faulty engineering that  a shikhar could not be mounted? Or was it plain pillage by adversaries?

There are no clear answers but there could be several ‘what might have happened’ scenarios:

v  With the death of Raja Bhoj, his successors might not have taken interest in the temple completion; the royal patronage was stopped and resources diverted to newer projects

v  The adversaries like Solankis or Kalchuris might have damaged the temple as it was a common treatment meted out to the vanquished party

v  Delhi or Gujarat  Sultanate might have pillaged the temple during their Malwa excursions

v  Though the probability is low, there might have been an engineering miscalculation that led to collapse of the roof and the damage to yoni patta. The missing pillar that was replaced or installed by ASI is a big mystery.

v  Though there are no historical records, but a powerful earthquake might have ripped through the area damaging the roof and the outer walls. Temples at nearby Ashapuri have their plinths devastated; something that is impossible to be attributed to humans.

v  Then there is a possibility of combination of wide spread damage by earthquake followed by vandalism.

Even without the last act, Bhojpur Temple is a glorious edifice. The temple that looms over the town built by Raja Bhoj is stuff of legendary stories with which the king is remembered for. Come and see the the lores and legends come alive at Bhojpur.

Getting There: Bhojpur Temple in Raisen district of MP is about 30 kms from Bhopal. Ashapuri is 6 kms south of Bhojpur Temple. You can see Bhojpur Temple, Ashapuri Temples & Museum and Bhimbetka in a single day.

Posted in भारतीय मंदिर - Bharatiya Mandir

पूरब का सोमनाथ है भोजपुर का भोजेश्‍वर शिव मंदिर


पूरब का सोमनाथ है भोजपुर का भोजेश्‍वर शिव मंदिर

सतीश सिंह

कला और संस्कृति के दृष्टिकोण से मध्यप्रदेश की धरती प्राचीन काल से ही उर्वर रही है। स्थापत्य कला में भी मध्यप्रदेश का स्थान भारत में अव्वल है। स्थापत्य कला का ही एक बेजोड़ नमूना मध्यप्रदेश की राजधानी और झीलों की नगरी भोपाल से तकरीबन 28 किलोमीटर की दूरी पर अवस्थित भोजपुर नामक स्थान पर भोजेश्‍वर के नाम से ख्यात शिव मंदिर है। इसे पूरब का सोमनाथ भी कहते हैं।

21 वीं सदी में भले ही भोजपुर को गिने-चुने लोग जानते हैं, किन्तु मध्यकाल में इस नगर की ख्याति दूर-दूर तक फैली थी। मध्यकाल के आरंभ में धार के महान राजा भोज ने (1010-53) में भोजपुर नगर की स्थापना की थी। इस नगर को ख्यातलब्ध बनाने में मुख्य योगदान भोजपुर के भोजेश्‍वर शिव मंदिर और यहाँ पर बने विशाल झील का था। शिव मंदिर अपने अधूरेपन के साथ आज भी मौजूद है, लेकिन झील सूख चुकी है।

अपनी वास्तु योजना में यह मंदिर वर्गाकार है जिसका बाह्य विस्तार लगभग 66 फीट है। हालांकि इसका शिखर अपूर्ण है, फिर भी यह मंदिर चार स्तंभों के सहारे खड़ा है। ऊँचाई की ओर बढ़ने के क्रम में इसका आकार सूंडाकार हो गया है। तीन भागों में विभाजित निचला हिस्सा अष्टभुजाकार है, जिसमें 2.12 फीट वाले फलक हैं और उसमें से पुनश्‍च: 24 फलक वाली प्रशाखाएँ निकलती हैं। शिव मंदिर के प्रवेश द्वार का निचला हिस्सा अलंकार रहित है, पर उसके दोनों पार्श्‍वों में स्थापित दो सुदंर प्रतिमाएँ खुद-ब-खुद ध्यान आकृष्ट करती हैं। इसके तीनों तरफ उपरिकाएँ हैं जिन्हें तराशे गए 4 स्तंभ सहारा दिए हुए हैं।

शिवलिंग की ऊँचाई अद्भूत और आकर्षक है। 7.5 फीट की ऊँचाई तथा 17.8 फीट की परिधि वाला यह शिवलिंग स्थापत्य कला का बेमिसाल नमूना है। इस शिवलिंग को वर्गाकार एवं विस्तृत फलक वाले चबूतरे पर त्रिस्तरीय चूने के पाषाण खंडों पर स्थापित किया गया है।

आश्‍चर्यजनक रुप से इस मंदिर का शिखर कभी भी पूर्ण नहीं हो सका। अपितु इसको पूरा करने के लिए जो प्रयास किये गए, उसके अवशेष आज भी बड़े-बड़े पत्थर ले जाने के लिए बने सोपानों की शक्ल में हैं।

भोजेश्‍वर मंदिर के पास ही एक अधूरा जैन मंदिर है। मंदिर के अंदर तीर्थकरों की 3 प्रतिमाएँ हैं। महावीर स्वामी की मूर्ति तकरीबन 20 फीट ऊँची है। अन्य दोनों मूर्तियाँ पार्श्‍वनाथ की हैं। इसकी वास्तुकला आयताकार है। इतिहासकारों के अनुसार इसके निर्माण की अवधि भी भोजेश्‍वर मंदिर के समय की है।

भोजेश्‍वर मंदिर के पश्चिम में कभी एक बहुत बड़ा झील हुआ करती थी और साथ में उसपर एक बांध भी बना हुआ था, पर अब सिर्फ उसके अवशेष यत्र-तत्र बिखरे पड़े हैं। बाँध का निर्माण बुद्धिमतापूर्वक किया गया था। दो तरफ से पहाड़ियों से घिरी झील को अन्य दो तरफों से बालुकाइम के विशाल पाषाण खंडों की मदद से भर दिया गया था। ये पाषाण खंड 4 फीट लंबे और 2.5 फीट मोटे थे। छोटा बाँध लगभग 44 फीट ऊँचा था और उसका आधारतल तगभग 300 फीट चौड़ा तथा बड़ा बाँध 24 फीट ऊँचा और ऊपरी सतह पर 100 फीट चौड़ा था। उल्लेखनीय है कि यह बाँध तकरीबन 250 मील के जल प्रसार को रोके हुए था।

इस झील को होशंगशाह ने (1405-34) में नष्ट कर दिया। गौण्ड किंवदंती के अनुसार उसकी फौज को इस बाँध को काटने में 3 महीना का समय लग गया था। कहा जाता है कि इस अपार जलराशि के समाप्त हो जाने के कारण मालवा के जलवायु में परिवर्तन आ गया था।

कहने के लिए तो भारतीय पुरातत्व विभाग द्वारा यह मंदिर संरक्षित है, किन्तु विभाग के द्वारा इसके जीर्णोद्धार के लिए अभी तक कोई प्रयास नहीं किया गया है। यह सचमुच दुखद स्थिति है।

सतीश सिंह
Posted in भारतीय मंदिर - Bharatiya Mandir

भोजेश्वर मंदिर


भोजेश्वर मंदिर

भारत डिस्कवरी प्रस्तुति
भोजेश्वर मंदिर
भोजेश्वर मंदिर
विवरण ‘भोजेश्वर मंदिर’ मध्य प्रदेश की राजधानी भोपाल से 32 किलोमीटर की दूरी पर रायसेन ज़िले की गोहरगंज तहसील के औबेदुल्लागंज विकास खण्ड में स्थित है।
राज्य मध्य प्रदेश
ज़िला भोपाल
निर्माता राजा भोज
निर्माण काल 1010-1053 ई. के मध्य
प्रसिद्धि विशालकाय शिवलिंग के लिए प्रसिद्ध है।
रेलवे स्टेशन भोपाल
यातायात बसें, ऑटो रिक्शा आदि।
संबंधित लेख भोपाल, राजा भोज
अन्य जानकारी किवदंतियों के अनुसार माना जाता है कि इस मंदिर का निर्माण पांडवोंद्वारा माता कुंती की पूजा के लिए किया गया था तथा शिवलिंग को एक रात्रि में निर्मित किया गया था।

भोजेश्वर मंदिर अथवा भोजपुर शिव मंदिर मध्य प्रदेश की राजधानी भोपाल से 32 किलोमीटर की दूरी पर स्थित है। रायसेन ज़िले की गोहरगंज तहसील के औबेदुल्लागंज विकास खण्ड में स्थित प्राचीन काल के इस मंदिर को यदि उत्तर भारत का सोमनाथ भी कहा जाये तो अतिशयोक्ति नहीं होगी। भोजपुर गाँव में पहाड़ी पर यह विशाल शिव मंदिर स्थापित है। भोजपुर मंदिर तथा उसके शिवलिंग की स्थापना धार के प्रसिद्ध परमार राजा भोज द्वारा की गई थी। अत: राजा भोज के नाम पर ही इस स्थान को भोजपुर और मंदिर को ‘भोजपुर मंदिर’ या ‘भोजेश्वर मंदिर’ कहा गया। बेतवा नदी के किनारे बना उच्च कोटि की वास्तुकला का यह नमूना राजा भोज के मुख्य वास्तुविद और अन्य विद्वान वास्तुविदों के सहयोग से तैयार हुआ। मन्दिर की विशालता का अंदाजा इसी बात से लगाया जा सकता है कि इसका चबूतरा 35 मीटर लम्बा है।

प्रसिद्धि

भोजपुर के शिव मंदिर की प्रसिद्धि यहाँ स्थापित शिवलिंग की वजह से और भी अधिक है। पुरातत्व विभाग द्वारा इस मंदिर को विश्व धरोहर में शामिल कराने के प्रयास जारी हैं। कला और संस्कृति के दृष्टि से यहाँ की धरती प्राचीन काल से ही महत्त्वपूर्ण रही है। स्थापत्य कला में भी भोजपुर नामक स्थान पर भोजेश्‍वर के नाम से विख्यात शिव मंदिर काफ़ी महत्त्वपूर्ण रहा है, जिस कारण इसे “पूर्व का सोमनाथ” कहा गया।

इतिहास

मध्य काल के आरंभ में महान राजा भोज ने 1010-1053 ई. में भोजपुर की स्थापना की तथा यहाँ पर भगवान शिव का एक भव्य मंदिर भी बनवाया। इस नगर को प्रसिद्धि देने में भोजपुर के ‘भोजेश्वर शिव मंदिर’ का भी प्रमुख योगदान रहा है। यह मंदिर निर्माण कला का अदभुत उदाहरण है। मंदिर वर्गाकार है, जिसका बाह्य विस्तार बहुत बडा़ है। मंदिर चार स्तंभों के सहारे पर खड़ा है। देखने पर इसका आकार हाथी की सूंड के समान लगता है। यह मंदिर तीन भागों में विभाजित है। इसका निचला हिस्सा अष्टभुजाकार है, जिसमें फलक बने हुए हैं। शिव मंदिर के प्रवेश द्वार के दोनों पार्श्वों में दो सुंदर प्रतिमाएँ स्थापित हैं, जो सभी को आकृष्ट करती हैं।

मंदिर का शिवलिंग

भोजेश्वर शिव मंदिर में स्थापित शिवलिंग की ऊँचाई प्रभावित करने वाली है। अधिक ऊँचाई वाला यह शिवलिंग स्थापत्य कला का उत्कृष्ट नमूना है। शिवलिंग को वर्गाकार एवं विस्तृत फलक वाले चबूतरे पर पाषाण खंडों पर स्थापित किया गया है। मंदिर का शिखर अपूर्ण है, जो कभी भी पूरा नहीं बन पाया। इसको पूरा करने के लिए प्रयास अवशेष रूप में आज भी मौजूद हैं। भोजेश्‍वर मंदिर के पास ही जैन मंदिर भी हैं, जिसमें तीर्थंकरों की प्रतिमाएँ देखी जा सकती हैं। इतिहासकारों के अनुसार इसके निर्माण की अवधि भी भोजेश्‍वर मंदिर के समय की बताई जाती है।

स्थापत्य

मंदिर का निर्माण रूप एवं शैली बहुत ही सुंदर एवं आकर्षक है। विस्तृत चबूतरे पर बना यह मंदिर कई भागों में विभाजित है। मंदिर को देखने पर भारतीय मंदिर की वास्तुकला के बारे में बहुत बातें ज्ञात होती हैं। जैसे इसहिन्दू मंदिर के गर्भगृह के ऊपर बना अधुरा गुम्बदाकार छत भारत में ही गुम्बद निर्माण के प्रचलन को दर्शाता है। कुछ इतिहासकार इसे भारत में सबसे पहले गुम्बदीय छत वाली इमारत भी कहते हैं। कुछ किवदंतियों के अनुसार इस मंदिर का निर्माण पांडवों द्वारा माता कुंती की पूजा के लिए किया गया था तथा इस शिवलिंग को एक रात्रि में निर्मित किया गया था। इस विश्व प्रसिद्घ शिवलिंग की ऊँचाई इक्कीस फिट से भी अधिक है। एक ही पत्थर से निर्मित इतनी बडी़ शिवलिंग अन्य कहीं देखने को नहीं मिलती।

प्रमुख तथ्य

मन्दिर में स्थित शिवलिंग

‘भोजपुर शिव मंदिर’ या ‘भोजेश्वर मंदिर’ मध्य प्रदेश के शिव मंदिरों में से मुख्य मंदिर है। इस मंदिर का विशाल एवं भव्य रूप देखकर हर कोई इससे प्रभावित हुए बिना नहीं रह पाता। भोजेश्वर मंदिर के पश्चिम में कभी एक बहुत बड़ी झील हुआ करती थी। उस झील उस पर एक बाँध भी बना हुआ था, लेकिन अब सिर्फ उसके अवशेष ही यत्र-तत्र बिखरे पड़े हैं। बाँध का निर्माण बहुत ही बुद्धिमतापूर्वक किया गया था। दो तरफ़ से पहाड़ियों से घिरी झील को अन्य दो ओर से बालुकाइम के विशाल पाषाण खंडों की मदद से भर दिया गया था। ये पाषाण खंड चार फीट लंबे और 2.5 फीट मोटे थे। छोटा बाँध लगभग 44 फीट ऊँचा था और उसका आधार तल तगभग 300 फीट चौड़ा तथा बड़ा बाँध 24 फीट ऊँचा और ऊपरी सतह पर 100 फीट चौड़ा था। उल्लेखनीय है कि यह बाँध तकरीबन 250 मील के जल प्रसार को रोके हुए था। इस झील को होशंगशाह ने (1405-1434 ई.) में नष्ट करवा दिया।

किंवदंती

गौंड किंवदंती के अनुसार होशंगशाह की फौज को इस बाँध को काटने में तीन महीना का समय लग गया था। कहा जाता है कि इस अपार जलराशि के समाप्त हो जाने के कारण मालवा के जलवायु में परिवर्तन आ गया था। एक अन्य किंवदंती के अनुसार यह भी कहा जाता है कि इस झील के समाप्त हो जाने के कारण मालवा की जलवायु में भी परिवर्तन हो गया था। इस प्रसिद्घ स्थल पर वर्ष में दो बार वार्षिक मेले का आयोजन किया जाता है, जो ‘मकर संक्रांति‘ व ‘महाशिवरात्रि पर्व‘ के समय होता है। इस धार्मिक उत्सव में भाग लेने के लिए दूर दूर से लोग यहाँ पहुँचते हैं।

लिंगराज से समानता

एक समय था, जब भोजपुर से भोपाल तक फैली झील के अन्तिम छोर पर भोजेश्वर मन्दिर खडा दिखाई देता था। मन्दिर निर्माण के लिये जिस पत्थर का प्रयोग किया गया था, उसे भोजपुर के ही पथरीले क्षेत्रों से प्राप्त किया गया था। मन्दिर के समीप और दूर तक पत्थरों और चट्टानों की कटाई के अवशेष आज भी देखे जा सकते हैं। ‘अर्ली स्टोन टेम्पल्स ऑफ़ ओडिसा’ की लेखिका विद्या देहेजिया के अनुसार भोजपुर के शिव मन्दिर और भुवनेश्वर के ‘लिंगराज मन्दिर‘ व कुछ और मन्दिरों के निर्माण में समानता दिखाई देती है। मन्दिर से कुछ दूर बेतवा नदी के किनारे पर माता पार्वती की गुफ़ा है। क्योंकि गुफ़ा नदी के दूसरी ओर है, इसलिये नदी पार जाने के लिये नौकाएँ उपलब्ध हैं। यद्यपि भोजपुर का प्रसिद्ध शिव मन्दिर वीरान पथरीले इलाके में खडा है, परन्तु आज भी यहाँ आने वाले श्रद्धालुओं की भीड़ में कोई कमी नहीं आई है। प्रतिवर्ष ‘महाशिवरात्रि‘ पर यहाँ लगने वाला मेला देखने लायक़ होता है।

कैसे पहुँचें

भारत के किसी भी कोने से हवाई या रेल मार्ग से भोपाल, मध्य प्रदेश पहुँचा जा सकता है। भोपाल से भोजपुर की दूरी मात्र 32 किलोमीटर है। घूमने के लिये निजी वाहन अधिक उचित रहते हैं। बस स्टैण्ड से भोपाल मण्डीदीप मार्ग पर चलते हुए भोजपुर उतरना चाहिए। यहाँ किराया आठ से दस रुपये प्रति व्यक्ति लगता है। वहाँ से मन्दिर के लिये ऑटो आदि लिया जा सकता है। मन्दिर में या उसके आस-पास ठहरने का कोई स्थान नहीं है, यानि ठहरने के लिये भोपाल ही श्रेष्ठ स्थान रहता है।

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Bhojeshwar Temple


Bhojeshwar Temple

Next day I headed for Bhojeshwar temple at Bhojpur district. I did not expect much to be left of an 11th century temple weathered through centuries of turmoils. But, I was wrong.

Bhojeshwar temple is the temple of Lord Shiva constructed by the legendary Parmar King of Dhar, Raja Bhoj (1010-1053). Bhojpur, the ancient name of Bhopal came from this mighty king who was a great admirer of art and science, apart from being a worthy ruler and great worrier. The king could not complete the construction of the temple due to his death in the battlefield while defending his kingdom from the Chalukyas combined with Lakshmi-Karna of the Kalachuri dynasty. Still the awe inspiring structure of the dream temple of a great visionary compels us to look back at our glorious past. Its great stone blocks encompass a doorframe, which towers ten meters high and five meters wide. Four titanic pillars, richly carved, rise to support an incomplete dome. The high noon sun lances through the dome, illuminates a massive pedestal made of three stepped blocks of sandstone, seven meters square. An iron ladder ascends this huge pedestal to reach the uppermost platform, directly beneath the high roof, open to the sky. Dominating this platform and the great brooding temple is a magnificent lingam more than five meters high and over two meters in circumference. Deity is still worshiped everyday; priest performing the puja befits the ancient temple.

 

Posted in भारतीय मंदिर - Bharatiya Mandir

Bhojpur Temple


Bhopal: Bhojpur Temple and beyond

http://thinkingparticle.com/blog/bhopal-bhojpur-temple-and-beyond

Despite geographical proximity, Madhya Pradesh always evaded by a whisker from my wanderlust and for the same reason, I was always keeping it at the bottom of the stack. But finally the wish materialized in the form of a precipitous trip. Bhopal, the capital city of Madhya Pradesh became the starting line of my trip to the one of the most incredible landscape of India. Bhopal is a lazy town adorned with scenic lakes and beautiful monuments. It does not fall in any of the popular tourist trails of India hence does not witness a large number of vacationers except those who are deep into archeology and want to stop at Bhopal for their visit to Sanchi and Bhimbetka.
Lake near Taj ul Masajid Bhopal
Lake near Taj ul Masajid Bhopal
I am neither into archeology nor following a tourist trail yet unfamiliarity and an unknown landscape always enthralls me which inspired me to visit Bhopal and nearby sites. From the very first glimpse, Bhopal made me intrigued with its vivacious streets and markets. Serenity and unworldliness is completely personified with the group of locals chatting on Indian politics over a tea and enjoying delicious road side snacks. Like any other popular historical town, Bhopal is perfect for a heritage walk across the old city where streets are adorned with ruins and monuments. These second tier cities of India have always allured me with their continual originality. I checked into a cheap lodge, had a road side breakfast and then started a long day journey to Bhimbetkawhich is a popular world heritage site famous for remnants from Paleolithic time (dated to 100000 B.P). Bhimbetka is a whole day trip from Bhopal and if not by the rock shelters, ancient paintings or carvings, you will definitely mesmerize with the scenic terrain in the lap of Satpura. Bhimbetka is already documented in a separate article and hyper-linked with this one.
Bhojeshwar Temple at Bhojpur
Bhojeshwar Temple at Bhojpur
Another magnificent monument which you can travel near Bhopal is Siva temple of Bhojpur which is not only luring pilgrims for the reverence it exhibits but also interests those with a bit of inclination in archeology and history.

Siva Temple, Bhojpur

Visiting hours: Sunrise to Sunset
Entrance fee: 10 INR
How to reach Bhojpur temple: Catch a private bus (Low floor city bus) from Bhopal which is going towards Mandideepand ask the driver to drop you at the diversion to Bhojpur temple. From that point, you need to catch one of the frequent shared autos to reach the temple. If coming from Bhimbetka, you can take the diversion from Obaidullaganj but that road is in very bad condition and not worth driving.Bhopal-Bhojpur Temple: 29 km
Obaidullaganj– Bhopal: 14 km

Where to eat: There are many stalls in the temple lane where you can sip a tea and enjoy snacks or even have a light meal.

Remarks: During festival time, this place gets crowded with carloads of tourists from Bhopal.

Mutilated idols at Siva temple Bhojpur
Mutilated idols at Siva temple Bhojpur
History:

 

The temple stands magnificently on the right bank of the river Betwa, ancient Betrawati, over the rock outcrop. It is about 29 km south-east of Bhopal.This unique temple but incomplete for some unknown reason is ascribed to the illustrious King Bhojadeva(1010-1055 A.D.) of Paramara dynasty of Central India, who was a great patron of art, architecture and learning. The kingBhojadeva was a renowned author who wrote more than eleven books of which Samarnngana Sutradhara a treaty on architecture is the most important.

MYTHOLOGY:

Locally, there are several folklores prevailing in this area. According to one folklore, this temple was built by the Pandavas during their exile. Some People even claim Kunti had left Kama somewhere here along the bank of river Betwa.
Lord Siva temple at Bhojpur
Shrines at Siva Temple Bhojpur near Bhopal
ARCHITECTURE:

This west-facing lofty temple is raised on a 106 ft long, 77 ft wide and 17 ft high platform. The incomplete roof of the Garbhagriha(sanctum) is supported on four colossal pillars and twelve pilasters rising to a height of 40 ft. The sanctum is square on plan and enshrines a polished Siva-Iinga. The door-jambs of the sanctum are carved with figures of the river goddesses Ganga and Yamunaon either side. The bracket-capitals of four massive pillars of the sanctum are portrayed with figures of Uma-Maheswar,LakshmiNarayana, Brahma-Savitri, and Sita-Rama. Externally the temple is bereft of any ornamentation, except on the front facade. The balconies on the three facades although do not have any functional use, breaks the monotony of the plain walls. Probably these balconies once accommodated family deities of the Saiva cult which are now scattered around the temple.
Closer view of Siva Temple Bhojpur
Closer view of Siva Temple Bhojpur
SPECIAL FEATURES:

It is exhilarating to know that the Siva Linga with its Yoni Patta rising to height of 22 ft is the tallest and grandest in the world. The huge Yoni Patta made of a single block of stone broke into two pieces when a large size stone of the ceiling fell down on it, and thus the temple remained with a broken Yoni Patta and the ceiling open to the sky for centuries. But now the Yoni Patta has been meticulously joined together and the opening of the ceiling has been covered with fiber glass sheet decorated with, the inverted lotus flower which is exactly alike the original architectural remains of the roof.

The temple is survived with a ramp on its back side which was used for the transportation of large size stones to the raising heights during the temple building. Nowhere else in the world the ancient building technology of lifting large size stone architectural members to the top of the structure is extant. The fact that how the builders the temple raised stone as large as 35 x 5 x 5 ft and weighing about 70 tones to the temple could have remained a mystery had this  ramp was not in existence.

Again nowhere else detail tine drawings of the temple such as plan, elevation, pillars and pilasters, sikhara and kalasa have been engraved as a stencil on the rock surface. It speaks that before building, the temple plan and elevation were engraved on the rock.

The presence of ramp, engravings on the rock and the grand Siva Linga enshrined the sanctum make it an unsurpassed heritage of mankind.
Siva linga at Bhojpur Temple near Bhopal
Siva linga at Bhojpur Temple near Bhopal
After contemplating a placid sunset at Bhojpur temple, I headed back to Bhopal and had a delicious dinner at Manohar Dairy (One of the most popular restaurant of the city which lies on Hamidia road) and later surrendered myself to sleep with some cryptic scribbling on the pillow side.
Following morning, I caught a transport to Sanchi which was on relatively much better road and I reached there in 1 hour (Catch one of the private busses going towards Vidisha and ask them to drop you at Sanchi). Sanchi is UNESCO world heritage site inscribed for its Stupas, Monasteries, temples, pillars and other structures related to Bhuddhism. Sanchi is comprehensively covered in an independent article so you can read that article for details.
Sunset at Bhojpur temple near Bhopal
Sunset at Bhojpur temple near Bhopal

After Sanchi, I had almost a half day to roam around and travel other destinations so I headed towards Udayagiri caves those are some 8 km away from Sanchi but could not reached via public transport. There are two ways to reach Udayagiri Caves, the longer one goes via Vidisha. You can hire an auto either from Vidisha or Sanchi to reach Udayagiri Caves. Udayagiri caves are the group of 20 caves lying around a hill (some are on the hilltop). These caves depict statues of deities from Hindu and Jain religion and those are dated from 4th and 5th century A.D
Taj ul Masjid Bhopal
Taj ul Masjid Bhopal

after returning back to Bhopal from Udayagiri caves, I got an opportunity to walk around in Bhopal and visited Taj-ul-Masajid, one of the largest mosques of Asia which lies in the old city. Anyone can guide you locating that monument.  It’s an attractive building with a beautiful lake on one side. Old city of Bhopal is exquisite with vibrant lifestyle and colorful streets those will strike you. Later in the evening I also strolled along the upper lake and VIP road and visited some parks on the lake side.
Statue of Raja Bhoj in Bhopal
Statue of Raja Bhoj in Bhopal

During the short stay of 2 days, Bhopal left a unique impression as a city and its surroundings. It’s a perfect blend of laid-back life style and decent infrastructure with delicious food corners. With its innumerous unknown attractions in and around, Bhopal left me with frowning curiosity when I was boarding the train to Umaria (Bandhavgarh National Park).

Posted in भारतीय मंदिर - Bharatiya Mandir

Bhojeshwar Temple


Bhojeshwar Temple

Next day I headed for Bhojeshwar temple at Bhojpur district. I did not expect much to be left of an 11th century temple weathered through centuries of turmoils. But, I was wrong.

Bhojeshwar temple is the temple of Lord Shiva constructed by the legendary Parmar King of Dhar, Raja Bhoj (1010-1053). Bhojpur, the ancient name of Bhopal came from this mighty king who was a great admirer of art and science, apart from being a worthy ruler and great worrier. The king could not complete the construction of the temple due to his death in the battlefield while defending his kingdom from the Chalukyas combined with Lakshmi-Karna of the Kalachuri dynasty. Still the awe inspiring structure of the dream temple of a great visionary compels us to look back at our glorious past. Its great stone blocks encompass a doorframe, which towers ten meters high and five meters wide. Four titanic pillars, richly carved, rise to support an incomplete dome. The high noon sun lances through the dome, illuminates a massive pedestal made of three stepped blocks of sandstone, seven meters square. An iron ladder ascends this huge pedestal to reach the uppermost platform, directly beneath the high roof, open to the sky. Dominating this platform and the great brooding temple is a magnificent lingam more than five meters high and over two meters in circumference. Deity is still worshiped everyday; priest performing the puja befits the ancient temple.

 

Posted in भारतीय मंदिर - Bharatiya Mandir

Bhojpur


The painful saga of Bhojpur….

http://blog-spacedump.blogspot.com/

I have scribbled down some part of my memory from my way back …..just an attempt, hope it finds its expression!

Whenever I’m angry I feel like walking, long, very long walk on the streets with no purpose. I can walk from one place to another, one city to another, one state to another. Walking subdues anger. A long walk drains out the physical body and mind runs on minimal ego. The moment ego dissolves, there is no anger. Since if ego is not there, who will get angry ? If you observe closely, self-convincing mechanism is nothing but ego nourishment. For instance, if I have to convince myself (or defend myself) for some particular act, I will throw out reasons to justify my act which would replenish my ego. Unless, I let go ego, self-transformation will only remain theory. Good to be in books but tough to handle. Coming back to my point, walking – till your mind drops. The same principle applies when you go on a pilgrimage located at the top of the mountain. You need to walk till that point. This drains out all the thoughts from the mind and a person becomes receptive to the divine possibility. Possibly, this is also a reason that temples and shrines were built on the top of mountain ranges.

This very physical body is miraculous. I have heard that ‘physical body has a more deeper sense of memory than mind itself’. So, for instance, once we get-up from sleep in the morning, our body remembers how to walk, it doesn’t let us fall. It remembers the training. You might have heard that if you learn cycling, swimming or any such exercises, you don’t need to keep a memory of it. Body knows how to recreate it. Although, this may seem very obvious but body has a much more deeper sense of recognition. Consider the fact that I went to Himalayas, for once, my mind might forget but my body will never forget. It retains that memory. So, one should very consciously make a journey to such places. Very recently, I went to one such place that completely changed the way I look at life.

The place has a story associated with it. I would want to take you through with the legacy of that temple and then describe it more elaborately. While I narrate this story, I’m also recreating the story in itself and its characters. So, part of it is absolutely true with some garnished part which is not true (which I’ve added). So, what is true and what is not, I leave upto you. After all, life is all about finding the truth from the untruth. Isn’t it?

Once lived a King, his name was Bhoj. He was one of the wealthiest kings india has seen so far. He had all kinds of luxuries a man can think of. He had everything a human being can desire. He was so overwhelmed with his riches that now he felt like seeking the spiritual angle as well. He had gathered riches so now was his chance to gather spiritual blessings from god. So, he called upon a Yogi who was an enlightened being and asked for his opinion. In those days, Kings use to seek opinion from gurus and then the decision was taken based on those thoughts. The yogi was an established mystic with knowledge of all the five senses. He suggested the king to establish a shiva linga with all the seven chakras consecrated. This would mean that the linga will resonate the power of all seven chakras that a human body is capable of. The linga will in-turn be like a Yogi in itself without human form and mind. The idea struck the king and he ordered the entire force to start working upon the same. Yogi instructed that he would require 7 male and 7 female to complete the consecration. All 14 people along with the Yogi will form a triangle within the vortex of which tremendous energy can be generated. This energy is nothing but life energy in itself. It is the same energy that we get when we intake food or what we gather from sleep. Hence the process of consecration is called – praan pratishtha (putting life into a matter or space).

The process began. The idea was to build a temple where people can come, sit besides the linga and feel the power of 7 chakras. This would assist many in taking their first step towards spirituality. Lot of groundwork was needed to complete the process. Yogi had all the necessary knowledge that required to form the linga and to consecrate it with life energy. For every chakra, energy will be plugged into the linga and a lock mechanism will be applied. This lock will ensure that the linga will retain the energy for years to come. Though, destiny had its own way. While the consecration process was almost complete, another king who belonged to some different kingdom attacked that territory. During the attack, yogi lost his left leg and the process got stalled. The only way to complete the process would be to have the Yogi to dissolve himself and transfer his energy into the linga. Following which, his disciple would lock the energies and complete the process. The first step was taken. Yogi transferred all his energies into the linga but the disciple got so overwhelmed with the atmosphere and also with the fact that he lost his guru, he could not lock the chakra. This resulted in two things – one, the linga got cracked since it could not retain the energy and two the pain of yogi’s lost leg got transferred into the linga. Though the linga could only be 90% complete, it still resonates with tremendous power and speak volumes of the painful saga of that yogi’s unfinished dream.

The Linga at Bhojeshwar Temple

The place is Bhojpur, it’s in Madhya Pradesh. It is around 40 kms away from Bhopal city. The temple is located in a village and is at the top of a hill. One can even take a long walk to this temple from the city. I feel that  the idea to build the temple at the top of the hill would have been similar as stated earlier. So that, one can drop the mind and come empty. Fill the empty cup and return.

Betwa River

Nearby, flows betwa river which is the primary source of living of that village. A gush of mad winds blow in Bhojpur that encompasses the past and whispers the painful saga of its incompleteness. The tallest living linga throbs with such a powerful force that it nearly shakes every human being whosoever comes in contact with it. The temple is still incomplete. One can see that the pillars are broken and the carvings are damaged. Most probably they might have got damaged during the warfare. The operating charge of the temple is now taken over by Archeological society of India who is also promoting the temple. The temple opens at sunrise and closes by sunset. It is one of the tallest linga present in india. The architecture is beatific and attracts many visitors.
I was in such an awe since I have never seen such a magnanimous attempt of humanity. It was sheer brilliance that the linga stands tall and speaks of its painful saga. I realized that sitting there for a while was so overwhelming. One can go lost in deep trance since that place is so powerful and vibrant with energy. The silence of the village deepens the whole experience. It is so deep that it cuts one apart.

Damaged Relics

This unfulfilled dream was then finished by one of our contemporary yogi in the southern city of India, Coimbatore. It is known as Dhyanlinga temple. Dhyanlinga is 100% complete with all the 7 chakras intact and shines tall with thousands of meditators visiting the temple every day. I have been so fortunate to see both the lingas, sit beside them and share their legacies. Both the lingas only understand the language of silence which is devoid of any religion or caste. One can sit in the their presence and get dissolved as a soap bubble in air.

On my way back from bhojpur, I was thinking that someday I may lose my mind and lose all memories that I have gathered so far but my body will never forget the experience of coming in contact with such an engineering marvel. It will always take me back and invigorate me with the energy that shook the very fundamentals of my existence.