Diveagar and Srivardhan

If you want to enjoy the beach, head to Diveagar. The beach is safe, beautiful, and vast. The waters are comparatively cleaner.

Map

Routes to Diveagar

1. Via Tamhini Ghat
This is the commonest and probably shortest route to go to the Kokan area from Pune. From Chandani Chowk, take the road towards Paud, Mulshi, and follow it up to the Tamhini ghat. After crossing the ghat, you have to join the National Highway 17, the Mumbai-Goa Road at Kolad.

2. Via Khopoli-Pali Road
From Pune, you take the Mumbai Expressway. Take the Khopoli exit. From Khopoli, take the Khopoli-Pali road. I don't know much about this route. We did not take this route. With this route, you get out on the NH 17 somewhere near Kolad.

3. Via Khopoli-Pen Road

From Pune, you take the Mumbai Expressway. Take the Khalapur exit (go past the Khopoli exit), and take the Khalapur-Pen road. This is a beautiful drive, though a bit lonely. It's a stretch of 25 kms and takes approximately half an hour. There aren't any shops or garages on this road. So, make sure you have an extra tyre with you, and also get to know how to change a punctured tyre, just in case. This route goes directly in the Pen city right through the market. Cross the town and join the Pen-Alibaug road at the other end of the town. After around 5 kms, take a left at the Wadkhal naka. That's where you join NH 17.

Eventually, all roads lead to NH 17. :)

On NH 17, you will pass all small and large villages and towns. The important towns on the way are Nagothane, Kolad, Indapur, and Mangaon.

To go to Diveagar, you must take a right at Mangaon. Just after crossing the ST stand on the right hand, a small road is seen on the right. It can easily be missed, so keep a watch on it. Interestingly, the road points to only Morba, the next village on that route. But that really is the turn that you need to take to go to Diveagar, Harihareshwar, and further down south.

From the Morba road, you must cross the Morba-Sai ghat. After Sai (a village), comes Mhasla. At Mhasla, you need to take the right turn to go to Diveagar and Srivardhan.

4. From Harihareshwar

Marine Drive: Harihareshwar-Diveagar

If you have visited Harihareshwar first and are coming to Diveagar, the route that you take is through Srivardhan. This road is called the Marine Drive. It's no comparison to Mumbai's Marine Drive. Initially, you might just feel that why the hell is it called Marine Drive. But patience and you are appropriately rewarded. The road at one point goes on to become parallel to the coastline and it definitely deserves to be called Marine Drive.

Srivardhan

Shreemant Balaji Vishwanath Peshwe

Srivardhan has a great historical background. Unfortunately, nothing of this great history is now visible in Srivardhan. It's the birthplace of Shreemant Balaji Vishwanath Peshwe, the Prime Minister of Chatrapati Shahu Maharaj. But what remains now of the house in which he was born is nothing but a statue.

We had hoped for at least some sort of museum or some relics that would help relive history. But nothing at all.

Srivardhan beach

I guess, Srivardhan is now more known because it is a Taluka place. It was bustling with activity even in the afternoon when we reached there. The traffic was pretty heavy and had to be monitored by traffic police.

Again, the beach at Srivardhan is beautiful and quite long. We were there in the afternoon and did not find anyone else on the beach. Perhaps it's busy in the morning and evenings. But, it's better to check with the locals about how safe it is.

We did not stay at Srivardhan. So, I cannot provide much information about the places to stay and eat at Srivardhan. However, I am sure you will be able to find homemade food and rooms that are let for staying.

Diveagar

Diveagar main road

Diveagar has recently, rather, since 1997 suddenly appeared on the tourist map. Earlier, it must have been the same old sleepy coastal town, that not many knew about. In fact, Borli-a town around a kilometer away from Diveagar has been the market center.

What has made Diveagar famous is a golden idol of Lord Ganesha that was found buried in a trunk in a field. The story goes that in 1997, a peasant was digging in a field and he stuck gold. Literally! He found the buried trunk containing the idol of Shree Ganesh. The trunk also contained some ornaments for the idol. Diveagar suddenly warmed up to the blessings of the Lord, and lo behold, it is now a much sought after place!

The gold idol is placed in a Ganesh temple not far from the site it was found. The temple is very much in the center of the town and there's a parking lot just opposite the temple, where all tourist buses are parked.

Diveagar Beach

The beach in Diveagar is beautiful. It is long, calm, and clean. In the evenings, a vehicle is available that aids you para-sailing. I cannot give it a name. You are tied to the para-sailing equipment and a jeep takes you till a certain point, with you are in the sky around 35 feet above the ground. People assist you with the equipment and also help when you touch down. It might be fun. I didn't try it out.

Diveagar beach

In the mornings too, the beach is beautiful. You can take long walks on the beach and enjoy the cool waters. Of course, be it in the morning or evening, do keep a watch on the tides. As always, the high tide waters rise drastically and might be dangerous.

You can have nice coconut water, bhel, kadak chai, or also buy a few toys at a couple of hathgadis available there. You can also enjoy a water ride in the boats available. Do make sure that they provide you with life jackets before you go for the ride.

Where to eat at Diveagar?

Two places really...Bapat Khanawal and Paarkar Khanawal.

For vegetarians, you just cannot miss Bapat Khanawal. The food is awesome. And the most important part is that you get to have modaks that you just cannot miss.

To go to Bapat Khanawal, you have to cross the Ganesh temple, and keep going straight ahead. The lane is full of Bapats. There you will see a small board explaining that the Bapat Khanawal is the 5th gate on the right. It's damn easy to miss the gate. So, better count them correctly! Because, if you miss that, you are going to miss an awesome food offering.

Mind you, you need to tell at the Bapat Khanawal in advance before you go for lunch or dinner. You cannot just barge in and sit down to eat. Also, when you are asked to come before a certain time, do make sure you go before that time. The Bapat Khanawal can take only around 100-150 people to eat at a time and you should not miss it. They close down at the decided time. Don't miss the right time.

If you want to have modaks, you must also place an order for that. Place an order of how many per head you will have. They make it in that much quantity and you cannot have more than that. But, seriously, do NOT miss the modaks.

For non-vegetarians, Paarkar Khanawal is the best place we thought. Awesome fish you get there. Pompfret, surmai, chicken is all available there. At Paarkar Khanawal too, if you are going in a large group, it's better to inform them in advance. Otherwise, it really gets crowded and there's a big waiting list then. Vegetarian thali is also available here. So, for groups that have people who are vegetarians and non-vegetarians, this is a really good place.

All in all, other than eating and visiting the beach, there's not much to do in Diveagar. So, relaxing is best done here.

Staying at Diveagar

Innumerable bed-and-breakfast places are available. You should find a place to stay easily. However, if you are going for a weekend that is kind of a long weekend, it is better to book rooms before you go. After noon on a weekend, you might find it difficult to find a place.

Tips for Visiting Diveagar

• Keep first aid, sunscreen lotion, caps, old newspapers handy. All these are useful at times.
• Keep a torch handy as night falls.
• Depending on how much time you want to spend on the beach, a day and half is more than enough for Diveagar.

Happy vacation!

Harihareshwar

Harihareshwar is located on the western coast in the Raigad district of Maharashtra. It is known for the Shiva temple known as Hareshwar. That's why the name: Harihareshwar.

Harihareshwar lies about 220 kms from Pune. There are multiple ways to reach Harihareshwar. The one we took was probably the longest route.

Routes to Harihareshwar

1. Via Tamhini ghat

Map

This is the commonest and probably shortest route to go to the Kokan area from Pune. From Chandani Chowk, take the road towards Paud, Mulshi, and follow it up to the Tamhini ghat. After crossing the ghat, you have to join the National Highway 17, the Mumbai-Goa Road at Kolad.

2. Via Khopoli-Pali Road
From Pune, you take the Mumbai Expressway. Take the Khopoli exit. From Khopoli, take the Khopoli-Pali road. I don't know much about this route. We did not take this route. With this route, you get out on the NH 17 somewhere near Kolad.

3. Via Khopoli-Pen Road
From Pune, you take the Mumbai Expressway. Take the Khalapur exit (go past the Khopoli exit), and take the Khalapur-Pen road. This is a beautiful drive, though a bit lonely. It's a stretch of 25 kms and takes approximately half an hour. There aren't any shops or garages on this road. So, make sure you have an extra tyre with you, and also get to know how to change a punctured tyre, just in case. This route goes directly in the Pen city right through the market. Cross the town and join the Pen-Alibaug road at the other end of the town. After around 5 kms, take a left at the Wadkhal naka. That's where you join NH 17.

Eventually, all roads lead to NH 17. :)

On NH 17, you will pass all small and large villages and towns. The important towns on the way are Nagothane, Kolad, Indapur, and Mangaon.

To go to Harihareshwar, you must take a right at Mangaon. Just after crossing the ST stand on the right hand, a small road is seen on the right. It can easily be missed, so keep a watch on it. Interestingly, the road points to only Morba, the next village on that route. But that really is the turn that you need to take to go to Diveagar, Harihareshwar, and further down south.

From the Morba road, you must cross the Morba-Sai ghat. After Sai (a village), comes Mhasla. At Mhasla, there are two ways to reach Harihareshwar. One is a direct route to Harihareshwar through several ghats. The other route is via Diveagar and Srivardhan.

We took the direct route to Harihareshwar. This route is a bit lonely. I would recommend taking the other route via Diveagar and Srivardhan. Not only is it scenic, but also easier to drive and not very lonely. The distance is also lesser. Or may be the scenic road makes it seem lesser.

Staying at Harihareshwar

Tents at Harihareshwar MTDC Resort

We stayed at the MTDC beach resort. It is good, clean, and peaceful. In fact, it has it's own beach, though small. You can go for boating at the MTDC resort. The rates are around 1500-2500 per night based on the type of room you choose.

We stayed in the special room and then upgraded to a tent for a day. If you plan to stay at the MTDC resort, go for the tent. The experience is amazing. All the tents are situated amidst tall trees and have a view of the open sea. It's beautiful to get up in the morning to the view of the vast sea in front of you. Also, at night, it becomes a bit creepy to feel all alone in the tent and the quietness around. You might hear a bird perching on the roof top of the tent and get the jitters. It's great fun.

Other than MTDC, there is also a good resort very near the Harihareshwar temple called the Hari-Hareshwar Beach Resort. This too is priced at around the same price. The tents are bigger here and it's very close to the beach.

Where to eat at Harihareshwar?

There are several places where you can get decent food in Harihareshwar. One such place is Prachiti Bhojanalay. It is very close to the temple and you get only vegetarian food there. Priced at Rs. 50/- per thali, you get unlimited food here. Just opposite Prachiti is the Hari-Hareshwar Beach Resort that also offers veg and non-veg thalis. Priced at Rs. 120/- and above for non-veg thalis, it's bit costly. However the food is good.

The MTDC resort has its own restaurant called The Grasshopper Inn. Don't know why it has such a weird name. We thought it was exorbitantly priced and the food was also only just okay, average.

On the way to MTDC is another small khanaval (forgot the name) that serves vegetarian food for Rs. 70/- per thali. Even this is affordable and pretty good food.

A few meters ahead, there is a turning at which are several tapris that serve wada-paav, bhaji, bhurji. At that junction, there's a nice joint aptly called Turning Point that serves batate wade, anda bhurji, kanda bhaji, chai. It's really nice and a good breakfast stop.

Apart from these, there are many places where you can tell in advance if you want to have food there. These are mostly arranged at the homes of the locals there, who serve home-made food.

Harihareshwar Beach

MTDC beach at low tide

This is one thing that you need to be damn careful about. The beach at Harihareshwar is not good for swimming and fun and frolicking. It is full of rocks that go under water when it is high tide. If your first look at the Harihareshwar beach is at the time of high tide, you might be misled thinking that the beach is pretty good and safe. But it really is not. The sand at the beach is quicksand and pulls you inside. The rocks are dangerous, jutting out in the open. In fact, at the beach near the temple, there is a low-lying area which is covered by 5-8 feet of water during high tide. Boats are anchored there when high tide. So, you can imagine how deep it becomes.

MTDC beach at high tide

Even at the MTDC beach, at the boating area, there is small stretch of beach that is covered with water at high tide. If you are at this beach at the time of high tide, you can experience for yourself how the water rises slowly and covers all the rocks. Be really careful with the rocks. They have sharp edges that easily cut your feet if you step on them by mistake.

So in all, I would advice that the Harihareshwar beach is best to be seen from far and enjoyed. Don't venture too much in the waters. If you want to enjoy the beach, Diveagar is the place for you.

Harihareshwar Temple

Going down to the sea on the Pradakshina Marg

The Shiva temple is famous for its Pradakshina. It takes around 30 mins to complete the Pradakshina. The temple itself is also beautiful just like other Shiva temples. What makes it unique is that it is situated right at the sea, and has a Pradakshina that actually is a complete one unlike the one we usually take in a Shiva temple. Inside the temple, you can take the half Pradakshina. Outside, the Pradakshina is a full one involving climbing up the mountain and then climbing down and walking along the sea-cut rocks. It's actually spooky.

When you reach the top, you get to see a notice that warns that the sea near the Pradakshina Marg is dangerous, you should take care not to venture near the lashing waves during high tide, and that you should first get information about the high and low tide timings. You might feel like overlooking the notice (feeling you are at the top of the mountain, and there's no sea there.) But you are mistaken. As soon as you turn left, you will see the deep gorge that you need to climb down that goes directly to the sea. And you certainly are frightened.

Pradakshina Marg

As you climb down, you can see yourself literally climbing down into the sea. There is a small pathway carved in the rocks that's the Pradakshina Marg. On the rocks you can feel the power of the sea. You are at the mercy of the Elements and know in your heart that you are a mere midget in the vastness of this universe. The wet rocks are a proof of how far the waves come in. And you thank yourself that it's low tide at the moment.

So, if you want to do the Pradakshina, make sure it is low tide. Don't leave the hands of your kids as you complete the Pradakshina.

Tips for Visiting Harihareshwar

• If you are visiting Harihareshwar directly, take the route that comes via Diveagar. It's more enjoyable.
• Keep a watch on the high and low tide timings. If you have internet on your smartphones, all the better. We used this site to check the timings: http://wap.swellwatch.com/tideStation.php?dataPoint=5890&region=1456&regionName=Arabian+Sea&trace=region:1092:The%20World%7Cregion:1647:Indian%20Ocean%7Cregion:1456:Arabian%20Sea. After the high tide time shown on this site, we observed that bigger and more powerful waves kept on coming to the shore for the next hour or so. So, to start with, this is a good site. But you would want to consult other resources too as well as consult the locals about the tide timings (In Marathi, high tide is called bharti and low tide is called ohoti.) Moreover, the site shows the timings of the Arabian Sea. The timings at individual beaches may differ based on the water level and coastline. So, do consult other resources for accurate information.
• Keep first aid, sunscreen lotion, caps, old newspapers handy. All these are useful at times.
• Keep a torch handy as night falls. The electricity at Harihareshwar cannot be relied on.
• One and a half day is more than enough for Harihareshwar. To enjoy the beach, proceed to Diveagar.

Have fun!

Ajanta

Ajanta Caves

Ajanta, another World Heritage site, is something that cannot be missed. Situated at around 100 kms away from Aurangabad, you need the whole day to travel to Ajanta, visit the caves, and return to base camp.

The village near the caves is called Ajintha (अजिंठा) and in Marathi the caves are called अजिंठा लेणी. Ajanta caves are 30 rock-cut cave monuments dating from 2nd century BCE.

Ajanta caves include paintings depicting the Jataka tales. The paintings and a few sculptures are considered masterpieces of Buddhist religious art.

History

The Ajanta caves were carved out of a horseshoe-shaped cliff along the Waghora river. They were used by Buddhist monks as chaityagrihas (prayer halls) and viharas (monasteries) for about nine centuries, and then were abruptly abandoned. The walls of the caves are covered with beautiful paintings and sculptures of Buddhist origin. They fell into oblivion until they were rediscovered in 1819.

(Re)Discovery

Ajanta caves were discovered by John Smith, an army officer in the Madras Regiment of the British Army in 1819 during one of his hunting expeditions.

Number of Caves

There are 30 caves, with mostly been completed. A few caves are unfinished. A pathway is scooped out from stone and runs as a crescent by the caves. From this, one can have a glorious view of the ravine below.

What can you see in the caves?

The wall paintings illustrate the events in the life of Gautam Buddha. Stories and scenes from the Jataka Tales are brought to life on the walls.

Waghora River Valley

Why Ajanta?

Ajanta lies on the ancient trade route from the Arabian sea to the Deccan plateau. The Buddhist monks found the peace and seclusion they were looking for in the cool ravine of the Waghora river. With trade centers of Jalgaon and Aurangabad close by, the monks could go to these places to collect alms and return to the quiet of the caves.

Moreover, the texture of the granite rock in layers made it easy for the sculptors to cut the rocks with their instruments and for painters to paint.

How were the Paintings done in such Dark Caves?

Painters used stick torches to light up the caves. Mirrors were used to reflect sunlight into the dark caves. Skills were passed down from father to son. New techniques, tools, and new ways of handling paint and chisel were also invented.

Colours Used

Local colors available from mountain rocks and soil were used. The main colours used were yellow ochre, brown ochre, lamp black, white, and lapis lazuli (blue). Lapis lazuli was imported from Northern India, Central Asia, and Persia. Green was created from lapis lazuli using Indian yellow ochre.

Techniques of Painting

The paintings were executed after elaborate preparation of the rock surface. The rock surface was chiselled and grooves were made so that the layer applied over it could be held in an effective manner. The ground layer consisted of a rough layer of clay, cow dung, mixed with rock-grit or sand, vegetable fibers, paddy husk, grass, and other fibrous material of organic origin on the rough surface of walls and ceilings, thoroughly pressed into the rock.

A second coat of mud and ferruginous earth mixed with fine rock-powder or sand and fine fibrous vegetable material was applied over the ground surface. Finally, the surface was finished with a thin coat of lime wash. Over this surface, outlines are drawn boldly. The spaces were filled with requisite colours in different shades and tones to achieve the effect of rounded and plastic volumes.

The colours and shades utilised also varied from red and yellow ochre, terra verte, to lime, kaolin, gypsum, lamp black and lapis lazuli. The chief binding material used here was glue. The paintings at Ajanta are not frescoes, because they are painted with the aid of a binding agent. In frescoes, the paintings are executed while the lime wash is still wet which, thereby acts as an intrinsic binding agent.

Not-to-be-Missed-Caves

Caves 1, 2, 10, 16, 17, and 26 should not be missed.

We visited the caves starting from cave number 1. But I read it recently, which I found really sensible, that you should start with the last cave first. Thereby, you end at cave 1, which is also the exit point.

But let me caution you for this route. Make sure that you leave enough time in hand for the caves 1 and 2. Usually, as we start, we spend more time in the beginning. As time flies by, we tend to skip caves, or hurry across the numerous paintings and sculptures. That would mean that you have very little time for caves 1 and 2. Make sure you avoid that mistake.

I am still going to describe the caves as we visited them.

Cave 1

Padmapani

This is the most important cave of Ajanta and has elaborate carvings on its facade. There are scenes carved from Buddha's life and also decorative motifs. There are three doors, central, and two side-doors. Two square windows are carved between the doors.

The walls of the hall are nearly 40 feet (12 m) long and 20 feet (6.1 m) high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. A shrine is carved at the rear end of an impressive, seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. A group of the master's first five disciples is also shown.

The walls are covered with scenes that are mostly didactic, devotional, and ornamental. The themes are from the Jataka stories (the stories of the Buddha's former existences as Bodhisattva), the life of the Gautama Buddha, and those of his veneration. One pillar in the central right row has a remarkable carving of four deer in different positions sharing the same head that seems to belong to each one of them.

Vajrapani

The doorway of the antechamber of the shrine is flanked by two Bodhisatvas: Vajrapani, holding the thunderbolt on the right, and Padmapani, holding the lotus on the left. Vajrapani is richly bejewelled and leans gracefully against an attendant. Padmapani's eyes are lowered in meditation, his face showing depths of spiritual calm born of compassion for all living forms.

The sidewalls of the antechamber show two scenes from Buddha's life: his temptation by Mara just before his enlightenment, and the miracle of Sravasti, where the Buddha multiplied himself into thousand images.

Above the left porch is the scene of Three Signs (a sick man, an old man, and a corpse) that Buddha saw outside the palace that led him to become a monk. Other tales of the life of Buddha from the Jataka Tales are depicted on the walls.

Cave 2

Paintings in Cave 2

Cave 2, very similar to cave 1 has robust pillars, supported by ornamental designs. The facade of this Mahayana monastery cave shows the kings of Naga and their entourage.

The hall is supported by four pillars making colonnades parallel to the walls. A glorious mandala dominates the ceiling and is decorated with humans, animals, birds, flowers, fruits, semi-divine forms, and abstract designs. The ceiling gives the effect of a cloth canopy, right down to the sag in the middle.

Jataka tales are abundant in the wall paintings. These tales inform us of of Buddha's teachings and life through successive births. The narrative episodes are not depicted in a linear order on the walls.

One of the paintings dramatizes the legend of the Buddha's birth in vivid details. It depicts how Queen Maya dreams about an elephant with six tusks. It also describes how Buddha is born and how he takes six steps as Lord Indra holds an umbrella over him.

Cave 10

Cave 10 is a chaityagriha-prayer hall of the monks. It is 28.5 X 12.3 m with a height of 11 m. It has a stupa at the end of the cave. The cave boasts of an imitation of wooden construction to the extent that the rafters and beams are also sculpted even though they are non-functional.

The paintings in this cave resemble the relief carvings at Sanchi in the 2nd century B.C. The painting on the left wall shows a King with his Retinue, worshiping the Buddha tree. The royal party stops at the stupa and then passes through a gateway. On the right wall are a series of large wall paintings. One painting shows the Shada-danta jataka-the Buddha in his elephant incarnation. The whole crowd is in movement.

One scene shows a six-tusked elephant that was the Buddha in one of his earlier birth. The animals are beautifully drawn and the large space of the forests is shown with its thick foliage and trees. In the second scene, the princess, seated on a stool, is shown fainting, because the six tusks of the elephant are brought to the king. The queen has wished that the elephant be killed. Now that his tusks are brought before the court, she faints at their sight.

On one of the pillars, a gracious figure in a pink and buff cloak surrounded by green aureole is emerging to cast blessings on mankind. Two monks kneel by his feet and the flying angels above his black head indicate that they are going to lift him to heaven. The umbrella on the top is symbolic of the protection he offers to all.

The painting of Buddha and the one-eyed-monk show the devotion of the followers of the Enlightened one. The face and figure of the Buddha and the monk seem to be echoes of the heavy physical types of Gandhara art of northwest India. Only the flowing draperies have softened their contours. The aureole on the Buddha's head and the closed eyes show a dreamy calm. The Shyama-Jataka on a wall in this cave relates the story of where the Bodhisatava was born as son of two blind parents, a hunter and his wife.

Cave 16

Cave 16 has a seated, more than life size Buddha shrine. Lions and other active animals support the throne. Bodhisattvas stand behind him.

Sundari fainting, with an attendant and nurse (in spot light) in Cave 16

It has a beautiful painting of the princess Sundari fainting after learning that her husband (the Buddha's half-brother, Nanda) was going to become a monk. The sad drama is depicted by the bent head of the the princess and the tense female attendants.

Another painting shows Buddha with the begging bowl.

In yet another painting, Prince Siddhartha is shown stretching the bow. Another master painting is the descent of Buddha from the Tushita heaven.

The Dying Princess is one of the famous paintings from Ajanta in this cave. There is agony in the drooping, sightless eyes, the helpless abandon of fingers, and the farewell gestures. The emotions of the attendants are also expressed beautifully.

Prince Gautam practising archery

The Sutasama Jataka painting narrates the story of the previous incarnation of the Bodhisattva and the son of the king of Indraprastha named Sutasama. The prince is trained in all the arts and sciences by a guru at Taxilla. One day, Sutasama was seized by a man-eating dacoit. The prince promised him he would come back and be eaten after he had offered flowers to the Enlightened one. And he did as he promised. The cannibal was surprised to see Sutasama. He, who had once been a fellow student of the Bodhisattva at Taxilla and then king of Benares was converted, and he became the king of Benares again.

Cave 17

The Wheel of Life

Cave 17 is covered with maidens, celestial musicians, celestial guardians, goddesses, and lotus petals. One mural shows Prince Simhala's encounter with the man-eating ogresses of Sri Lanka, where he'd been shipwrecked. Another shows the king of gods flying amidst clouds with his entourage of celestial nymphs (apsaras) and musicians.

On the portico's left wall, the Wheel of Life shows life in its different phases.

The love of happiness radiates through the pictures in Cave 17. The earth has become heaven. The Apsaras and the Flying Spirits float across the sky. Lovers sit in the air houses. All paintings seem to illustrate the beauty of nature and human love and happiness. There is a magnificent painting showing a king and queen with their attendants going in a royal procession. There are colorful umbrellas over their heads and trees in the background. Some women are looking at them through the window.

The Sleeping Buddha

Cave 26

Cave 26 is a chaityagriha. It houses the famous Sleeping Buddha statue. It's Buddha in the Parinirvana state in a horizontal position with all his followers mourning his death. The wall also depicts the scene of the Temptation of Buddha.

So Much to See and So Little Time

That's what you feel when you are in the caves, looking at the paintings, and taking in their beauty and art. I have been able to describe almost only a few of the important paintings and sculptures in the caves. But what each wall and each painting shows, is something that needs to be experienced by oneself.

Lifetime Experience

I shall recommend that we all should see these caves and paintings at least once in our lifetime. We take time out to visit places of natural beauty, fun and frolic, and even religious places. But we should really visit these caves to acknowledge and appreciate our glorious, rich heritage.

Ellora

Known as Velur (वेरूळ) in Marathi, Ellora caves are listed in the World Heritage Site list. Ellora is situated around 30 kms from the city of Aurangabad. There are 34 caves that are divided into Hindu, Buddhist, and Jain rock-cut temples and monasteries.

Understanding the Caves

Ellora Caves

Caves 1-12 are Buddhist caves, which include monasteries and chaityagrihas. Caves 13-29 are Hindu caves, with the famous cave 16, which is the largest single monolithic excavation in the world. Caves 30-34 are Jain caves, depicting Jain philosophy and tradition.

The caves are dated back to the time period of around 6th-7th century A.D. to 11th-12th century A.D. These caves are a classic example of the coexistence of multiple religions. These religious establishments could have had royal patronage, though not enough and complete information is available.

Inscriptional Evidence

Sculpture in cave 29

The only definite inscriptional evidence is that of Rashtrakuta Dantidurga (c. 753-57 A.D.) on the back wall of the front mandapa of Cave 15. The Great Kailasa (Cave 16) is attributed to Krishna I (c. 757-83 A.D.), the successor and uncle of Dantidurga. A copper plate grant from Baroda of the period of Karka II (c. 812-13 A.D.) speaks about the greatness of this edifice (cave 16). The inscription tells us that this great edifice was built on a hill by Krishnaraja at Elapura (Ellora). Apart from these two inscriptions, the cave complexes lack any other inscriptions.

The entrance to the caves from the car parking opens at cave 16. Also known as the Kailasa cave, it is a remarkable example of rock-cut temples. Its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation is marvelous. This cave is dedicated to Lord Shiva and named after His mountain home in the Himalayas, the snow-peak Kailasa.

Not-to-be-Missed Caves

Although it's right at the entrance, I am going to start from the beginning to describe the caves. We visited caves 6, 10, 12, 15, 16, 21, 25, and 29. We did not have enough time to visit the Jain caves. Caves 10, 12, 15, 16, 21, 25, 29, and 32 are not to be missed.

Chaityagriha-Cave 10

Cave 6

Cave 6 is a Buddhist cave with two fine sculptures. On the left is goddess Tara, and on the right is Mahamayuri, the Buddhist goddess of learning. A diligent student sits at his desk below.

Row of seated Buddhas in Cave 12

Cave 10

Cave 10 is a magnificent chaityagriha, a place of worship and meditation for the Buddhists. It has a beautiful, ornamental facade. Also known as Visvakarma, it is a typical chaityagriha with stone beams across the ceiling. A seated Buddha is enthroned in front of a large stone stupa in the cave.

Cave 12

Buddha giving his first sermon

Cave 12 is known as Teen Tal, literally meaning three floors. It is three storied, each with a hall with pillars. The walls of the shrine room are lined with five large bodhisattvas, and is flanked by seven Buddhas, representing each of his previous incarnations. It also has a sculpture of Buddha, giving his first sermon depicted by a pair of deer at his feet. The historical value of this cave lies in the fact that human hands built a three-storeyed building from rock with such painstaking efforts and skills that even the floors and ceiling are smooth and levelled. Teen Tala is a monastry-cum-chapel with cells.

Cave 15

Narasimha Avataar coming out of the pillar

Cave 15 is called the Cave of Ten Avatars or Dashavatar. It is a two-storeyed temple having large sculptural panels between the wall columns on the upper floor illustrating a wide range of themes, which include the ten avatars of Vishnu. A panel to the right of the antechamber also depicts the superiority of Shaivism in the region at the time - Shiva emerges from a lingam while his rivals Brahma and Vishnu stand in humility and supplication. One of the sculptures is Shiva as Nataraja.

Cave 15 is the only cave for which you  have to ascend a great many steps, because it is situated at a height. And that's the reason that it is not as frequently visited as other caves. So, if you want to visit cave 15, make sure that there are a few more people with you when you climb in. Going in there all alone is quite spooky. Unlike other caves, it smells of disuse. It's a strange feeling to be all alone with those sculptures all staring at you. And yet, the carvings in this cave are as beautiful as in others. Dedicated to Lord Vishnu, some of the sculptures are really magnificent.

Cave 16

Cave 16, Kailasa cave, is the best of the 34 caves. It is a temple worshiping Lord Shiva and depicts various poses, scenes, and stories of Shiva.

Dhwajastambha

Kailasa has been carved out of a single rock. Kailasa is believed to have been started by the Rashtrakuta king Krishna I. The construction was a feat of human genius – it entailed removal of 250,000 tons of rock, took 100 years to complete and covers an area double the size of Parthenon in Athens.

A two-storeyed gateway resembling a South Indian gopuram opens to reveal a U-shaped courtyard. The courtyard is edged by columned galleries three storeys high. The galleries contain enormous sculptures of various deities.

Gajalakshmi

The first huge sculpture is the Gajalakshmi that you see as soon as you enter the cave. Two life-size elephants cut in rock on each side in the courtyard magnificently guard the cave. The pillars, Dhwajastambhas in the courtyard are intricately carved.

The whole temple consists of a shrine with lingam at the rear of the hall with Dravidian sikhara, a flat-roofed mandapa supported by 16 pillars, and a separate porch for Nandi surrounded by an open court entered through a low gopura. The Nandi Mandap stands on 16 pillars and is 29.3 m high. The base of the Nandi Mandap has been carved to suggest that life-sized elephants are holding the structure aloft.

Mahabharat and Krishna Leela scenes

The temple is a tall pyramidal structure reminiscent of a South Indian temple. The shrine is complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous lingam at its heart – carved from living stone. The temple 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).

Narasimha Avataar

One of the most remarkable sculptures is the grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might. Some other sculptures include Ravana offering his nine heads to Shiva, Shiva as Nataraj, scene of Shiva-Parvati wedding, Mahishasur Mardini, Mahabharat, Krishna Leela, and Ramayana carvings, Narsimha avataar, Vishnu resting, Tripurantak Shiva, and some other splendid carvings.

Ravana shaking Kailasa

You need at least two hours to see Kailasa. And it definitely is awe-inspiring.

Cave 21

Ramayana scenes

Cave 21 is also known as Ramesvara. It has figurines of goddesses Ganga and Yamuna at the entrance. Cave 21 is thought to be the oldest Hindu cave.

Cave 25

Cave 25 features Surya driving his chariot towards the dawn.

Cave 29

Nataraj in Cave 16

Cave 29 has sculptures of Ravana shaking Kailasa and the wedding scene of Shiva-Parvati. Pairs of lions guard its three staircases. Inside, the walls are covered in large friezes. To the left of the entrance, Shiva slays the Andhaka demon, then defeats the many-armed Ravana's attempt to shake him and Parvati off the top of Mount Kailash. There's also a dwarf baring his bottom to taunt the demon! On the south side, Shiva teases Parvati by holding her arm back as she prepares to throw dice in a game.

Cave 32

Shiva-Parvati wedding

Cave 32 from the Jain caves is known as Indra Sabha. The upper floor has elaborate carvings, including a fine lotus flower on the ceiling. Two tirthankaras guard the entrance to the central shrine. On the right is the naked Gomatesvara, who is meditating deeply in the forest - so much so that vines have grown up his legs and animals, snakes and scorpions crawl around his feet. On the upper level is also seen an imposing image of Ambika, the Yakshi (dedicated attendant deity) of Neminatha found seated on her lion under a mango tree, laden with fruits. We did not have enough time to visit this cave.

Overall, it is a great experience to behold the confluence and spiritual tolerance of three religions. The magnificent structures stand proof to the glorious culture, architecture, art, and painstaking efforts taken by the sculptors in those bygone days.

Grhishneshwar Temple

It is with a heart full of admiration, and the head full of the different sculptures that we come out of the Ellora caves site. It is easy to then visit Grhishneshwar and pay respects to Lord Shiva at one of the 12 Jyotirlingas in India.

Grhisheshwar is still a small temple, yet well-known, and very jagrut. The temple was constructed by Ahilyabai Holkar. It is believed that an ardent devotee named Kusuma offered prayers to Lord Shiva at Grhishneshwar by dipping the Shivalinga in a water tank. Eventually Lord Shiva appeared in front of her and her prayers for the restoration of her son's life were answered.

Back to Aurangabad

With a heart full of devotion to Lord Shiva, you return to Aurangabad for relaxation. Another big day awaits you: a visit to Ajanta.

Visiting Daulatabad

The first stop that you can take when you visit Aurangabad is the Daulatabad fort. This fort is around 15 kms from Aurangabad on the Ellora road.

Courtyard of the Daulatabad Fort

A massive land fort, it served as the capital of the Yadav dynasty. Daulatabad is also known as Deogiri and was once considered as invincible. Devgiri is a 12th century fort that was built by the Yadava king Bhillama V. He established the Yadava stronghold in Deccan by making Deogiri as his capital.

Deogiri is a strong land fort and has seven lines of defence. The fort has never seen battles and has seen a change of power only once, and that too through treachery.

High fortified walls with watch towers

On the road to Ellora, when you see the massive Daulatabad fort on your left, you can immediately feel the strength and power of the fort. As you enter the first darwaza, you come across a courtyard

 You cross the courtyard and the second darwaza, and you are met with high fortified walls.

Victory Pillar

As you start walking in towards the fort, you can see the Victory Pillar on your right, also known as Chand Minar. This pillar was raised in 1445 by Ala-ud-din Bahamani to mark his capture of the fort. Chand Minar is 210 ft. (64 m.) high and 70 ft. (21 m.) in circumference at the base, and was originally covered with beautiful Persian glazed tiles.

Opposite the Minar is the Jumma masjid, whose pillars originally belonged to a temple.  Now it has a Devi's mandir. Close by is a large masonry tank, the common bath.  The Chini Mahal lies in ruins and was the place where Abdul Hasan Tana Shah, the last king of Golconda, was confined by Aurangzeb in 1687 AD.

Beyond the main entrance, lie the wet and dry moats, a narrow bridge to cross the wet moat, and the famous Andheri.

The wet moat has small openings from the Andheri, the dark passages. Enemies were thrown directly into the water 30 feet below from the Andheri. It was sheer impossible to cross the wet moat from the narrow bridge and then cross the Andheri.

Andheri

After you cross the narrow bridge, you are led to the dark, dangerous passages that are designed to befuddle, entrap, and finally kill the enemy. The Andheri is a series of secret, quizzical, subterranean passages coiled like a python amidst the fort. In these passages, flaring torches were thrust upon an unwary enemy. Or hot oil poured down his path, as he deliberated in the labyrinth. Heat from a brazier was blown into the passage by a process of suction suffocating the entire garrison within.

Once you are successful in crossing the Andheri with the help of a local guide, you reach the first level of the fort. I suggest that you take the help of the local to cross the Andheri. Not only is it really dark and scary, and you might get lost, but it is also worth listening to the story he tells you as you cross the Andheri. It's chilling and exciting to listen and see the places in the Andheri where the soldiers would be hiding, waiting for the enemy, and the means they would use to destroy the enemy.

In the Andheri, at some places, stone hedges are built so that the enemy walks in the darkness and gets hurt on the knees. The enemy would logically turn to a side with hurt knees only to be banged upon solid stone wall and breaking their heads.

View after coming out of the Andheri

Even with these injuries, if some brave ones are able to move ahead in the labrynth, the hidden soldiers do their work of pouring hot oil on the enemy, or shooting arrows from hidden crevices.

At one point, you can feel the blast of cool air coming and are automatically attracted to it, thinking it's an opening out of the Andheri. But you are mistaken, because that outlet opens directly to the wet moat outside. One step through the opening and you are down the drain, in the water. Fortunately, it is all closed and barricaded now. Can you imagine how many men must have lost their lives in hope of cool, fresh air?

Victory Pillar and the way out seen after coming out of Andheri

After the Andheri, you can keep climbing right up till the top of the fort. We skipped that and returned to the base, because we wanted to cover Ellora too. But the fort was absolutely mesmerizing. It is a standing example of the power, cunning, intelligence, architechtural elegance and excellence that the great Yadav rulers had.


If you plan to visit Aurangabad, do keep time to visit this formidable fort.

Bibi-Ka-Maqbara

Built in the late 17th century, known as the Taj of Deccan, this mausoleum is a tribute to Aurangazeb's (loving?) wife, Rabia Duram alias Dilras Banu Begum. It was built by her son Prince Azam Shah.

Bibi-Ka-Maqbara in Aurangabad, the Taj of Deccan

Bibi-Ka-Maqbara now stands in the Begumpura area of the Aurangabad city. The area resembles a lot like the Ravivar Peth area in Pune.

Bibi-Ka-Maqbara is another example of the typical muslim architecture. Truly speaking, if you have seen one Muslim architectural building, there's nothing new to see in any of the others. They are just the same...similar outlines, structures, all with minarets, and towers.

With Bibi-Ka-Maqbara, you can start your tour of Aurangabad. Make sure that you reach before sunset. Although the place is open till ten in the night, it is rather dull to look at the huge sturcture in the night because of the lack of proper lightning. With good lights around, the structure should have dazzled and looked beautiful. But with minimum lights, it could be a disappointment in the night.

And after having a look at this, you might decide that after all, it's really not necessary to visit the Taj.

Diwali Is Here

Do you know what I did today? I took my Scooty, took my camera, and just went for a ride in the city. Just went on all those roads that are now glittering with lights and lanterns, and akashkandils and roshnai. It was such good fun.

When I was driving from Narayan Peth, I could smell besan peeth being fried for besan laddu. It was so tempting. Yummy! Just the Diwali flavour and festivities round the corner. I am so glad I could take a round clicking away to glory all the beautiful lanterns.

Here are some pictures that I took...

Nice Photo

I loved this photo: http://en.wikipedia.org/wiki/File:British_Columbia_Regiment_1940.jpg

It's so poignant. I loved the depth it showed...the long line of soldiers on the road...the mother and the son...the son leaving his mother's hand and running to hold his father's hand...all other soldiers looking serious and determined...the father alone looking back at his son...beautiful.

Look how the road is divided by the long line of soldiers. On one side, only two-three ladies, on the other all other ladies bidding farewell to the soldiers...looking at a grim future. The black-and-white photograph shows one whole generation of people men towards the unknown.

What a classic photograph!

Photos Galore

A visit to the Bannerghatta National Park in Bengaluru obviously asked for a ready camera and patience. My friend and I also visited the Butterfly Park inside the National Park.

Here's a link to the pics that I took: http://picasaweb.google.com/prajaktacpradhan/BannerghattaNationalParkAndButterflyPark?feat=directlink

I enjoyed taking the pics. Hope you like the pics!

Be An Idiot!

Warning: If you haven't seen 3 Idiots, and want to watch it, know that this post contains spoilers. Read it at your own risk.

Don't miss the start. Especially the credits and the photography used for that song. It's simply beautiful. You start on the journey rightaway. I don't know if you have travelled to Konkan. But if you have, especially long hours, you will get the exact feeling of travelling on winding roads for long hours when you are watching the credits. That's because you turn as the camera turns, as the car turns. It's simple, and that's why brilliant camera work. The mood sets in. As the story unravels, you are on a journey to find Rancho.

The story goes on about how the three main protagonists meet, become friends, love each other for what they are, and hate each other too. We get to know how they learn new things, study, chill out with friends and make fun of them too. We see how people and situations affect them, how they react to it, and what the consequences are.

I would rather not tell the story here but tell how the film affected me and what I liked in it. The film is a wonderful combination of flashback and present. When you are dealing with the present, you are suddenly thrown back into the past. And when dwelling in the past, you are suddenly pulled back to the present. These jerks are awesome, a wonderful back and forth of circumstances.

Raju's family is shown as if existing from a 1950s-1960s movies, entirely in black and white. That's maintained throughout in the movie. The moment you step in their house, it's all black and white. It's beautiful. On the other hand, Farhan's camera plays an important role. It is almost through Farhan's camera that we see the past. It's his narration that takes the story ahead.

The only love song in the movie is, I have to admit, cute. Really cute. Very nicely done. I loved it. The whole time I was watching that song, I had a smile on my lips. Both Aamir and Kareena look awesome in it, especially when they are dancing against the big white moon.

I am not saying the movie is flawless. It has its melodramatic scenes, exaggerated scenes, and completely unbelievable scenes. But you are led into a suspension of your disbelief. I watched the movie twice and believe me, the pregnancy scene, which is so much exaggerated brought out a completely different reaction from the audience. The first time I watched it, the theatre was silent, completely silent. After the baby was born, there was a kind of sigh of relief. The second time I watched it, once the baby was out and kicking (not literally), there were whistles in the audience. It was amazing to be there at that moment to experience that.

After a long time, I actually heard people going crazy over a hero's or heroine's entry on screen. There were whistles and shouts on Aamir Khan's entries. Superb!

I loved the movie not for the message it spreads. I loved it for the sheer cinematic experience it provides.

I highly recommend this movie for everyone. Not to be missed for worlds!

An Eventful Evening

Driving, photography, and fretting about the car...those were the events that made my evening yesterday.

With free time at hand, I thought of visiting some places around the city. The first one I chose was Aga Khan Palace. It is a beautiful place. Built in 1892 and donated to the country in 1969, this palace is more known for the samadhis of Kasturba Gandhi and Mahadev Desai, Gandhiji's personal secretary. Kasturba Gandhi and Mahadev Desai both died here under house arrest.

Just four rooms are open for public in this huge palace. One was occupied by Sarojini Naidu, the other by Mahadev Desai, and the third by Gandhiji and Kasturba. The fourth room is a big hall with paintings, photographs, a sculpture, and some other informative writings, though not enough.

One room holds some things that were used by Bapu that include of all the things forks and spoons. I was amazed. Why did Bapu ever have to use forks? I am shocked and kind of disillusioned too. It has made me think if he really did live in as simple a lifestyle as it was known.

Anyway, the one room that was used by Ba and Bapu can be seen from outside. You cannot enter that room. It is this huge room with Bapu's charkha, and other things, a gaddi, some chairs, and other stuff. A huge bathroom is attached to this room containing a wash basin, a tub, and a western toilet. Really simple living!

The worst part of the rooms is that the paintings, photographs, writings, and other things on display are kept in such a bad condition. Decayed and not cared for, it is shameful that we can't preserve our history proofs in a better way.

The samadhis of Ba and Mahadev Desai are nicely made and lie in tranquility.

Inspite of all the neglect indoors, the grounds are beautiful and well-maintained. Beautiful green lawns, huge, green trees, fountains, and flowers are spread in the ground beautifully. The entrance fee for visiting the Palace are 5 Rupees and I suspect that all those are used to maintain the gardens and not the indoors. I had fun taking pictures in the grounds.

When we returned to the car park, we realised that the battery had run down because I had inadvertently left the lights on. I tried starting it. But it didn't work. Then I tried calling some emergency numbers, but that didn't work out too. Finally the security guards at the Palace helped me start the car by pushing it and starting it. Thanks to them all. I had always seen how cars are restarted when the battery is run down. But that was in movies. I now have a first-hand experience of how it all happens. Of course, I did not jump-start it, because I didn't know how to do it. I shall be able to do it next time, I am sure. I just hope I never have to do it again.

That was how the evening ended.