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The Ajanta and Ellora Caves Ajanta Caves Ajanta (more properly Ajujnthi), a village in the erstwhile dominions of the Nizam of Hyderabad in India and now in Buldhana district in the state of Maharashtra (N. lat. 20 deg. 32' by E. long. 75 deg. 48') is celebrated for its cave hermitages and halls. Located 99-km from Aurangabad, Maharashtra, Ajanta encompasses 29 rock-cut rooms created between 200 BC and AD 650 using rudimentary hand tools. Most are viharas (living quarters), while four are chaityas (temples). The Ajanta caves were discovered in the 19th century by a group of British officers on a tiger hunt. Ajanta began as a religious enclave for Buddhist monks and scholars more than 2,000 years ago. It is believed that, originally, itinerant monks sought shelter in natural grottos during monsoons and began decorating them with religious motifs to help pass the rainy season. They used earlier wooden structures as models for their work. As the grottos were developed and expanded, they became permanent monasteries, housing perhaps 200 residents. The artisans responsible for Ajanta did not just hack holes in the cliff, though. They carefully excavated, carving stairs, benches, screens, columns, sculptures, and other furnishings and

decorations as they went, so that these elements remained attached to the resulting floors, ceilings and walls. They also painted patterns and pictures, employing pigments derived from natural, water soluble substances. Their achievements would seem incredible if executed under ideal circumstances, yet they worked only by the light of oil lamps and what little sunshine penetrated cave entrances. The seventh century abandonment of these masterpieces is a mystery. Perhaps the Buddhists suffered religious persecution. Or perhaps the isolation of the caves made it difficult for the monks to collect sufficient alms for survival. Some sources suggest that remnants of the Ajanta colony relocated to Ellora, a site closer to an important caravan route. There, another series of handcrafted caves chronologically begins where the Ajanta caves end.

WIKIPEDIA STUFF The caves are in a wooded and rugged horseshoe-shaped ravine about 3½ km from the village of Ajintha. It is situated in the Aurangābād district of Maharashtra State in India (106 kilometers away from the city of Aurangabad). The nearest towns are Jalgaon (60 kilometers away) and Bhusawal (70 kilometers away). Along the bottom of the ravine runs the river Waghur, a mountain stream. There are 29 caves (as officially numbered by the Archaeological Survey of India), excavated in the south side of the precipitous scarp made by the cutting of the ravine. They vary from 35 to 110 ft. in elevation above the bed of the stream. The monastic complex of Ajanta consists of several viharas (monastic halls of residence) and chaitya-grihas (stupa monument halls) cut into the mountain scarp in two phases. The first phase is mistakenly called the Hinayana phase (referring to the Lesser Vehicle tradition of Buddhism, when the Buddha was revered symbolically). Actually, Hinayana – a derogative term for Sthaviravada – does not object to Buddha statues. At Ajanta, cave numbers 9, 10, 12, 13, and 15A (the last one was re-discovered in 1956, and is still not officially numbered) were excavated during this phase. These excavations have enshrined the Buddha in the form of the stupa, or mound. The second phase of excavation at the site began after a lull of over three centuries. This phase is often inappropriately called the Mahayana phase (referring to the Greater Vehicle tradition of Buddhism, which is less strict and encourages direct cow depiction of the Buddha through paintings and carvings). Some prefer to call this phase the Vakataka phase after the ruling dynasty of the house of the Vakatakas of the Vatsagulma branch. The dating of the second phase has been debated among scholars. In recent years a consensus seems to be converging on 5thcentury dates for all the Mahayana or Vakataka phase caves. According to Walter M. Spink, a leading Ajantologist, all the Mahayana excavations were carried out from 462 to 480 CE. The

caves created during the Mahayana phase are the ones numbered 1, 2, 3, 4, 5, 6, 7, 8, 11, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, and 29. Cave 8 was long thought to be a Hinayāna cave, however current research shows that it is in fact a Mahayana cave. There were two chaitya-grihas excavated in the Hinayana phase that are caves 9 and 10. Caves 12, 13, and 15A of this phase are vihāras. There were three chaitya-grihas excavated in the Vakataka or Mahayana phase that are caves 19, 26, and 29. The last cave was abandoned soon after its beginning. The rest of the excavations are viharas: caves 1-3, 5-8, 11, 14-18, 20-25, and 27-28. The viharas are of various sizes the maximum being about 52 feet. They are often square-shaped. Their excavation exhibits a great variety, some with simple facade, others ornate; some have a porch and others do not. The hall was an essential element of a viharas. In the Vakataka phase, early viharas were not intended to have shrines because they were purely meant to be halls of residence and congregation. Later, shrines were introduced in them in the back walls, which became a norm. The shrines were made to house the central object of reverence that is the image of the Buddha often seated in the dharmachakrapravartana mudra (the gesture of teaching). In the caves with latest features, we find subsidiary shrines added on the side walls, porch or the front-court. The facades of many vihāras are decorated with carvings, and walls and ceilings were often covered with paintings. Changes in Buddhist thought in the 1st century BCE had made it possible for the Buddha to be deified and consequently the image of the Buddha as a focus of worship became popular, marking the arrival of the Mahāyāna (the Greater Vehicle) sect. In the past, scholars divided the caves in three groups, but this is now discredited in light of fresh evidence and research. This theory of dating believed that the oldest group of caves dated from 200 BCE to CE 200, the second group belonged, approximately, to the 6th, and the third group to the 7th century. The expression Cave Temples used by Anglo-Indians for viharas without the shrine is inaccurate. Ajanta was a kind of college monastery. Hsuan Tsang informs us that Dinnaga, the celebrated Buddhist philosopher and controversialist, author of well-known books on logic, resided there. This, however, remains to be corroborated by further evidence. In their prime the vihāras were intended to afford accommodation for several hundreds, teachers and pupils combined. It is tragic that none of the caves in the Vakataka phase were ever fully completed. This was because the ruling Vakataka dynasty suddenly fell out of power leaving the dominion in a likely crisis, which forced all activities to a sudden halt at the time of Ajanta's last years of activities. This idea first pronounced by Walter M. Spink is increasingly gaining acceptance based on the archaeological evidence visible on site. Most of the subjects have been identified by the leading Ajantologist from Germany, Dieter Schlingloff.

Cave One It is first approach and has no relation to the chronological sequence of the caves. It is the first cave on the eastern end of the horse-shoe shaped scarp. According to Spink, it is one of the latest caves to have begun on site and brought to near-completion in the Vākāţaka phase. Although there is no epigraphic evidence, it has been proposed that the Vākāţaka king Harisena may have been the benefactor of this better-preserved cave. A dominant reason for this is that Harisena was not involved initially in patronizing Ajanta, but could not have remained aloof for long, as the site was burgeoning with activity under his rule, and the Buddhist laity would have loved to see the Hindu king participating in the pious act of patronage. Besides, most of the themes depicted are royal. This cave has one of the most elaborate carvings on its facade with relief sculptures on entablature and fridges. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had became a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors. Each wall of the hall inside is nearly 40 feet long and 20 feet high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls. The walls are covered with paintings in a fair state of preservation. The scenes depicted are mostly didactic, devotional, and ornamental. The themes are from the Jataka stories (the stories of the Buddha's former existences as Boddhisattva), the life of the Gautam Buddha, and those of his veneration.

Cave Two Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks pretty much the same as Cave 1 and is in a better state of preservation. The facade Cave 2 has a porch quite different from Cave one. Even the facade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The size and ground plan have many things in common with the first cave. The porch The front porch consists of cells supported by pillared vestibules on both ends. The cells on the

previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty. The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior The hall The hall has four colonnades supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms. The paintings Paintings are all over the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive births. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. (Alas, to prevent vandalism, entry into the aisles is restricted by site authorities). The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819 C.E. Deiter Schlingloff's identifications have updated our knowledge on the subject. For quite some time the art work was erroneously alluded to as "frescoes". We now know that the proper term for this kind of artwork is mural, because the known process and technique of fresco painting isn't found in this kind of artwork. At Ajanta, the technique and process used to produce this kind of artwork is unlike any other artwork found in the art history of other civilizations. These murals have a certain uniqueness about them, even within the history of South Asian art. The process of painting involved several stages. The first step was to chisel the rock surface, to make it rough enough to hold the plaster. The plaster was made of clay, hay, dung and lime. Differences are found in the ingredients and their proportions from cave to cave. While the plaster was still wet, the drawings were done and the colors applied. The wet plaster had the capacity to soak the color so that the color became a part of the surface and would not peel off or decay easily. The colors were referred to as 'earth colors' or 'vegetable colors.' Various kinds of stones, minerals, and plants were used in combinations to prepare different colors. Sculptures were often covered with stucco to give them a fine finish and lustrous polish. The stucco had the ingredients of lime and powdered sea-shell or conch. The latter afforded exceptional shine and

smoothness. In cave upper six, some of it is extant. The smoothness resembles the surface of glass. The paint brushes used to create the artwork were made from animal hair and twigs.

Ellora Caves Near Ellora , village in E central Maharashtra state, India, extending more than 1.6 km on a hill, are 34 rock and cave temples (5th–13th century). Located about 30 Kilometres from Aurangabad, Ellora caves are known for the genius of their sculptors. It is generally believed that these caves were constructed by the sculptors who moved on from Ajanta. This cave complex is multicultural, as the caves here provide a mix of Buddhist, Hindu and Jain religions. The Buddhist caves came first, about 200 BC - 600 AD followed by the Hindu 500 - 900 AD and Jain 800 - 1000 AD.

Cave 30: Chota (small) Kailasa Temple, Ellora

Of the 34 caves chiselled into the sloping side of the low hill at Ellora, 12 (dating from AD 600 to 800) are Buddhist (one chaitya, the rest viharas), 17 are Hindu (AD 600 to 900), and 5 are Jain (AD 800 to 1100). As the dates indicate, some caves were fashioned simultaneously - maybe as a form of religious competition. At the time, Buddhism was declining in India and Hinduism regaining ground, so representatives of both were eager to impress potential followers. Although Ellora has more caves than Ajanta, the rooms generally are smaller and simpler (with exception of Kailasa Temple). Spanning a period of about 600 years between the 5th and 11th century AD, the earliest excavation here is of the Dhumar Lena (cave 29). The most imposing excavation is, without doubt, that of the magnificent Kailasa Temple (Cave 16) which is the largest single monolithic structure in the world. Interestingly, Ellora, unlike the site of Ajanta, was never 'rediscovered'. Known as Verul in ancient times, it has continuously attracted

pilgrims through the centuries to the present day. Ellora has been designated as a World Heritage Site, to be preserved as an artistic legacy that will continue to inspire and enrich the lives of generations to come. Cave 1: This is the first monastery at the southern end of Ellora. It has four residential cells cut into the side walls. The cave is devoid of any carvings or sculptures. Cave 2: This has a verandah, with a recess at the right, housing images of Panchika, the god od wealth, and Hariti, the goddess of prosperity. The entrance is flanked by guardians, next to whom are figures of the Buddha and other divinities. Each of the lateral walls in the hall has sculptures of five seated Buddhas flanked by celestial figures and by Bodhisattvas, or saintly beings who are destined to become Buddhas. A similar but larger figure of the Buddha can be seen in the sanctuary. The porch to the right of the sanctuary depicts the Miracle of Shravasti when the Buddha manifested himself in a thousand forms. Cave 3: This cave has an unfinished image of the seated Buddha in a shrine. Pot and foliage motifs adorm the columns of the hall. Cave 4: A two-storeyed excavation, this cave is now mostly in ruins. At the lower level is a plain hall, with a columned asile leading to a shrine where a figure of the seated Buddha is accompanied by attendants. A similar but smaller shrine is located on the upper story. Cave 5: Excavated at a higher level, this large cave consists of a spacious hall divided into three aisles. Porches in the middle of the side walls have small cells on either side. Columns are decorated with medallions and other motifs surrounded by intricate foliage. Several benches are carved out of the floor. The entrcane to the central shrine is carved with Bodhisattvas bedecked with intricate headgear and jewellery. In the shrine is a figure of the seated Buddha. Cave 6: The rectangular hall in this cave has columns with pot and foliage capitals. The walls of an antechamber in the rear of the hall, which leads into a small shrine, are covered with figures of the Boddhisattva and the goddesses Tara and Mahamayuri. The doorway of the shrine is carved with elaborate sculptures on other side. On the left is Analokiteshwara holding a lotus and a rosary in his hands, with a deer-skin draped on his left shoulder. On theright is the sculpture of Mahamayuri, the Buddhist goddess of

learning, within the shrine is the figure of the seated Buddha, flanked by multiple smaller Buddhist figures, attendants and devotees on the side walls. Cave 7: This is a simple hall with four plain pillars. Cave 8: This is the only monastery at Ellora, where the sanctum is isolated from the rear wall, with a circular passage around it. The passageway has three cells on the left, an incomplete columned gallery at the rear and two columns in the front. Sculptures of the Buddha adorn the hall. Cave 9: This consists of an open terrace with a balcony and a shrine housing figures of Buddhist divinities. The embellished façade has, among other motifs, an unusual scene of the goddess Tara rescuing devotees from the perils of a snake, a sword, an elephant (left). Fire and a shipwreck (right). Cave 10 (Vishvakarma): Named after Vishvakarma, the architect of the gods, this cave marks the culmination of Chaitya architecture in India. The hall has porticos on three sides, raised on a basement carved with animals. A long frieze depicting a hunting scene appears above the brackets in the hall. A Stupa in the middle of the rear wall has a seated Buddha figure. A flight of steps in the verandah leads to the upper gallery. The façade behind this gallery consists of a doorway flanked by Chaitya window motifs, flying celestials, and Bodhisattvas with female attendants. On either side of the doorway, to the inner gallery, are recesses housing the figures of female deitied and the Bodhisattva. A large figure of the Buddha , in the teaching position, is carved on to the front of the central Stupa accompanied by flying attendants and Bodhisattvas. Cave 11 (Do Tal): A three-storeyed excavation dating back to the 8th century. Do Tal, or two storeys, was the name erroneously given to this cave when its ground floor was buried under debris. The lowest level has two cells and a central sanctuary withg figures of the Buddha in the teaching position. The intermediate level consists of five excavations, the first being incomplete and the last being a cell with a rock -cut bed. The remaining three have images of the Buddha attended by Bodhisattvas the uppermost level has a long columned hall with a shrine in the cenntre. On the rear wall are images of the goddess Durga and Lord Ganesha , indicating that this cave was later converted for worship by Hindus. WIKIPEDIA STUFF Ellora (Original local name Verul) is an archaeological site, 30 km (18.6 miles) from the city

of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta Dynasty. Famous for its monumental caves, Ellora is a World Heritage Site.

Ellora represents the epitome of Indian rock-cut architecture.The 34 "caves" – actually structures excavated out of the vertical face of the Charanandri hills – comprised of Buddhist, Hindu and Jain cave temples and monasteries, were built between the 5th century and 10th century. The 12 Buddhist (caves 1-12), 17 Hindu (caves 13-29) and 5 Jain caves (caves 30-34), built in proximity, demonstrate the religious harmony prevalent during this period of Indian history.

HINDU CAVES The Hindu caves were constructed in the beginning of the 7th century and represent a different style of creative vision and execution skills. Some were of such complexity that they required several generations of planning and coordination to complete. Cave 16, named The Kailasa or Kailasanatha Temple, is the unrivaled centerpiece of Ellora. This gargantuan structure – designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens.[citation needed] All the carvings are done in more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. The courtyard is edged by columned galleries three storeys high. The galleries are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen. Within the courtyard are two structures. As is traditional in Shiva temples, an image of the sacred bull Nandi fronts the central temple housing the lingam. In Cave 16, the Nandi Mandap and main Shiva temple are each about 7 meters high, and built on two stories. The lower stories of the Nandi Mandap are both solid structures, decorated with elaborate illustrative carvings. The base of the temple has been carved to suggest that elephants are holding the structure aloft. A living rock bridge connects the Nandi Mandap to the porch of the temple. The temple itself is tall pyramidic structure reminiscent of a South Indian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and

an enormous lingam at its heart – carved from living stone, is carved with niches, pilasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Shiva) while on the right hand side the deities are Vaishnavaites (followers of Vishnu). There are two Dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art. The construction of this cave was a feat of human genius – it entailed removal of 200,000 tonnes of rock, and took 100 years to complete. "The temple is a splendid achievement of Dravidian art. This project was started by Krishna I (757- 773) of the Rashtrakuta dynasty that ruled from Manyakheta in present day Karnataka state. His rule had also spread to southern India, hence this temple was excavated in the prevailing style. Its builders modelled it on the lines of the Virupaksha Temple in Pattadakal. Being a south Indian style temple, it does not have a shikhara common to north Indian temples". - The Guide to the Architecture of the Indian Subcontinent, 1996, Takeo Kamiya, Japan Architects Academy and Archaeological Survey of India Other notable Hindu caves include the Dashavatara cave (cave 15), which depicts the 10 incarnations of Vishnu, the Ramesvara cave (cave 21) which has figurines of river goddesses at the entrance and the Dhumar Lena (cave 29) whose design is similar to the cave temple on Elephanta Island in Mumbai.

The Buddhist caves The Buddhist caves were the earliest structures, created between the fifth and seventh centuries. These consist mostly of viharas or monasteries: large, multistoreyed buildings carved into the mountain face, including living quarters, sleeping quarters, kitchens, and other rooms. Some of these monastery caves have shrines including carvings of Buddha, bodhisattvas and saints. In many of these caves, sculptors have endeavoured to give the stone the look of wood. Most famous of the Buddhist caves is cave 10, a chaitya hall (chandrashala) or 'Vishwakarma cave', popularly known as the "Carpenter's Cave". Beyond its multistoreyed entry is a cathedral-like stupa hall also known as chaitya, whose ceiling

has been carved to give the impression of wooden beams. At the heart of this cave is a 15 foot statue of Buddha seated in a preaching pose. Amongst other Buddhist caves, all of the first nine (caves 1-9) are monasteries. The last two caves, Do Tal (cave 11) and Tin Tal (cave 12) have three stories.

The Jain caves Jain caves reveal specific dimensions of Jain philosophy and tradition. They reflect a strict sense of asceticism – they are not relatively large as compared to others, but they present exceptionally detailed art works. For example, the 32nd cave, Indra Sabha is a shrine with a very fine carving of the lotus flower on the ceiling. In another cave, an imposing yakshini is seated on her lion under a mango tree, laden with fruits. All other Jain caves are also characterized by intricate detailing. Many of the structures had rich paintings in the ceilings - fragments of which are still visible.

Kailasa Temple (cave 16) Although all of the caves at Ellora are stunning architectural feats, the Hindu Kailasa Temple is the jewel in the crown. Carved to represent Mt. Kailasa, the home of the god Shiva in the Himalayas, it is the largest monolithic structure in the world, carved top-down from a single rock. It contains the largest cantilevered rock ceiling in the world. The scale at which the work was undertaken is enormous. It covers twice the area of the Parthenon in Athens and is 1.5 times high, and it entailed removing 200,000 tonnes of rock. It is believed to have taken 7,000 labourers 150 years to complete the project. The rear wall of its excavated courtyard 276 feet (84 m) 154 feet (47 m) is 100 ft (33 m) high. The temple proper is 164 feet (50 m) deep, 109 feet (33 m) wide, and 98 feet (30 m) high.

Kailasa Temple, cave #16 at Ellora, India

It consists of a gateway, antechamber, assembly hall, sanctuary and tower. Virtually every surface is lavishly embellished with symbols and figures from the puranas (sacred Sanskrit poems). The temple is connected to the gallery wall by a bridge.

The gigantic, 8th century Kailasa Temple at Ellora, Cave 16, was chiselled from solid stone. Click for bigger image

The Kailasa temple is an illustration of one of those rare occasions when men's minds, hearts, and hands work in unison towards the consummation of a supreme ideal.

WIKIPEDIA STUFF Kailash Temple , also Kailasanatha Temple is one of the 34 monasteries and temples, extending over more than 2 km, that were dug side by side in the wall of a high basalt cliff in the complex located at Ellora, Maharashtra, India, and represents the epitome of Indian rock-cut architecture.[1] It is designed to recall Mount Kailash, the abode of Lord Shiva.[citation needed] While it exhibits typical Dravidian features, it was carved out of one single rock. It was built in the 8th century by the Rashtrakuta king Krishna I. The Kailash Temple is notable for its vertical excavation -- carvers started at the top of the original rock, and excavated downward, exhuming the temple out of the existing rock. The traditional methods were rigidly followed by the master architect which could not have been achieved by excavating from the front.[2] The architects found to design this temple were from the southern Pallava kingdom.[3] It is estimated that about 200,000 tons of rocks was scooped out over hundreds of years to construct this monolithic structure.[3] From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.[citation needed]

All the carvings are done in more than one level. A two-storeyed gateway opens to reveal a Ushaped courtyard. The courtyard is edged by a columned arcade three stories high. The arcades are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen. Within the courtyard are two structures. As is traditional in Shiva temples, an image of the sacred bull Nandi fronts the central temple housing the lingam. In Cave 16, the Nandi Mandap and main Shiva temple are each about 7 meters high, and built on two stories. The lower stories of the Nandi Mandap are both solid structures, decorated with elaborate illustrative carvings. The base of the temple has been carved to suggest that elephants are holding the structure aloft. A living rock bridge connects the Nandi Mandap to the porch of the temple. The temple itself is tall pyramidic structure reminiscent of a South Indian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous lingam at its heart – carved from stone, is carved with niches, plasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu). There are two Dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art.

Visiting Ajanta and Ellora One of India's greatest architectural treasures, the Kailasa temple attracts thousands of tourists annually. Today, both Ajanta and Ellora are maintained by the Maharashtra Tourism Development Corporation. The sites are open daily from 9 a.m. until 5:30 p.m., with guides available for hire. Visitors pay a small admission fee to enter the Ajanta site and extra to attendants for lighting cave details. Entry is free to all caves at Ellora except the Kailasa Temple. A good base from which to visit Ajanta and Ellora is Aurangabad, serviced daily by Indian Airlines and East West Airlines flights from Mumbai (Bombay). The city has a variety of accommodations, ranging from a youth hostel to five-star hotels. At least a three-night stay in Aurangabad is advised, because Ajanta (100 kilometres northeast by road) requires a full-day excursion and Ellora (30 kilometres northwest) a half-day.

Shirdi

Shirdi is that mystical magical town near the holy city of Nasik, close to Mumbai. This hallowed town exudes such intense devotion, that even the casual visitor is bound to be charged with fervour. Shirdi was the abode of the saint Sai Baba, who lived here for eighty years - and died here over eighty years ago. It is said that Sai Baba himself calls his devotees to Shirdi and that his blessings can heal even the deepest wound.The town is tiny just 2 square km of main street and a labyrinth of by-lanes - but packs in much passion. Pilgrims throng for a brief "darshan" at Samadhi Mandir, the shrine of Sai Baba where his mortal remains were interred. The queues outside the mandir are endless, the throng inside is maddening, and the devotion intense. Next to the shrine is the peaceful Masjid where Sai Baba spent most of his life. The sacred fire called "dhuni" still burns here and its ash or "udhi" is smeared on devotees. The Chavadi is a small building where Sai Baba used to spend every alternate night.The Guru Sthan is the shrine where the Baba?s spiritual leader took samadhi (gave up his body). The neem tree at the Guru Sthan where Sai Baba first sat when he came to Shirdi, is said to have absorbed miracle powers. The Lendi Gardens where Sai Baba went for a walk and sat in meditation is a spot where devotees come to pray. The Khandoba Temple, near the STA bus stop, is the oldest temple in Shirdi. The streets of Shirdi are paved with shops selling Sai Baba memorabilia, especially the unforgettable pictures of Sai Baba himself, with his piercing eyes, snowy beard and benevolent smile. For assistance in Shirdi, contact the Shri Sai Baba Sansthan, a charitable organisation with a rest house, canteen, locker facilities and an assistance counter at the bus stand.Pilgrims flock to Shirdi at any time of the year. Shirdi has a dry climate that swings to extremes, from a high of 40? C in May, to a low of 7? C in January. But the monsoon months - June to August - are pleasant, with scanty rains. Though the shrine is open though the week, Thursday is Sai Baba's special day.

Routine at Temple The Kakad Aarti (the early morning worship and prayer) is performed very early in the morning at 5.15 a.m. in the main sanctum sanctorium where Baba's body has been entombed. Then the Samadhi and the idol are washed ceremonially and clad. Everyday from 6 a.m. to 7 a.m. the music of S ai Geet (devotional songs on Sai) is played. Then the abhishek (bathing of the deity) begins at 7.30 a.m. The noon aarti (mid-day prayer) takes place exactly at noon. After this aarti there is a break until the programme of singing, bhajan and kirtan (devotional songs) in the afternoon. There is aarti

again at 6.30 p.m. (sunset prayer). Then there is kirtan or bhajan till 10 p.m. and the last aarti, i.e., Shej-aarti (night prayer) takes place at 10 p.m. The idol and the Samadhi are covered by a mosquito net and the Lord Sri Sai Baba is thereafter deemed to have gone to sleep as the devotees lovingly treat Him as a father. On Thursdays, there is a procession of the palki (Baba's carriage) and the padukas (Baba's slippers) at night and five gunshots are fired at the time of the procession. Loudspeakers are arranged at the time of the aarti and on festival days. About White Marble Statue of Sri Sai Baba Thalim was a sculptor. He was engaged to carve the white Marble statue of sri Sai Baba, He spent much time to select suitable features for the purpose. He observed in vain many pictures of Baba with different postures. He could not form any mental picture. He was in a fix. Then Baba appeared to him in his dream and gave instructions. Thalim was able to carve the life like size marble stone statue of Baba by His Grace (Baba's). It has the sanctity of having Grace of Baba.The statue is as big as that of a grown up man. It was in 1956 that the statue was installed (pratishta). It seems as if it has life. It's features express karuna and Brahma Varchassu. (Heavenly radiance). It is surprising to note that from which ever angle you look at the statue, it seems as if, it is looking with grace at you only. How sweet his smile is ! No where in the world, it is said, can we see such a statue. It is Unique. After Arati, every time, Baba's statue is dressed with new clothes and garlanded It is a great wonder to see him as an old man at the time of Abhisheka and as an energetic Young Emperor after he is dressed and garlanded. It is the feeling felt by all pilgrims who visit the Mandir. Places of Interest Samadhi Temple - The construction of the Samadhi Temple was started by Sri But! during the lifetime of Sai Baba, with a view to having a temple of Sri Krishna. At a time when the construction was almost complete, Sai Baba said that he would stay over there. So after Sai Baba attained Nirvana (eternal peace) His rnortal remains were buried at the place. The white marble pavement of the Samadhi was made afterwards. The marble statue prepared by sculptor Sri Talini of Bombay was installed by the side of the Samadhi in 1954. The spacious hall in front of the Samadhi was also paved with marble tiles later. The people coming for darshan, come first into the hall, which is decorated with photos,of the saints and devotees of Sai Baba. The statue ot Sai Baba, in a sitting position is such that He looks to every devotee coming for darshan in to the hall. In a room, on the left side of the

hall, the articles used by Sai Baba are exhibited. There is a cellar below the rooms on the right-side where valuables are kept. There is gallery on the first floor and there are several rooms. Dwarkamayee Masjid - This was an old Masjid named as Dwarka Mai by Sai Baba Himself. He lived here all day and used to sit on a big stone, which is still preserved. A portrait of Sai Baba, painted during His lifetime, is also kept here. In front of the portrait, the sacred dhuni (fire) kindled by Sai Baba is kept burning since then. A grinding stone, a bathing stone, a wooden pillar, chulha (stove), padukas (slippers) and Tuls! (Holy Basil) Vrindavan, which were used by Sai Baba are all maintained here. Rath (carriage) and the pallanquin are also kept here in a small room. The udi, taken out from the ever-blazing dhuni, is used by the devotees as miraculous ash. Chavadi - It is placed to the east of Dwarkamai. Sai Baba used to rest at this place every alternate night. A number of portraits of deities are exhibited here since the days of Sai Baba. A wooden plank and a wheel chair brought for Baba but never used by Him, are also kept here. Gurusthan - This is the place of Sai Baba's Guru. Sai Baba used to sit here under a neem (margosa) tree, leaves of which lost their bitterness due to the grace of Sai Baba., Incense is burnt here day and night in a pot, in front of the Temple, wherein Lord Shiva's pindi and Nandi are installed and padukas of Lord Sai Baba are also kept. Lendibag and Nandadeep - Lendi nalla (stream) was flowing though this land and there was a burial ground at the place. Sai Baba dug a well here and He used to take out drinking water from it. Now the L4endi nalla is filled and a garden is laid there. A Nandadeep lamp is kept burning there since the day of Sai Baba, who used to sit here on a par (stone) near the Nandadeep, below the neem tree. This park is renovated and maintained. A new Dattatreya (the primordial guru) Temple has been built in the garden in front of the Ashwattha tree. There is the Samadhi of the horse Shamsunder, who used to bow down to Sai Baba and thereafter to the Samadhi daily, till its death. There are the Samadhis of Baba's devotees Abdul Baba, Nanavalli, Bhau Maharaj and Tatya at the entrance of the Lendibag. Khandoba Temple - This is a small temple called Khandoba of Lord Shiva situated on the Ahmednagar-Kopargaon road. It was at this temple that Sai Baba was first greeted by Sri Mahalsapati as "Ya, Sai" Mahadev, Shani and Ganesh Temples - These three temples are built in a line. The Mahadev Temple is very old and a statue of a tiger has been installed behind the Nandi. There is a dhuni in the Shani Temple also. The

Ganesh Temple is also very old. There are the Keshav Temple and Mangal Karyalaya, built in recent years beyond the road on the eastern side. Getting there and Around By Rail - Kopergaon on Daund-Manmad Line is an important railway station about 16kms from Shirdi. This station is on the route of the Karnataka Express from New Delhi to Bangalore. Manmad is another important station about 58kms from Shirdi which carries a number trains from Mumbai and Delhi. Shirdi has a computerized Railway Ticket Booking Center within the temple premises. From here you can have railway tickets of whichever destination all through India. *Note - 75 km from Nashik. Though Aurangabad airport seems close to Shirdi Distance wise, but as i have personally visited Shirdi many times,i would advice all people to visit Shirdi via Mumbai as From Aurangabad ,you wont get many options to visit Shirdi .Moreover the Highway is very quite and Risky,for almost 80 kms ,you wont even see any light while coming to shirdi from Aurangabad whereas from Mumbai you can catch air conditioned buses of Neeta travel or you can come by train from Mumbai.So, my personal advice is that if you are planning to go to shirdi by air, better go to Mumbai .Aurangabad to Shirdi Highway is not a good option to travel.

AURANGABAD FACTS & FIGURES Language Marathi, Hindi and Urdu Best time to visit NovemberFebruary STD Code 0240

The city of Aurangabad is known for its medieval monuments and cultural heritage. It was the seat of the Mughal Empire for a short period. The city boasts of Bibi-ka-Makbara, a tomb that has some resemblance to the Taj Mahal. The importance of Aurangabad is great, owing to its proximity with world heritage sites of Ajanta and Ellora. These sites have Buddhist, Jain and Hindu temples. Aurangabad is also famous for its silk and cotton textiles. LOCATION Aurangabad city is located in the northern part of the state of Maharashtra, in the western region of India. It is 375 km from Mumbai (Bombay). The city is surrounded by hills. The weather of Aurangabad is temperate with moderate winters (November-February) and summers (AprilJune). This region experiences good southwestern monsoon rains in June-September. River Kham passes through the city of Aurangabad. HISTORY The Mauryans ushered Buddhism in this region of India, which is evident from the profusion of numerous Buddhist cave temples in and around Aurangabad. Temples built by Satvahanna and Rashtrakuta rulers are located here. The famous caves of Ajanta are a part of this Buddhist tradition. The heritage of Aurangabad is linked with different Muslim rulers and dynasties of India. The city was founded in 1610, on the site of a village named Khirki, by a local Muslim noble Malik Ambar. His son Fateh Khan ruled it and named the city as Fatehpur in 1626. Aurangzeb, the last great Mughal ruler, took over this city in 1653 and renamed it as Aurangabad. Due to its strategic location in peninsular India, Aurangzeb made Aurangabad his capital. He used this city as a base to quell the rising power of the Marathas. TOURISTS ATTRACTIONS Bibi-ka-Makbara, the mausoleum of Aurangzeb's queen, is the main tourist attraction of Aurangabad. This mausoleum is also termed as 'poor man's Taj Mahal' owing to it being a poor replica of the Taj. A small archeological museum is located behind the mausoleum. Panchakki (water wheel) is another tourist spot and it has the Tomb of Baba Shah Muzaffar, a Sufi Saint, near by. Himroo (traditional cotton-silk blend fabric) factory, Purwar Museum, and Aurangabad Caves are other prominent tourist attractions within the city. PLACES AROUND AURANGABAD There are a number of important tourist spots beyond the city limits of Aurangabad. The cave temples of Ellora, listed among the World Heritage sites, are 30 km northwest of the city. The world famous Buddhist caves at Ajanta, also a World Heritage site, lies 166 km northeast of Aurangabad. The Buddhist caves of Ajanta are world famous for their well-preserved frescoes (wall paintings), which vividly depict the lifestyle of that period. The fortress of Daulatabad is 13 km from Aurangabad and is situated en route Ellora. Khuldabad, the last resting place of Aurangzeb, is 3 km from Ellora. Grishneshwar temple, an important Hindu pilgrim place, is

located in the village of Verul, near Ellora caves. It is one of the twelve Jyotirlingas of India, where Lord Shiva is worshipped. Paithan, 56 km south of Aurangabad, is famous for its traditional Paithani silk saris. Twenty-four kilometers from Aurangabad lie the Bani Begum Gardens, which surround the tomb of one of Aurangzeb's queens. Pithalkora caves are 78 km from Aurangabad. Mhaismal, 25 km from Aurangabad, is another tourist spot.

Bibi Ka Maqbara Shah Jahan built the Taj Mahal, in Agra, in loving memory of his wife Mumtaz. His son Aurangzeb, who overthrew him, built the Bibi-Ka-Maqbara as a mausoleum to his wife Rabia-ud-Durrani. This is the monument for which Aurangabad is best known, probably because it was obviously intended to rival the Taj Mahal, which it imitates. The comparison with the Agra monument has unfortunately somewhat denigrated the Aurangabad tomb which in itself displays a worthwhile architectural design, with much distinguished surface ornamentation in the late Mughal style. The mausoleum dates from 1678 and it was erected by Prince Azam Shah, one of Aurangzeb's sons, in memory of Begum Rabia Durani, his mother. It stands in the middle of a spacious and formally planned garden, some 457 by 274 metres, with axial ponds, fountains, and water channels, many defined by stone screens and lined with broad pathways. The garden is enclosed by high crenellated walls with bastions set at intervals, and open pavilions on three sides. In the middle of the south wall is an imposing gateway with brass-inlaid doors; these are inscribed with the name of the architect, Atam Aula. The central focus of this vast enclosure is the tomb itself. This is raised on a high terrace to look out over the garden plots and waterways. Access to the octagonal chamber containing the unadorned grave at the lower level is from a flight of steps that descends from the terrace. The grave is enclosed by an octagon of perforated marble screens. The chamber above is a high square structure presenting identical fagades on four sides. Each is dominated by a lofty portal with a pointed arch, flanked by smaller arched niches of similar design. A great dome, with a pronounced bulbous profile and a brass pot finial, crowns the whole composition while four lesser domes mark the corners. Doorways lead to an inner octagonal gallery, defined by stone screens, that overlooks the grave from an upper level, an architectural innovation unicfue, to this monument. Corner squinches carry the lofty dome that roofs the chamber. White marble is used throughout, interspersed with delicately

moulded stucco. There is, however, no use of semiprecious stones. Exactly like the Taj Mahal, the mausoleum is framed by four lofty minarets that stand freely at the corners of the terrace, their part-octagonal bases continuing down to ground level. They have diminutive square pavilions in red sandstone at their summits. To the west of the tomb is a small mosque with finely worked cusped arches and corner minarets. Small recesses, rosettes, and arabesques embellish the faqade. Mention may also be made here of the Sunheri Mahal, situated to the north of Bibi ka Maqbara, which is a notable building in the late Mughal style. It is of interest for the patches of old painting and goldwork that adorn the walls.

Daulatabad Daulatabad (Marathi दौलताबाद; from Persian ‫ دولت‌آباد‬meaning either "Built by the Government" or “City of Prosperity”, depending on the source;also known as Deogiri.), was once (circa the sixth century AD) an important uplands city along caravan routes and is now but a village, based around the former city of the same name. It is in Maharashtra, India, about 16 kilometers northwest of Aurangabad.

Fort of Devagiri The area of the city includes the hill-fortress of Devagiri (Marathi दे वििरी) (sometimes Latinised to Deogiri). It stands on a conical hill, about 200 meters high. Much of the lower slopes of the hill has been cut away by Yadava dynasty rulers to leave 50 meter vertical sides to improve defences. The fort is a place of extraordinary strength. The only means of access to the summit is by a narrow bridge, with passage for not more than two people abreast, and a long gallery, excavated in the rock, which has for the most part a very gradual upward slope. About midway along this gallery, the access gallery has steep stairs, the top of which is covered by a grating destined in time of war to form the hearth of a huge fire kept burning by the garrison above. At the summit, and at intervals on the slope, are specimens of massive old cannon facing out over the surrounding countryside.

The city The original widespread capital city is now mostly unoccupied and has been reduced to a village. Much of its survival depends on the tourists to the old city and the adjacent fort. The site had been occupied since at least 100 BCE, and there are the remains of Buddhist caves similar to those at Ajanta and Ellora. These have been occupied and reused since.

The city is said to have been founded c. 1187 by Bhillama V, a prince who renounced his allegiance to the Chalukyas and established the power of the Yadava dynasty in the west. In 1294 the fort was captured by Ala-ud-din Khilji, and the rajas, so powerful that they were held by the Sultans of Delhi to be the rulers of all the Deccan, were reduced to pay tribute. The tribute falling into arrear, Devagiri was again occupied by the Muslims under Malik Kafur, in 1307 and 1310, and in 1318 the last raja, Harpal, was flayed alive. Devagiri now became an important base for the operations of the Delhi Sultanate's conquering expeditions southwards. In 1327 Muhammad bin Tughluq determined to make it his capital, changed its name to Daulatabad , and tried to march the whole population of Delhi to it. The project was interrupted by troubles which summoned him to the north; during his absence the Muslim governors of the Deccan revolted; and Daulatabad itself fell into the hands of Zafar Khan, the governor of Gulbarga. It remained in the hands of the Bahmanis till 1526, when it was taken by the Nizam Shahis. It was captured by the Mughal emperor Akbar, but in 1595 it again surrendered to Ahmad Nizam Shah of Ahmednagar, on the fall of whose dynasty in 1607 it passed into the hands of the usurper, the Nizam Shahi minister Malik Amber, originally an Abyssinian slave, who was the founder of Kharki (the present Aurangabad). His successors held it until their overthrow by Shah Jahan, the Mughal emperor, in 1633; after which it remained in the possession of the Delhi emperors until, after the death of Aurangzeb, it fell to the first Nizam of Hyderabad. Its glory, however, had already decayed owing to the removal of the seat of government by the emperors to Aurangabad.

Monuments The outer wall, 2.75 miles in circumference, once enclosed the ancient city of Deogiri (Devagiri), and between this and the base of the upper fort are three lines of defences. Besides the fortifications Daulatabad contains several notable monuments, of which the chief are the Chand Minar and the Chini Mahal. The Chand Minar is a tower 210 ft. high and 70 ft. in circumference at the base, and was originally covered with beautiful Persian glazed tiles. It was erected in 1445 by Ala-ud-din Bahmani to commemorate his capture of the fort. The Chini Mahal, or China Palace, is the ruin of a building once of great beauty. In it Abul Hasan, the last of the Qutb Shahi kings of Golconda, was imprisoned by Aurangzeb in 1687.

Tourist Information Daulatabad is just 16 km from Aurangabad and is easily accessible by road. Visit to the Daulatabad fort is a half day affair. One can book a taxi cab from Aurangabad from near the central bus stand. Its advisable to go for taxis thru the authorized taxi union which has its office just adjacent to the 'out gate' of the central bus stand. Alternatively, single tourist can also go by the state transport busses or many private busses which ply from Aurangabad. Have some nice guavas at the entrance (Daulatabad is famous for those) and start off inside the fort. It opens at 7 AM.

After a brief hike, you will reach the magnificent 'Mendha Tof' (A cannon with its head resembling like a sheep) pointing out towards the enemy. Further up, you will encounter a great moat which separates the fort from the outer boundaries.The moat would be filled with water and hungry crocodiles once upon a time. The marvellous 'bhul bhullaiya' (Maze) follows the trench and is a dark corridor maze which anyone has to pass to climb further up. The bhul bhullaiya has some perfect traps for the enemy where he could slip and slide down directly into the trench ! The 'bhul bhullaiya guides' present there would explain many things and show you around using a flame torch for a price. For the non-enthusiast, you can always take the outer stairs constructed later by the government. Many tourists back off after this but for the committed and enthusiastic, you would like to climb further up and in the end, you reach the Moghul Pavilion (the white colored structure at the top) which seems to be the top of the fort but wait ! Climb up all the way to the flagpole which offers a panoramic view of the place around. The decent is comparatively easy, but dangerous due to the huge speed one can attain if he is over enthusiastic. It would be a nice idea to club the visit to Daulatabad with Aurangzeb's tomb at Khultabad, Bhadra Maruti Mandir, Ellora Caves (11 km ahead) and the Grisneshwar Temple of lord Shiva (One of the12 jotirlinga's)

Trimbakeshwar Temple . Trimbakeshwar - one of the holy places of not only Maharashtra but the whole India is near Nashik. Trimbakeshwar is one of the twelve Jyotirlingas in India. The following verse shall explain the importance of this sacred place and the next one gives names of the Twelve Jyotirlingas in India. This says that anybody who visits Tryambakeshwar attains salvation. There is no sacred place like Tryambakeshwar, no river like Godavari, no mountain like Brahmagiri etc. The reasons for its being so sacred are - Godavari river originates in this place, its a place of Tri-Sandhya Gayatri, the birth place of Lord Ganesha, a place of the first Nath of Nath Sampradaya consisting of Gorakhnath and others, a place where Nivrittinath was made to imbibe the holy knowledge by his Guru Gahininath, a place where Nivrittinath made his brothers and sister attain the self by his preaching. This is the holiest place to perform Shraddha ceremony. Nirnaya Sindhu - a religious book of Hindus, mentions that this place, where Sahyadri mountain and Godavari river exist is very purifying on the whole earth and is therefore very important for performing Shraddha ceremony.

The two significant places a) Shri Trimbakeshwar Jyotirling and b) Kushavarta - the place from where river Godavari takes its course. A dip in this sacred river wipes off the sins, is the belief of people. The sage Gautam committed a sin of murdering a cow and by taking bath in this river, wiped off his sin.

Location of Trimbakeshwar About 38 kms away from Nashik Road Railway Station, it is connected by bus and taxi service. There are modern Dharmashalas (caravansary) built by charitable Gujarathi Community available for stay for three days to any individual. The stay can be extended by written permission of the trustees. Besides, there are big houses of Kshetropadhyes (the local priests), where lodging and boarding is made available. Getting there

By Air :

Nearest airport is Nashik 39 kms.

By Rail :

Nearest railhead is Nashik Road 44 kms on Central Railway.

By Road :

Bombay - Trimbakeshwar 180 kms. Nashik - Trimbakeshwar 28 kms. State Transport buses ply between Nashik - Trimbakeshwar frequently.

Reservation :

Bombay and Trimbakeshwar.

Checkout Time :

12.00 noon.

Story associated with Trimbakeshwar At the time of the marriage of Lord Shiva with Parvati, all the Devarshis gathered together. Brahmadev, the creator of the Universe, seeing the beauty of Parvati, had a discharge of semen. Lord Shiva observing this, offered him water of Ganges, the purest water and said, �You will wipe off your sin by this water�. Brahmadev kept the holy water in his kamandalu (a particular container made out of dried fruit carried by Sadhus) and was purified by its bath. Story related to Godavari river Brahmadev worshipped God Trivikram when he came to Satya Loka (on earth) with the same holy water of the Ganges, to get the river Ganges held up by God Shankar on his head, to flow. River Ganges in the form of a woman was enjoying with God Shankar, which was noticed by Lord Shiva�s wife Parvati. She planned to drive Ganges away from her husband. Parvati and her son Ganesh came to live in Gautama�s Ashrama with Parvati�s friend Jaya. There was a famine of 24 years and people were affected by the pangs of hunger. However, Varun - the God of Rains, pleased with Sage Gautama arranged rains every day in Gautam�s Ashrama (dwelling place) which was in Trimbakeshwar. Gautama used to sow rice in the surrounding fields of his Ashrama in the morning, reap the crop in the afternoon and with it fed a large group of rishis, who took shelter in his Ashrama

on account of the famine. The blessings of the group of rishis increased the merit (Punya) of Gautam. Lord Indra�s position became shaky because of his increased merit. So Indra ordered clouds to rain all over Trimbakeshwar, so that the famine will be over and Rishis will go back and the increasing merits of Gautam will be weakened. Although the famine was over, Gautam urged the Rishis to stay back and kept on feeding them and gaining merit. Once he saw a cow grazing in the paddy field and he drove her away by throwing Darbha (sharp, pointed grass). The slender cow died by this. It was Jaya - Parvati�s friend, who had taken the form of a cow. This news upset the Rishis and they refused to luncheon at his Ashram. Gautam requested Rishis to show a way out of this sin. He was advised to approach Lord Shiva and request him to release Ganges and a bath in the Ganges would set him free of his sins. Gautam then practiced penance by going to the peak of Brahmagiri. Lord Shankara was pleased by his worships and gave him the Ganges. However, Ganges was not prepared to part with Lord Shiva, which irritated him. He made Tandav Nrutya (dance) on the peak of Brahmagiri and dashed his jata there. Frightened by this action, Ganges appeared on Brahmagiri. Later on Ganges appeared in the Trimbak Tirtha. Gautam praised her but she off and on appeared on the mountain at various places and disappeared in anger. Gautama could not bathe in her waters. Ganges then appeared in Gangadwar, Varaha-tirtha, RamaLaxman tirtha, Ganga Sagar tirtha. Still Gautama could not bathe in her waters. The Gautama surrounded the river with enchanted grass and put a vow to her. The flow stopped there and the tirtha thus came to be called Kushavarta. It is from this Kushavarta that the river Godavari flows up to the sea. The sin of killing a cow by Gautama was wiped off here. Its religious significance Sinhastha Mahatmya speaks of Lord Rama having made the Yatra at Trimbakeshwar. A shraddha on the river Godavari gives great satisfaction to the forefathers. If it is not done in this place, it is considered as a religious sin. So Ganga Pujan, Ganga Bhet, Deh Shuddhi Prayaschitta. Tarpan Shradha, Vayan, Dasha Dana, Gopradan etc. Rituals are done in Trimbakeshwar. Mundana and Tirtha Shraddha are also performed here. Kushavarta is called as Teertharaj, since it has six corners. After finishing the tirtha-yatra at Kushavarta, a pilgrim should proceed by the northern bank of Godavari and visit Nilsangameshwar, Vivah Vinayak, Satya Narayan, Dhaneshwar Mahadev, Tarangeshwar, Setupaleshwar etc. The Lord Shiva at Trimbakeshwar is worshipped by recitations of Rudra, Rudri, Laghu Rudra, Maha Rudra or Ati Rudra puja. Actually Rudrashak is a religious fruit which is said to be found in lord Shiva's neck in the form of Rudra garland. Some of the trees of Rudrashak is also found in Trimbakeshwar. For more details read Rudraksha Mahima

When was the temple built and by whom ? Kushavarta was a large area. Shreemant Rao Sahib Parnekar has built up the banks with stone pavement and with verandahs on all sides. Near Kushavarta is Kanchan and Kankhala tirtha where , the it is said , that dead human bones disappear. The flow of Godavari runs from this place. There are temples at the four corners of Kushavarta. On the south east conrner is the temple of Kedareshwar Mahadev, who in disguise of Kedarbhatta made Gautam to bathe in the waters and gave him prayaschitta (repentance) for the sin of killing a cow. To the south-west is Sakshi Vinayak , who is a witness to the yatra -vidhi of all pilgrims. To the northwest is Kusheshwar Mahadev and to the north-east is the temple of Godavari. It is said in Trimbak Mahatmya that Godavari was pleased with Gautam and gave him her �Darshana� - appearance in person . At this place the Godavari temple is built.

To the rear of the temple Gangamandir, Shrimant Peshawa has built a big caravansary where Rama and Karpureshwar Mahadev are enthroned. There is a separate temple of Ashwini Kumar in front of Gangamandir. There is a big Ashwattha Narayan tree in front of Kushavarta tirtha. In addition, there are temples of Jwareshwar Mahadev and Kanchaneshwar and statues of Dash Avatar and of thirty-three kinds of deities. The old holy books say that by the order of Lord Shiv, all deities stay here in person, during the period of Sinhastha Parva, to wipe off their sins and to get themselves purified. The work of constructing the present temple of Trimbakeshwar was begun by Shrimant Balaji Bajirao alias Nanasahib Peshawe in 1755 in the first half of the Margashirsha month (around December) and was completed in 1786. It took 31 years to construct the temple and the cost of 16 lacs then. There are three �Linga� of the size of a thumb and they are called as Brahma, Vishnu and Mahesh - the creator, the organizer and the destroyer. These lingas are natural ( emerged naturally )Water of Ganges flows over the Linga of Shiva. The grant of Rs. 1000.00 per month was given for performing puja and offerings etc. The deity is worshipped here thrice a day and an additional worship with flowers at pradosha time. Brahmagiri Original Ganges and Trimbak Tirtha are on Brahmagiri mountain adjacent to Trimbakeshwar temple. Brahmagiri is considered as a huge form of Lord Shiva and hence the mountain climbing was considered as a sin. However in 1908 Seth Lalchand Jashodanand Bhambhani of Karachi and Seth Ganeshdas built 500 steps of stone at a cost of Rs. 40,000 then. This has facilitated easy access to Brahmagiri. Godavari is flowing in three directions on the mountain. The one flowing towards east is called Godavari, one flowing towards the south is called Vaitarna and the one flowing towards the west is called the westflowing Ganga and meets Godavari near Chakra Tirth. River Ahilya meets Godavari in front of the Trimbakeshwar temple. Childless families worship at the Ahilya sangam and it is believed that they do get a child .The first peak of Sahyadri is called Brahmadri. The story associated with this is that Shankar was pleased with Brahmadev and said � I shall be known by your name�. Hence it is called as Brahmagiri. The mountain is 1800 feet high . Its height from sea level is 4248 feet. Five peaks of this mountain are called adyo-Jata, Vamdev, Aghora, Ishana and Tat-Purusha and are considered as five mouths of the Lord Shiva and they are worshipped. Gangadwar Gangadwar is half way to Brahmagiri mountain. There is a temple of Ganga, now known as Godavari River. Ganga appears first time here, after it vanishes from Brahmagiri Mountain. Godavari comes to Gangadwar from Brahmadri. There are 750 steps to Gangadwar. These were built by Karamsi Ranamull of Village Maska. The work was commenced on 1st of Chaitra in Samwat 1907 and was completed on 5th of Chaitra Samwat 1918 by Seth Hansraj Karamsi. Gangadwar is one of the five tirthas. There is an idol of Ganga and near her feet is a stone of the shape of cow�s head through which Ganga water is flowing drop by drop.

The 12 Jyotirlingas 1. Somnath is the foremost of the twelve Jyotirlinga Shrines of Shiva. It is held in reverence throughout India and is rich in legend, tradition, and history. It is located at Prabhas Patan in Saurashtra in Gujarat. 2. Mallikārjuna, also called Śrīśaila, is the name of the pillar located on a mountain on the river Krishna.[1] Srisailam, near Kurnool in Andhra Pradesh

enshrines Mallikarjuna in an ancient temple that is architecturally and sculpturally rich. Adi Shankara composed his Sivananda Lahiri here.[citation needed] 3. Mahakal, Ujjain (or Avanti) in Madhya Pradesh is home to the Mahakaleshwar Jyotirlinga temple. The Lingam at Mahakal is believed to be Swayambhu, the only one of the 12 Jyotirlingams to be so. It is also the only one facing south. 4. Omkareshwar in Madhya Pradesh on an island in the Narmada river is home to a Jyotirlinga shrine and the Amareshwar temple. 5. Kedarnath in Uttarakhand is the northernmost of the Jyotirlingas. Kedarnath, nestled in the snow-clad Himalayas, is an ancient shrine, rich in legend and tradition. It is accessible only by foot, and only for six months a year. 6. Bhimashankar, in the Sahyadri range of Maharashtra, contains a Jyotirlinga shrine associated with Shiva destroying the demon Tripurasura. 7. Varanasi (Benares) in Uttar Pradesh is home to the Vishwanath Jyotirling temple. 8. Trimbakeshwar, near Nasik in Maharashtra, has a Jyotirlinga shrine associated with the origin of the Godavari river. 9. Baidyanathdham in Deoghar, Jharkhand Vaidyanath Temple, also called Vaijnath Temple and Baidyanth Temple is located at Deogarh in the Santal Parganas region of Jharkhand in the south west of Keeul Station. 10.Nageshwar Temple, Dwarka in Gujarat is home to the Nageshwar Jyotirlinga temple. However, the term "daruka vane" in the shloka (religious verse) for Nageshwar has also been interpreted for Jageshwar, also situated in the Himalaya. Daruka vane means deodar forest. 11.Rameswaram in Tamil Nadu is home to the vast Ramalingeswarar Jyotirlinga temple and is revered as the southernmost of the twelve Jyotirlinga shrines of India. It enshrines the Rameśvara ("Lord of Rama") pillar.[2] 12.Grishneshwar Jyotirlinga shrine, in Aurangabad Maharashtra, is located near the rock-cut temples of Ellora.

Places around Nashik Vipassana International Academy Vipassana International Academy at Igatpuri was established in 1976 The aim was to conduct Vipassana Courses for those in search of mental peace and harmony. Known as Dhammagiri, it is located in Igatpuri, 40 kms away from Nashik City by Nashik-BombayAgra road.This world famous meditation centre offers techniques which relieve mental stress and promote inner peace. It is turning the wheel of time conversion from Kalchakra to Dharmachakra under the able guidance of Guruji Satyanarayan Goenka. A 10 day residential course at the centre, which is free of charge, ends with Bhavatu Saba Mangalam meaning May all beings be happy. For details visit : http://www.dhamma.org/schvia.htm

Teertharaj Gajapantha - Chamber Caves Nashik City and the surrounding area is famous for many temples, pilgrimage places etc. One of the sacred places for Jain Religion is Teerthraj Gajpantha , which is at Mhasrul, 16 kms from Nashik Road Railway station and 5 kms from Nashik City. The famous CHAMBER CAVES are a part of this place. It is

situated on the top of a small hill which is only 400 ft tall. The staircase, built in black stone leads to the temple and offers a panoramic view. Although the nearby landscape is quite barren, some plantation has been recently done. This is a very serene place, conducive for meditation. Gajapantha Teerth includes a caravanserai, a small hut the foot of the hill and a temple at the top of the Gajadhwaja Hillock. As per the ancient holy book "Shantinath Purana" Mysore�s Chamaraj King installed these statues (600 B.C.) in the temple top the hill. Thus the caves got the name "Chamer Caves" or "Chambhar Caves" in the regional language. Introduction Human mind is full of feelings - good and bad. To eliminate bad feelings, one tries to visit pilgrimage places, where the influence of the holiness of the temples and God brings serenity to human minds. That is why many temples and pilgrimage places are found all over the world. India is very rich in this aspect. Maharashtra and the City Nashik is famous for temples. "Teerth" is a place , where saints do meditation and finally get "Moksha" - salvation . This place then becomes a pilgrimage place. Teerthraj Gajpantha is one such place, where, it is believed, at seven Balbhadra (saints) out of nine of Jain Sect got salvation. They are known as a) Vijay, b) Achal, c) Sudharma ,d) Suprabh, e) Nandi, f) Nandimitra and g) Sudarshan. The seven Balbhadras also took along with them eight crores of Yadav Kings to salvation from his place. That is why this place is very auspicious for jains and is frequented by Jains through out the year.This place is on the Nashik Gujarath road. It has an access to rail, bus and by air too. Being in the vicinity of Nashik City, it has all the metropolitan facilities. One can get taxi or rickshaws too to reach this place. To trace back the history of this place and to establish the period when this temple was built, one can get some relevant references in ancient literature. A story in Shantinath Charit goes like this Amittej and Vijay tried to chase Vidyadhar. Unable to find any shelter , Vidyadhar went and took shelter on the Gajdhwaj Hillock.This certainly establishes that Gajpanth Hillock was known to be existing on the outskirts of Nashik City then. In fact Gajdhwaj and Gajpanth are one and the same - they are the names of the small hillock , in which the Chamer Caves are housed. The ancient literature also has a mention of the vicinity of Anjangiri - a hillock named Anjan, near Gajadhwaja.