The Elegant Wooden Tipu Sultan’s Palace, Bangalore

Balconies and Wooden Palace of Tipu Sultan in Bangalore

The Bangalore fort was an ancient one with contributions from Chikkadevaraja Wadeyar, Haidar Ali, and others. Tipu Sultan dismantled some parts of it after 1792 but Dewan Poornaiah rebuilt the fort in 1800 A.D. Tipu’s palace is here within the fort area by the side of fort Venkataramana temple and actually it is very close to the Bangalore Medical College now.

It is said that this palace was begun by Haidar Ali in 1781 and Tipu made use of it later. Though the original facade and the frontal portions are not available now, the palace still makes a lasting impression as an elegant and magnificent structure worthy of the palace. The palace is basically built of wood, except for the peripheral outer walls built of mud and bricks.

Tipu Sultan's Palace, Bangalore

The superstructure is of wooden frame with two stories with minute wooden carving decorations. What now remains is a frontal corridor with an upper balcony. Wide cusped arches are very conspicuous by their presence and they add a great majestic appearance. The wooden pillars with tapering design are very tall and this adds majesty to the entire structure. The walls and ceilings are of great attraction as they contain paintings of the contemporary period, consisting mostly of geometric designs and floral decorations.

Originally the upper story had four halls each comprising of two balconies and some rooms. The balconies faced parts of the office and was also used by the prince. At times it served as an audience hall also. At the end of the balconies were some rooms which were used for private purposes of the family of the Sultan. Though they look small from the present standards, with high roof they were cool and convenient for the people to live. There is a Persian inscription to the left of the verandah which calls it abode of happiness and envy of heaven. Its construction was started in 1781 and was completed in 1791 A.D.

Facade and Front of Tipu Sultan Palace in Bangalore

After the death of Tipu Sultan it was used by Krishnaraja Wadeyar III to give audience to the citizens of Bangalore in 1808. Subsequently it was temporarily used by the British army. The Karnataka State Secretariat also worked from here. Finally it was taken over by the Archaeological Survey of India which has made it a protected monument. Thus it is a rare and elegant wooden palace at Bangalore.

Cave Architecture of Gavi Gangadhareshwara Temple, Bangalore

Gavi Gangadhareshwara Temple, Bangalore

The cave temple dedicated to Gangadhareshwara in Gavipuram of Basavanagudi in the heart of the city of Bangalore is a unique structure of great antiquity. The original shrine carved within a cave of rock has a door thirty feet wide and about seven feet in height. In front of this were built a mandapa and a sikhara during the period of Kempegowda of Bangalore. More important are the monolithic sculptures of trisula (trident), damaru (drum) and chatri (umbrella). They are of huge dimensions and hence prominently visible.

The cave has two garbhagrihas, one dedicated to Siva and the other one is for Durga, at the right side. Both are apsidal in nature. Gangadhareshwara shrine has a sukhanasi and before it is a nandi. Both the linga and the nandi are carved out of the rock. The shrine of Durga has no sukhanasi and before the shrine are two pillars on both sides. Both shrines have separate pradakshinapatha. At the right side of the Durga temple is a square shrine which has no image now. On the right are two more small caves. The walls are built of bricks of the later period. However, in the interior are carved pillars to support the roof.

Nandi Bull at Gavi Gangadhareshwara Temple From the outside, the Gangadhareshwara shrine has a fine circular sikhara which has carvings as well as niches with pilaster like decorations over which is a circular pot-like kalasha. The Surya shrine has a vimana of eight sides. Both these are stucco creations of the period of Kempegowda, the founder of Bangalore.

This temple has some fine sculptures too. Durga shrine has a four feet high Lakshmi sculpture with four hands. The sculptures of Bhairava, Dakshinamurti, Saptamatrikas have been kept inside the temple. Some of them may date back to eleventh century A.D., of the Chola period.

There is no evidence like inscription to date the Gangadhareshwara temple. However, on the basis of stylistic evidence, the earliest part of the temple may be dated to the Chola or Ganga period during the eleventh century A.D. The subsequent additions of the mandapa, sikharas and monolithic sculptures were made during the period of Kempegowda in the seventeenth century A.D.

Because of the cave architecture, this temple is unique in the history of art at Bangalore.

The Tallest Free-standing Stone Sculpture of Gommateshwara in Shravanabelagola

Gommateshvara in Shravanabelagola

The statue of Gommateshvara at Shravanabelagola, the tallest free standing stone sculpture in the world has given a unique and international cultural status to Karnataka.

Shravanabelagola is the most sacred religious centre of the Jains. It has a hoary antiquity dating back to the third century B.C., when Bhadrabahu along with the Maurya king Chandragupta came and settled down here. From then on many Karnataka dynasties like the Gangas of Talakad, the Chalukyas, the Hoysalas, the rulers of Vijayanagara and others patronised this Jaina sacred place.

However, it was during the period of Ganga king Rachamalla IV (973–999 A.D.), the place became famous because his minister Chamundaraya consecrated this image of Gommateshvara on the summit of the hill commanding a picturesque view of the whole area. A large number of Jaina temples were built here at different periods by various dynasties which have made this center an open air museum of Jaina art.

Colossal Image of Bahubali in Shravanabelagola The real attraction of Shravanabelagola is the colossal image of Bahubali also known as Gommateshvara. Its height is 57 feet and is the tallest stone sculpture in the world. The image is nude and stands facing north; in an erect yogic posture. The serene expression of the face is remarkable. The hair is curly and the ears are long, the shoulders being broad and the arms hang down straight with the thumbs turned outwards. The lower portion adds majesty and grandeur. The entire image stands on a pedestal which is in the form of a lotus. The foot measures nine feet in length; the toes are 2 feet 9 inches; the middle finger is 5 feet 3 inches; the forefinger is 3 feet 6 inches; third finger is 4 feet 7 inches; the fourth finger is 2 feet 3 inches.

Shravanabelagola is a sacred religious centre in Jainism

The face of Gommateshvara is most artistic and is a commentary on the success of the skill of the sculptor who carved it. The eyes are half open and the eye balls appear as if real. This also symbolizes the pensive mood of the saint. The total effect is one of majesty, grace and dignity, and expresses his compassion towards the fellow beings and hence is considered as the best in this type. Gommateshvara has been watching the human beings and their sufferings for the past one thousand years and people are looking at him for guidance for an ethical and religious life. Thus he is inspiring people to follow the path of Dharma. Once in twelve years a special ritual called Mahamastakabhisheka takes place when lakhs of people assemble here to be blessed by the compassionate Gommateshvara.

Architectural Highlights of The Bangalore Palace

Architectural Highlights of The Bangalore Palace

The Bangalore Palace is one of the most magnificent heritage buildings in the city of Bangalore. Though there are hundreds of heritage buildings in Bangalore, this one differs from all of them both in style and exuberance.

Originally it was a private building belonging to an Englishman by name N. Garrett, who was the first Principal of the Central High School in Bangalore, now known as Central College. It was purchased for the Maharaja in 1884 and the palace was built in 1880 at a cost of 10 lakhs of rupees. The total area of the palace is 45,000 square feet. The construction of the palace was started in 1862 and completed in 1944.

Bastion-like Towers in Bangalore Police The importance of this palace lies in the fact that it is built on the model of the Windsor Castle, the royal residence at Windsor in the English county of Berkshire. It is a two storied granite building with fortified towers and turreted parapets which are the characters of the Tudor architecture of England. The resemblance is so marked that many scholars feel that this is an imitated version of the Tudor’s building as if it was transported to Bangalore. It has Roman pointed arches and bastion-like towers. Its layout is rich in pointed recesses which add majesty to the contour of the building. Another attraction of this structure is a large number of projections which result in pleasing geometric patterns of varied designs. The facade of the palace is exotic with a combination of tall watch-towers, spacious walls with square and arch-type windows and roundish structures, showing different levels of the roof.

Living quarters for the Maharani were added in 1890. But they were built in the Hindu architectural style and were connected to the main building by a covered pathway. The interior of the palace is full of decorations, molded and fluted pillars and large arches, walls decorated with floral patterns, intricately carved capitals, patterned cornices … all of a high order befitting a palace. Gorgeous chandeliers of great beauty have added a grace and charm to the interior.

Another attraction of this palace was the vast garden under the guidance of Sri N Venkatasamiraju, whose life-size statue adorns a niche in the palace. The vast open area round the palace in a heavily populated city, has added a great luxury to the edifice which itself is an epitome of luxury and royalty of the Maharajas of Mysore whose name and fame has spread far and wide including foreign lands. Thus this is one of the finest palaces in India.

Visit the Jain Temples of Ranakpur, Rajasthan, India

Ranakpur's Jain Temple

Deep in the Aravali hills of the northwestern state of Rajasthan in India, between Udaipur and Jodhpur, stands the stunning fifth-century Jain temple of Ranakpur. Carved exclusively out of white marble and surrounded by green forest, the temple surveys its surroundings in each of the cardinal directions from its chaumukha, or “four faces”. Fortress-solid, great slabs of stone rise out of the ground to hold up the bulk of the temple’s extravagant exterior, a flamboyant edifice of cupolas, domes and turrets of soft grey marble.

In the interior, 1,444 intricately carved pillars hold up the roof, each one unique in its design. Soft light filters through the marble, changing its color from grey to gold, as the sun moves across the sky. Only the saffron and red fabrics of robes brighten up the surroundings as the monks and pilgrims pass between the pillars, through pools of light into shadow.

Temple to Adinath the first Tirthankara In the 15th century a Jain businessman named Dharma Shah had a vision that he should build a magnificent temple in honor of Adinath, the first Tirthankara (enlightened being) and founder of Jainism, also known as Rishabhadeva. He approached the local monarch, Rana Kumbha, to ask him for land on which to build. The king obliged him, and the temple was named “Ranakpur” in gratitude for his munificence.

The result is one of the most pleasant religious edifices in India. The temple is still in constant use and visitors are welcome, although, according to the Jain principle of ahimsa (non-violence to all things), they are asked not to bring any leather into the temple, including shoes. As you walk through Ranakpur, past delicate marble carvings and solemnly praying monks, the loving artisanship of so many individual souls is striking, and the atmosphere of devotion utterly absorbing.

Comical Tote Bag from India’s IndiGo Airlines

IndiGo Airlines from India

IndiGo Airlines is India’s largest airline. IndiGo operates a low cost carrier and operates 400 daily flights connecting 36 cities in India and outside using Airbus A320 aircraft.

Indigo Airlines Tote Bag - A320 Safety Instruction Card

Indigo Airlines Tote Bag - A320 Emergency Procedures

IndiGo’s comical tote bag reproduces IndiGo’s inflight safety card. The tote bag features a comic character of an Indian gentleman in traditional garb, sporting a moustache, and a tilak / bindi (the customary forehead decoration.)

Indigo Airlines Tote Bag - Life Vest for Flotation

Indigo Airlines Tote Bag - Inflatable Evacuation Slides

On one corner of the tote bag, the gentleman seems clueless on what to do, but assumedly learns how to fasten his seat belt, fold the tray table, abide by safety instructions, blow into his safety vest, and help his kid wear an oxygen mask after he has worn his own. Specifications:

  • Width: 16+5/8 inch
  • Height: 14+1/2 inch

Indigo Airlines Tote Bag - Clueless Funny Indian Man

Indigo Airlines Tote Bag - Facsimile of Safety Card

Despite only entering the market about than eight years ago in Aug-2006, IndiGo has rapidly soared up the ranks to become the largest domestic carrier, overtaking Jet Airways and Air India on the way. Over the longer term, IndiGo plans to dedicate 20% of its total capacity to the international sector.

Indigo Airlines Tote Bag - Indian Budget LCC Airline

Recently, Airbus and IndiGo annouced that IndiGo had ordered 250 A320neo aircrafts. IndiGo presently has more than 500 A320 aircrafts on order. Aviation analysts suspect IndiGo as one of those airlines that might be over-ordering aircraft.

Of Nagas and Naginis: Serpent Figures in Hinduism and Buddhism

Vishnu and Ananta-Shesha

Nagas and the feminine Naginis are serpent figures who play a role in the Hindu and Buddhist mythologies. The source of the Nagas may possibly be attributed to the pre-Aryan fertility cults of ancient India.

Nagaraja Mucilinda protects Gautama Buddha as he attains enlightenment In the Hindu mythology, the nagas reside within the earth in an aquatic underworld. They are embodiments of terrestrial waters as well as door-and gate-custodians. In terms of significance, the nagas are creatures of abundant power who defend the underworld and confer fertility and prosperity upon those with which they are individually associated in the worldy realm—a meadow, a shrine, a temple, or even a whole kingdom.

If a naga is suitably worshipped, prosperity can result. If ignored, snubbed, or affronted, the naga can cause debacle and cataclysm.

Nagas in Buddhism

In the Buddhist tradition, when Gautama Buddha attains enlightenment, he is said to have been protected by the hood of hood of Nagaraja Mucilinda, symbolizing the principle that the nagas can place their natural powers in the service of a Buddha.

Krishna conquers Naga Kaliya

Nagas in Hinduism

In the Hindu tradition, Vishnu and his avatar Krishna are both portrayed as vanquishers of serpents, indicating their power over the realm of waters. In the middle of the dissolution of one epoch and the beginning of another epoch, Vishnu sleeps on what is left of the old world, a remainder of the cosmic sacrifice represented by the serpent Ananta-Shesha. Krishna conquers the poisonous Naga Kaliya living in the Yamuna river. And Shiva is portrayed adorned with the “Nagendra Haara,” the garland of a serpent. A naga also covers the linga—the iconic representation of Shiva.

Naga Panchami

The Hindu festival Naga Panchami centers around the traditional worship of snakes or serpents throughout India and also in Nepal.

The Guru-Shishya Parampara: Oral Tradition of Education in India

The Guru-Shishya Parampara: Oral Tradition of Education in India

Verse 5 of the Advayataraka Upanishad states,

The syllable gu means shadows (darkness)
The syllable ru, he who disperses them.
Because of his power to disperse darkness
the guru is thus named.

Essentially, a guru is someone who leads the student from the darkness of ignorance into the light of knowledge. Although this characterization is an interpretative definition rather than an etymological definition, it suggests the figurative the emblematic power of the guru—the honored preceptor at the heart of traditional learning in the Indian culture.

The vast body of knowledge in ancient India was oral in nature. The Vedas, the Upanishads, and the other religious texts were imparted for many generations by word of mouth; only later were these ancient texts committed to the written word.

The oral tradition in India necessitated a living representative—the guru—who both personified and transferred the time-honored knowledge. Since the Vedic times, it was typical for a father to impart his scholarship to his son, thus propagating the age-old knowledge via parampara, signifying lineage, progeny, uninterrupted row or series, succession or tradition.

The principal elements of the oral tradition in India are:

  • the guru (the teacher)
  • the shishya (the student)
  • the parampara, the conduit of knowledge in which the guru and the shishya discrete participants in a tradition which extends across generations.

Oral traditions for imparting knowledge are still in vogue in India today. Unsurprisingly, particular sciences and arts lend themselves such diffusion through direct contact between the teacher and taught. Ayurveda, the ancient system of medicine, is still taught through traditional teaching methods. Ancient Indian legends, fables, and myths come vividly to life grandchildren hear their grandparents recount them. By the same token, drama, theater, dance, and classical music depend on the ability of the masters to nurture these arts in the subsequent generations.

Sri Ramakrishna Paramahamsa Tells Stories: Roundup of Hindu Parables

Sri Ramakrishna Paramahamsa

Sri Ramakrishna Paramahamsa (1836–1886,) the eminent Hindu mystic of 19th-century India, used stories and parables to portray the core elements of his philosophy. The meaning of Sri Ramakrishna Paramahamsa’s stories and parables are usually not explicitly stated. The meanings are not intended to be mysterious or confidential but are, in contrast, quite uncomplicated and obvious.

In the Hindu and other traditions of the major religions of the world, parables form the language of the wise for enlightening the simple, just as well as they form the language of the simple for enlightening the wise.

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Sri Ramakrishna Paramahamsa Tells Stories: Providence & God’s Will or The Parable of Raghuram and Lord Sri Rama’s Will

Sri Ramakrishna Paramahamsa

Sri Ramakrishna Paramahamsa (1836–1886,) the eminent Hindu mystic of 19th-century India, used stories and parables to portray the core elements of his philosophy. The meaning of Sri Ramakrishna Paramahamsa’s stories and parables are usually not explicitly stated. The meanings are not intended to be mysterious or confidential but are, in contrast, quite uncomplicated and obvious.

In the Hindu and other traditions of the major religions of the world, parables form the language of the wise for enlightening the simple, just as well as they form the language of the simple for enlightening the wise.

The Parable of Raghuram and Lord Sri Rama’s Will

Raghuram was a pious weaver. He was a devotee of Lord Sri Rama. He firmly believed that everything happens by the will of Lord Sri Rama. The sun shines, the rain falls, the wind blows, men walk, and fish swim – all by the will of Lord Sri Rama. If Lord Sri Rama’s will is not there, everything will come to a standstill. This was Raghuram’s strong faith.

Raghuram never forgot Lord Sri Rama. As soon as he got up early in the morning, he would repeat the name of Lord Sri Rama. After bathing, after offering Naivedyam (offering) to Lord Sri Rama, he would take his breakfast saying, “by the will of Lord Sri Rama.” Again, before starting weaving he would take the name of Lord Sri Rama. As he plied the shuttle, weaving the cloth, he would be chanting Lord Sri Rama’s name. He would take the woven clothes to the bazaar for sale. If someone asked him what the price of a particular cloth was he would say, “By the will of Lord Sri Rama, the yarn costs one rupee. By the will of Lord Sri Rama, my labor costs 50 paisa. By the will of Lord Sri Rama, the profit is 25 paisa. So the price of the cloth, by the will of Lord Sri Rama, is rupees1.75.”

Raghuram’s sincerity and simplicity would charm men and women. No one would bargain with him. They would pay him whatever he demanded. They were sure he would never overcharge them or cheat them.

After the sales were over, Raghuram would return home chanting Lord Sri Rama’s name all the way. He would have his food and go to sleep again taking the Lord’s name.

On one hot and humid day, Raghuram thought he would sit in the verandah of his home for some time. He was chanting ‘Ram, Ram’. A gang of robbers passed that way. They had burgled a rich man’s house. They had a big bundle, which contained lots of cash, jewels, and other valuable articles. They saw Raghuram sitting in the verandah. “Here is a hefty fellow. We can make him carry the heavy bundle. They put the bundle on his head and told him, “Walk with us, or else we shall trash you.”

Raghuram, without any protest, went with them carrying the heavy load. He continued chanting ‘Ram, Ram’ all the way. At the end of the street, three police officers were doing their beats. The robbers got frightened. They ran away.

Raghuram was left alone with the bundle on his head. He did not run away. He stood there chanting ‘Ram, Ram’. The police opened the bundle and discovered the loot. They were happy thinking they had caught the robber red-handed. They marched Raghuram to the police station. He was kept in the lock-up that night. Next morning the police produced Raghuram and the bundle before the Magistrate. They charged Raghuram with the robbery.

The news of Raghuram’s robbery charges quickly spread in the village. Men, women, and children rushed to the court in wonder. “How could he commit any robbery?” they speculated.

The Magistrate also had heard of Raghuram. He too could not associate robbery with this peaceful-looking weaver. However, the police had caught him with the bundle. Anyway, the Magistrate pondered, “I will not punish this man until I am sure he has committed the robbery. Let me ask him for his own explanation.”

The Magistrate asked the prisoner, “Tell the court what exactly happened.”

All the while, Raghuram was standing as if he was in another world. His lips were continuously moving, uttering ‘Ram, Ram’. No one who saw his face would think he was a criminal.

Raghuram now turned to the Magistrate and told him in a clear voice. “Your Lordship, by Lord Sri Rama’s will, I was sitting in my verandah. By Lord Sri Rama’s will, some robbers came that way, By Lord Sri Rama’s will, they put their bundle on by head and made me walk with them. By Lord Sri Rama’s will, there were some police officers ahead. By Lord Sri Rama’s will, the robbers ran away. By Lord Sri Rama’s will, the police arrested me, and kept in the lock-up. By Lord Sri Rama’s will, they have produced me before you. By Lord Sri Rama’s will, you want to punish me.”

Tears began to flow down the cheeks of the magistrate. This man was so utterly like a child. He had nothing to hide. He was not calculating or clever in the usual sense. His trust in God was absolute. He must be not punished but worshipped.

The Magistrate said in open court, “I am convinced this man is innocent. I discharge him. Let him be set free.”

Raghuram joined his palms before the Magistrate and told him, “By Lord Sri Rama’s will, you have set me free.”

The huge crowd assembled in the court shouted “Jai Ram, Victory to Lord Sri Rama.” They took him procession back to his home.

Sri Ramakrishna Paramahamsa once said, “More are the names of God and infinite are the forms through which He may be approached. In whatever name and form you worship Him, through them you will realize Him.”

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