| Aurangabad,
Your perfect starting point for the world heritage sites
of Ajanta and Ellora.
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Aurangabad city
A
historical city in the Northern Maharastra, Aurangabad
is the largest city in the region. An otherwise
quiet town it wakes up during the political rallies and
demonstrations. The town is named after Aurangzeb and
has many places to see, admire and know about. The most
famous excursion to be taken from Aurangabad is that of
Ajanta & Ellora caves. History of Aurangabad goes
back to 2200 years when it was known as Rajtadak and Kirkee
Fatehnager. Finally, it was named as Aurangabad. The royal
feeling of this city has not faded and can be still felt
in its numerous relics and the fort which were once an
integral part of the city. The city has the same splendour
of Moghul architecture as seen in Delhi and Agra. Aurangabad
was once the viceregal capital of Emperor Aurangzeb, who
wanted to control and campaign in the Deccan from here.
The
city of Aurangabad was founded in 1610, on the site of
a village, Khirki by Malik Ambar - the Prime Minister
of Murtaza Nizam Shah II. When Fateh Khan, Malik Ambar's
son turned successor in 1626, he gave the city the name
'Fatehpur'. Later in 1653, when Prince Aurangzeb became
Viceroy of the Deccan, he made the city his capital and
called it Aurangabad. The walls which enclose the central
part of the city, were added by Aurangzeb in 1686 in order
to withstand attacks from the Marathas. There are four
principle gateways to the city - the Delhi Darwaza, the
Jalna Darwaza, the Paithan Darwaza , the Mecca Darwaza.
Nine secondary gateways also formed a part of the defensive
system of this city.
Aurangabad
district has always been a prominent region on the Deccan
plateau. Having been inhabited since the Stone Age, it
has a long artistic and cultural history - to which several
dynasties have made major contributions over the years.
Maurya
rule marked the arrival of Buddhism in Maharashtra. The
earliest caves at Ajanta and Pitalkhora were excavated
during the Satvahana period (in the 2nd century B.C.)During
the Chalukya reign, Buddhism continued to flourish. This
resulted in several 'viharas' (monasteries) and ' chaityas'
(chapels) being excavated at Aurangabad , Ajanta and Ellora.
In later years the Rashtrakutas built several temples,
the most significant being the Kailas Temple (Cave 16,
Ellora) - an unrivaled example of Indian architecture.
With
Aurangzeb 's death his empire, extending over almost the
entire Indian sub- continent, disintegrated into small
fragments. Shorn of its glory, Aurangzeb's city remained
just a part of the State of Hyderabad which ultimately
merged with the Indian Republic in 1948.
Aurangabad
today is a bustling city of Maharashtra with diverse big
and small industries, fine silken textiles, and exquisite
hand woven brocades of silver and gold fabrics, Himroo
of world frame. To scholars and lovers of art and culture
the city is more familiar as the gateway to the ancient
caves of Ajanta and Ellora, both famous as treasure houses
of Indian Art and Sculpture.
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Bibi Ka Maqbara
This is the monument for which Aurngabad is best known.
The comparison with the Agra monument has unfortunetly
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 spacious and formally planned garden, with axial ponds,
fountains, and water channels, many defined by stone screens
and lined with broad pathways.
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. Exactly like the Taj Mahal,
the mausoleum is framed by four lofty minarets that stand
freely at the corners of the terrace.
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Pan
Chakki
A
17th century water mill that takes its name from the mill
which used to grind grain for the pilgrims and disciples
of saints as well as for troops of the garrison. A mountain
spring about eight kilometres away is the water source
for running the mill ; a maze of underground earthen pipes
cleverly
chanelled
the water to feed elevated masonary tanks;when full, these
would siphon out in the form of a perennial waterfall
moving the blades of the grinding wheel. Underneath the
reservoir of Panchakki there are spacious, cool chambers
which are used during summer by pilgrims. The water distribution
system built in 1695 is a marble of hydrology and was
the engineering feat of Malik Ambar, architect of Aurangabad
city. In 1624 a Sufi saint, a spiritual guide to Emperor
Aurangzeb, was buried here. The gardens with its several
fish tanks serve as his memorial.
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Aurangabad Caves
Hidden in the hills just outside of the city are a cluster
of caves probably excavated in the early sixth century.
There are Tantric influences evident in the iconography
and architectural designs of the caves. Some of the chaitya
halls here are constructed on a mandala plan for the circumambulating
of the Buddha who is depicted here seated on an intricately
carved throne.
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Ajanta / Ellora:
Ajanta
and Ellora respectively 99 kms and 30 kms from Aurangabad
are few of the finest cave temples in the world. Ellora
is an impressive cluster of 34 caves which belong to the
artists of fifth to eight century. These temples are in
groups according to the faith and religion to which they
belong. Ajanta is a collection 30 caves some of which
are still unfinished. These caves mainly belong to the
Buddhism. In both Ajanta and Ellora, some thing more went
into carving of these caves than hammer and chisel and
that was inspiration drawn from his the deep faith.
It
takes barely two hours to cover the 99 km. from Aurangabad
to Ajanta, two hours to transport you to the second century
B.C. when the first of these caves was hollowed out from
the side of the cliff.
Early
in the 19th century a party of British officers scrambling
over the thickly wooded slopes of the Sahyadri hill, discovered
these caves buried under debris and screened by foliage.
Strung out in a sweeping horseshoe shape in an inner fold
of the hills, the caves were a secluded retreat for Buddhist
monastic orders and yet offered easy access to the trade
routes that swung past here to the coast.
With
little more than hammer and chisel but with a deep faith
inspiring them, these simple monks excavated chaityas,
built chapels for prayer and viharas, monasteries where
they lived and taught and carried out ritual performances.
The
30 caves of Ajanta , some unfinished, span a period of
800 years and contain numerous images of Buddha. The sculptures
in cave 26 are elaborate and beautiful: highlights here
are the panel of the temptation of Buddha and the Parinirvana
depicting the breaking of earthly ties and Buddha's passing
into nirvana -- a wonderful recumbent figure amid people
in attitudes of mourning and sorrow.
The
arched chaitya window set into the elegantly simple facade
of cave 9 (first century B.C.) is repeated in the elaborate
frontage of cave 19 (fifth century), which has figures
of Buddha on the portico. This is a fully developed chaitya
with a stupa enclosing a standing Buddha at the far end.
Of particular note here is a sculpture of a seated Nagaraja
with his consort and female attendant. Cave 16 is an elegant
vihara with an inscription that mentions the king and
his minister who built this cave. The shrine has a towering
figure of Buddha preaching, flanked by attendants.
Although
tucked away deep within the folds of the hills, the sanctuaries
are illuminated by natural light for some part of the
day. Using metal mirrors to reflect sunlight into the
inner recesses, monks and artists painted the wonderful
frescoes that glow on these walls. These were in a fairly
good state when the caves were first discovered but have
deteriorated over the years with dampness and exposure
to ever increasing numbers of tourists every year.
Still
in caves 1, 2, 16 and 17 you can see some undamaged portions
of frescoes that are vibrant and clear, the fading colours
recall how beautiful these caves must have been in centuries
gone by. Ajanta is a protected monument under the Archaeological
Survey of India and has been included in the World Heritage
list of monuments.
The
Boddhisatvas who figure prominently in the Ajanta paintings
are celestial beings, often personifications of the virtues
of Buddha, who visit the world of men. In later Buddhist
philosophy, the time when these rock shrines were hewn
out of the hill side, the Boddhisatvas were beings who
had renounced the attainment of nirvana to attend to human
needs. The Boddhisatva Padmapani (cave 1) is a wonderful
portrayal of the tender compassion that infuses his ministry
to suffering mankind -- gentle eyes, delicate lips about
to speak words of consolation and a lotus held in a beautifully
drawn hand. In the same cave you see the golden figure
of Avalokiteswara with an elaborate crown hung with looped
strands of pearls; pearl necklaces adorn his handsome
body and a gold girdle fastens his striped garment.
Under
the royal patronage of ruling dynasties, professional
artists helped the monks and left a record of contemporary
life in palaces along with tales of piety and faith. Narrative
panels in the caves illustrate stories from the Jatakas
- the large collection of tales of the previous birth
of Buddha and his increasing strength and moral stature
through one incarnation after another. Symbolic of the
soul's long journey through many births, these tales for
the benefit and instruction of people are depicted here
in artistic detail.
The
nymphs, princesses and attendants of Ajanta are women
of exquisite elegance and charm, hair dressed in intricate
styles and jewels highlighting slender necks and waists.
The
flying aprasa (cave 17, fifth century) in a fashionable
embroidered turban are a reminder of the splendid jewellery
worn by high born women; the pearl tassels of her necklace
and turban swing delicately with her aerial movement.
Row upon row of Buddha figures 'The thousand Buddhas',
intrigue the observer in cave 2. Queen Maya's dream of
the white elephant are in cave 2. Queen Maya's dream of
the white elephant, interpreted by royal astrologers to
mean the birth of an illustrious son, is a detailed panel
in cave 2. Look for the dark princess and the lively panel
of a dancing girl and musicians (cave 1). Eloquent and
moving is the Buddha with a begging bowl asking alms from
his wife and son in cave 19.
A
court scene (cave 1) featuring a bearded man in fur trimmed
hat and boots, surrounded by attendants is believed to
depict the reception of a Persian embassy at the Chalukya
court.
From
this vast collection of classical Indian art sprang the
style that travelled out with Buddhism to many parts of
the world. Buddhist paintings in Sigiriya in Sri Lanka,
Bamiyan in Afghanistan, Tibet, Nepal, China and in Japan
all trace their origins to the classic mode first expressed
in the Ajanta frescoes.
In
their range of time and treatment the paintings at Ajanta
are a panorama of life in ancient India and could well
be studied for a description of the culture of those times
-- the architectural details of buildings, the variety
of textiles used for the different purposes, hair styles,
ornaments and jewellery, family life, court scenes, street
scenes, musicians and their instruments and many beasts
and birds and flowers. Grace, lightness and movement infuse
these paintings which never seem still -- a swirling many-splendoured
pageantry of life.
Before
you leave, climb up to the flat top of the hill opposite
the caves for a wonderful sweeping view of the horseshoe
shaped gorge of Ajanta.
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Ellora
Even
more impressive in terms of architectural splendour are
the cave temples of Ellora, about 20 km. from Aurangabad.
Here are some 34 caves, carved out in a curve on the slopes
of low hills; 16 of them are Hindu, 13 Buddhist and five
of the Jain faith. And yet no signs of religious hostility
disturb the tranquil atmosphere of Ellora. These rock
temples and monasteries were constructed between the fifth
and eighth centuries A.D.
The
Kailasa temple, dedicated to Shiva, is unquestionably
the most glorious achievement here. Transcending the earlier
concept of a cave temple hollowed out of rock, the whole
splendid structure of Kailasa is "an enormous monolithic
rock carving in architectural form" Three great trenches
were cut down into the rock and beginning from the top
of the cliff, work progressed down to the base. Massive
blocks had to be left intact to fashion the inner sanctuary,
the porch, the two free standing pillars, the life sized
elephant in the courtyard, lesser shrines and cloisters.
The main shrine was placed on a high podium which was
carved in a continuous frieze of lions and elephants that
seem to carry the massive structure effortlessly on their
backs as they march in slow procession.
And
all this accomplished by hammer and chisel held in the
hands!
The
deep relief of the Shaivite themes that so profusely ornament
the Kailasa temple make them appear almost like free standing
sculptures. The Kailasa temple alone would absorb all
your time in Ellora. Yet there is so much here...
The
impressive double-storied Visvakarma (cave 10) has a trefoil
window in the facade of the upper level, set off by beautifully
grouped flying figures. This is both chaitya and vihara
with a seated Buddha in the stupa. There are dwarfs dancing
and playing musical instruments in bands of frieze above
the pillars. Next to this is a three storied monastery
(cave 11). Exquisitely carved bracket figures of river
goddesses adorn the entrance to Ramesvara (cave 21) which
has a low parapet wall with a long frieze of elephants.
Dumar
Lena (cave 29) is dedicated to Shiva and is similar in
plan and style to the great cave shrine at Elephanta.
The
most interesting of the Jain caves is cave 32 with a beautiful
lotus carved on the ceiling of the shrine and a magnificent
yakshi seated on her lion under a mango tree laden with
fruit. This is a double-storied cave with paintings in
a fair state of preservation on the ceilings.
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Excursions
Daulatabad
This fortress with an amazing history started as an old
Hindu stronghold that was captured and plundered in the
13th century. Made the second capital of the Delhi Sultanate
a hundred years later, Daulatabad was held as a fine fortress
by successive dynasties in the Deccan. Dominated by a great
conical hill, Daulatabad commanded a natural pass; artificial
scarping made it impregnable. The Chand Minar, a 30 m. high
minaret with three circular galleries, looked down over
the approach from the north and east and had a defensive
as well as religious role in this fortress.
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Daulatabad Fort
Once
known as 'Devgiri', this magnificent 12th century fortress
stands on a hill just 13 kms. from Aurangabad. It was
given the name Daulatabad,the' city of fortune', by Muhamad
Tughlaq, Sultan of Delhi. Initially a Yadav stronghold,
it passed through the hands of several dynasties in the
Deccan.One of the world's best preserved fort of medieval
times, surviving virtually unaltered, Daulatabad yet displays
the character that made it invincible. A Fortress that
was conquered only by treachery. A series of secret, quizzical,
subterranean passages lie coiled like a python amidst
the fort. Here flaring torches were thrust upon an unwary
enemy. Or hot oil poured down his path , as he deliberated
in the labyrinth. Also the heat from a brazier was blown
into the passage by a process of suction suffocating the
entire garrison within. The Fort itself lies in the body
of an isolated hill; the steep hill - sides at the base
falling so sharply to the moat that no hostile troops
could scale the height. The moat, 40 ft. deep with mechanical
drawbridges teemed with crocodiles.
A
5 kilometre sturdy wall, artifical scarping and a complicated
series of defences made Daulatabad impregnable. The 30
metre high Chand Minar ( Tower) built much later with
3 circular gallaries had a defensive and religious role
in the fortress.
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Khuldabad
A few kilometres from Daulatabad is the austere, plastered
masonry monument that commemorates the memory of Aurangazeb
who directed that his tomb should be the simplest possible.
Khuldabad
or the 'heavenly abode' is a walled town only 3 kms. from
Ellora. It is the Karbala town or holy shrine of Deccan
Muslims. Aurangzeb, the last great Mughal emperor is buried
here. He built the crenellated wall around the town, which
was once an important centre.
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Ghrishneshwar Temple
Worshipers of Shiva flock to the Ghrishneshwar Temple. The temple is of particular
importance since it enshrines a Jyotirlinga. This particular
aspect of the god's luminious enegy is manigested in only
twelve temples, including Kedarnath in the Himalayas,
Somanath on the Arabian Sea coast, Ujjain in Central India
and Varanasi on the Ganga. In this respect, Ellora
forms part of an elaborate piligrimage route that encompasses
almost the entire country. As part of this unusual cult,
devotees are permitted to enter the spacious sanctuary,
but men must first remove their upper garments.
The
temple is built of spotted red sandstone in what may be
described as a revivalist Yadava style. It dates from
no earlier than the eigtheenth century Maratha period,
with substantial additions carried out by Ahilyabai Holkar
in the early nineteenth century. This patroness was also
responcible for a large tank nearby Ellora village which
bears her name.
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Paithan
Situated
51 kms. south of Aurngabad on the right bank of the Godavari
river, Paithan is one of Marthwada's most ancient cities.
Legend links Paithan with Shalivahana, who made it the
capital the Satyavahana kingdom in AD 78, there by initiating
the Shaka era. Despite this historical pedigree, little
of Paithan's chronology is known for certain until the
18th century, when it was reaptedly fought over by Marathas
and the Nizam of Hydrabad.
The
present-day city occupies but a very small portion of
ancient Paithan, almost all traces of which have disappeard.
Mounds of over grown ruins, however, are still visible
to the east of the city. A wall, now totaly dilapidated,
having nine gate ways, once surrounded the town and the
portion towards the river front rests upon a step bank-only
two gates known as Sat Sayyad and Quziwada survive. Some
ruins of the old fortress which rose high above the houses
are to be seen at the south west angle.
The
Marathi poet-saint Ekanath lived here. There are many
shrines within the town and along the river bank connected
with the lives of the Hindu Saints, known for their piety
and learning. The one dedicated to Saint Eknath contains
the Samadhi, or memorial, of the saint and is a structure
with flat-roofed apartments. A small tank where Eknath
took his bath, and where he eventually ritually drowned
himself in 1598 is located to the west.
By
for the most picturesque aspect of Paithan are the bathing
ghats-they are among the oldest structures in the city.
Despite
these association with Hindu Saints, the oldest structures
at Paithan are actually a number of mosques and dargahs.
The
city is particulary well known for intricately woven and
brilliantly colourd silk sarees known as Paithanis, which
are manufatured locally. Visitors to Paithan may also
enjoy the Dnyaneshwar Udayan, the largest garden in Maharashtra,
planned on the lines of the Brindavan gardens in Maysoor.
here observation points enable you to watch resident and
migratory birds.
Paithani
is the famous silk saree of Paithan. The art of weaving
Paithani sarees is at least 2000 years old. The yarn used
is pure silk and the 'zari' drawn from pure gold. A heavily
brocaded Paithani takes anywhere from six months to one
and half years to weave.
The ancient city and pilgrimage centre of Paithan is situated
on the banks of the Godavari, 56 kms. south of Aurangabad.
It is also well-known for the beautiful 'Pathanis' --
silk sarees with intricate zari borders.
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Lonar Crater
The
only crater formed by a meteorite impact in India ranking
the third biggest in the world.
Lonar
Crater is situated on the outskirts of Lonar Town in District
Buldhana, Maharashtra. The crater was formed by the impact
of a meteorite nearly 50,000 years ago. At the surface,
the crater has a diameter of nearly 1.75 kms. At the bottom,
a beautiful lake has been formed over thousndas of years
by the perennial streams flowing into the crater. The
water of the lake, however is very salty, the ph being
10.5. A unique eco-system has evolved in the crater, which
is nearly 132 meters deep from the top edge. A visitor
is pleasantly surprised to see aquatic birds like
Flamingos, Indian Moorhen, Coot, Dabchick and so on. One
can also hear and see many peacocks in the crater's forest.
On the beach of the lake, there are a few temples, built
in 12th-13th Century. Though in dilapidated condition,
the exquisite carvings are remnants of their glorious
past. To see and enjoy all this, the visitor must go down
in the crater and make a complete round along the shore
of the lake.
Other
Attractions-Apart from the Lonar Crater, there is another
small lake, called Amber Lake, said to have been caused
by a splinter of the meteorite. It is about one kilometer
away from the main crater. On the shore of the Ambar lake
stands Hanuman Temple in which there is a huge statue
of God Hanuman in reclining pose.
In
Lonar town, there is Daityasudan temple which is a must
for every visitor. Its outer walls and pillars are full
of exquisite carvings and images of various sorts. It
was built in 10th century.
If
the time permits, one should also visit the Sharangdhar
temple in Mehekar town, about 22 kms. away.
Sindkhed Raja, 80 kms. from Lonar, offers a few historic
sites, being the birthplace of Chhatrapati Shivaji's mother,
Jijabai.
A two-day trip is recommended to cover all the places.
However, from Aurangabad, a day's trip can be easily arranged.
From Aurangabad, it is 170 kms. by Aurangabad-Jalana-Sindkhed
Raja-Lonar route.
For lodging, a four-room PWD Rest House is ideal as it
stands right on the edge of Lonar Crater.
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Getting to Aurangabad
The Deccan city of Aurangabad is a convenient base for
visiting its ancient environs. It is accessible by air,
rail and road from Bombay & Delhi.
By Air: Aurangabad is airlinked directly to Delhi, Udaipur,
Jaipur and Bombay (Mumbai).
By Rail: Aurangabad is a section on the Manmad - Kachiguda
line on SCR. Passengers from Bombay and Delhi change at
Manmad railway Junction, 114km. away from Aurangabad.
Bombay-Aurangabad (via Manmad) 375km. Delhi-Aurangabad
(via Agra, Gwalior, Jhansi, Bhusawal, Manmad) 1395km.
Jalgaon, a railhead on CR, is only 59 kms. from Ajanta.
By Road: Bombay-Aurangabad is 388km. (via Mumbai) Bombay-Aurangabad
is 400km. (via Pune). Delhi-Aurangabad is 1323km. (via
Mathura, Agra, Gwalior, Shivpuri, Indore, Dhule, Jalgaon,
Ajanta).
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Information
courtesy - Maharashtra Tourism Development Corporation. |
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