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Discovering the Gems of India -2

DAY THREE: Going Back to the Abode of our Forefathers

After concluding the first leg our journey, we were ready for the next, the first of which was a 100 km journey to Bhimbetka Rock Shelters, arguably the first settlement of humans in the subcontinent. And from thereon to the cleanest city of the country, Indore.

We had asked for our breakfast to be ready by 7:30 am but the hotel staff and the chef came in only after 7:30 to prepare our food, incidentally, we were the only guests at that time. We had our breakfast as quickly as possible and embarked on a journey of 2 hours 10 minutes, crossing the town of Sanchi. Initially, we drove through the two-lane state highway (Udaigiri Road-Ucher Road-Gulgaon Road) leading us to 4-lane NH 146 (Sagar-Bhopal Highway), then to NH46 till we reached the serpentine road leading to Bhimbetka Rock Shelters. The recent heavy downpour across the country has done extensive damage to the roads, not sparing even the National Highways. We were lucky that the day begun as dry and continued till we reached our destination.

The Bhimbetka Rock Shelters are an important archaeological site that spans the Paleolithic and Mesolithic periods, as well as the historic period. It exhibits the earliest traces of human life in India and evidence of the Stone Age starting at the site in Acheulean times.  It is a UNESCO World Heritage Site that consists of seven hills and over 750 rock shelters distributed over 10 km. with evidence that at least some of the shelters were inhabited more than 100,000 years ago.

The rock shelters and caves provide evidence of human settlement and the cultural evolution from hunter-gatherers to agriculture, and expressions of prehistoric spirituality. Some of the Bhimbetka rock shelters feature prehistoric cave paintings and the earliest are dated to 10,000 BCE, corresponding to the Indian Mesolithic period. These cave paintings show themes such as animals, early evidence of dance and hunting from the Stone Age as well as of warriors on horseback from a later time (perhaps the Bronze Age). The Bhimbetka site has the oldest-known rock art in India, as well as is one of the largest prehistoric complexes. The Rock Shelters of Bhimbetka are 45 kilometres south-east of Bhopal, Madhya Pradesh at the southern edge of the Vindhya Range. South of these rock shelters are successive ranges of the Satpura hills. It is inside the Ratapani Wildlife Sanctuary, embedded in sandstone rocks, in the foothills of the Vindhya Range.

Bhimbetka meaning “Bhima’s resting place” or “Bhima’s lounge”, is compound word made of Bhima (second brother among the five Pandavas of Mahabharata) and Baithaka (seat or lounge). According to the native belief, Bhima during his exile used to rest here to interact with the locals. Bhima Worshiped Mata Vaishavi at this location and was blessed for concurring the forthcoming war. There is a famous Mata Vaishavi Temple existing at this place since long.

It was only in the 1970s that the scale and true significance of the Bhimbetka rock shelters was discovered and reported. Since then, more than 750 rock shelters have been identified. The Bhimbetka group contains 243 of these, while the Lakha Juar group nearby has 178 shelters. According to Archaeological Survey of India, the evidence suggests that there has been a continuous human settlement here from the Stone Age through the late Acheulian to the late Mesolithic until the 2nd century BCE in these caves. This information is based on the findings from the excavation of the site, the unearthed artifacts and goods, pigments present in deposits, as well as the rock paintings. The site contains the world’s oldest stone walls and floors. The origin of the raw materials utilized in certain monoliths uncovered at Bhimbetka has been traced back to Barkheda.

The site consisting of 1,892 hectares was declared as protected under Indian laws and came under the management of the Archaeological Survey of India in 1990. It was declared as a World Heritage Site by UNESCO in 2003.

The rock shelters and caves of Bhimbetka have a large number of paintings. Some of the oldest paintings are dated to 10,000 BCE, but some of the geometric figures date to as recently as the medieval period. The drawings and paintings can be classified under seven different periods and dating back to the earliest paintings to have belonged to the upper Palaeolithic to be as early as 40,000 years ago. The colours used are vegetable colours which have endured through time because the drawings were generally made deep inside a niche or on inner walls.

One rock, popularly referred to as “Zoo Rock”, depicts elephants, barasingha (swamp deer), bison and deer. Paintings on another rock show a peacock, a snake, a deer and the sun. On another rock, two elephants with tusks are painted. Hunting scenes with hunters carrying bows, arrows, swords, and shields also find their place in the community of these pre-historic paintings. In one of the caves, a bison is shown in pursuit of a hunter while his two companions appear to stand helplessly nearby; in another, some horsemen are seen, along with archers. In one painting, a large wild bovine (possibly a gaur or bison) is seen. Some of the animals identified are sloth bear, wolf, hyaena, rhinoceros, wild cattle, deer, antelopes, hare, monkeys, anteater, rats, fish, turtle, peafowl, some birds without any details among the wild animals and a domesticated dog. Deer and antelope are amongst the most numerous of the wild animals depicted. The pictures include groups of hunters; one such group is depicted as running away from a rhinoceros. Other groups are engaged in hunting deer, antelopes and other prey. Spear and bow and arrow are the main weapons of hunt; fish and turtle are being caught in a net, and rats are being driven out of their burrows to be caught. The paintings are classified largely in two groups, one as depictions of hunters and food gatherers, and in others as fighters, riding on horses and elephant carrying metal weapons. The first group of paintings date to prehistoric times while second one dates to historic times (around 5th to 3rd Century BCE). Most of the paintings from the historic period depict battles with use of swords, spears, bows and arrows.

Mitali knew someone in the Archaeological Survey of India (ASI) and we were directed to a knowledgeable Guide, Bimal Roy (or Rai). He suggested that we visit the most important 15 caves instead of wandering through the wildness. Given the limited time we had, the suggestion was welcomed and we followed him from cave no. 1 on an amazing journey of bygone era. Here, I would like emphasise the importance of a guide at such tourist interests, we would have wandered through the place often following crowds who would have been as clueless as we were and missed out seeing the wonders that Bimal showed us with explanation. The basic difference between rock shelters and caves is that the first one is a natural formation over a long period of time whereas the second one is manmade using tools. The Bhimbetka mountains were submerged in water (ocean) billions of years ago and emerged on the surface due to tectonic movements millions of years ago. The weather played its part in creation of these natural rock shelters over a period of time. The experience is beyond words and one must visit Bhimbetka with ample time to do complete exploration. The added attraction is the jungle safari of Ratapani Tiger Reserve which is expected to start soon after the monsoon break. It took us about 2+ hours to complete the tour of the rock shelters. We were hungry.

At the point where the Bhimbetka Road meets the highway, there’s a Midway Treat of MP Tourism where we stopped for lunch as well as the rain which started as soon as we reached there. The place wasn’t too big but clean and we were their first customer for lunch. The joyful news to the members of our group was that they served non-veg as well. We still had over 400 km to cover, so decided to go light on stomach and ordered simple egg-curry with rice, besides green salad and papad. While we were enjoying our meal, it rained heavily and stopped just in time for us to proceed to Indore.

Our journey through NH46 took us through Bhopal (could have taken the bypass but it would have increased the time significantly) and Dewas. There was a point where we could see a bridge over the river but it was barricaded forcing the traffic to go below it through the flowing river. I can now legitimately claim that I have driven my Jeep Compass through a river. It would have been a different story to tell if the current of the river was strong, the heavier vehicles could have made it to the other side but the smaller cars would have gone under. When we were approaching Dewas, it started raining again, the visibility became bad with fading lights forcing us to stop at a midway treat for tea n snacks.

We got into a huge traffic snarl when we were about 20-22 km away from Indore. The under-construction flyover was the cause; the service road was inundated with water and mud as also the invisible potholes due to waterlogging as well as darkness of the night. We treaded the path with utmost caution, driving at 20kmph or less taking over 45 minutes to cross the stretch of 2km. On the positive side, I can say that my Jeep Compass glided over the slush with ease.

Deepika having seen the reviews of our hotel in Indore was very apprehensive and the situation did not ease when both Tapas and I said that we haven’t checked the reviews before booking just two days before our trip. However, reaching there we realised it wasn’t as bad as the reviews made it look. The property, Hotel Kanchan Tilak has 50 guest rooms and situated next door to the famous 56 Dukan of Indore with ample parking space. As far as the condition of the property is concerned, it requires immediate and urgent renovations. On the last night of our stay, a portion of the false-ceiling of the bathroom in one of the rooms came crashing down. Fortunately, it happened in the dead of night when no one was using the facility. The quality of food was at best average. I will never revisit.

DAY FOUR: Visiting the Archeological Splendor

In the morning, after breakfast, we left for Mandu (Mandav) Fort also known as Jahaz Mahal, 100 km from Indore taking 2.5 hours. Our vehicles having been through the slush had become dual colour, the bottom half being brown and the parking attendant at the hotel did a wonderful job of cleaning them to their original glory.

We reached Mandu Fort around 11 am and it took some ingenuity to park our vehicles in the designated parking lot; the place was in complete chaos with nincompoops parking their vehicles rampantly disregarding the convenience of others, blocking the thoroughfare as if they own it. Anyways, we walked down to the fort and connected with our guide Raj Kumar, courtesy the contact of Mitali. He turned out to be extremely knowledgeable about the history of the fort and delighted us through his narration besides taking us to every nook n corner of the vast fort.

Mandu or Mandavgarh is an ancient city in the present-day Mandav area of the Dhar district located in the Malwa and Nimar region of western Madhya Pradesh, 35 km from Dhar city. In the 11th century, Mandu was the sub division of the Tarangagarh or Taranga kingdom. This fortress town on a rocky outcrop about 100 km from Indore is celebrated for its architecture.

Mandu gained prominence in 10th and 11th century under the Paramaras. The town of Mandu, situated at an elevation of 633 metres is perched on the Vindhya Range extending for 13 km while overlooking the plateau of Malwa to the north and the valley of the Narmada River to the south which acted as natural defences for the fort-capital of the Paramaras. As “Mandapa-Durga”, Mandu is mentioned as the royal residence in the inscriptions of the Paramara kings starting from Jayavarman II. In all probability, Jayavarman or his predecessor Jaitugi moved from the traditional Paramara capital Dhara to Mandu, because of attacks from the neighbouring kingdoms. Balban, the general of the Delhi’s Sultan Nasir-ud-din, was in the verge of capturing Paramara territory when the Paramaras also faced attacks from the Yadava emperor Krishna of Devgiri and the Vaghela king Visaladeva of Gujarat. Compared to Dhara, which is located in the plains, the hilly area of Mandu offered a better defensive position.

In 1305, the Muslim Sultan of Delhi Alauddin Khalji captured Malwa, the Paramara territory. Ayn al-Mulk Multani, the newly appointed Governor of Malwa, was sent to expel the Paramara king Mahalakadeva from Mandu and cleanse that place from “the odour of infidelity”. With the help of a traitor, Multani’s forces found a way to enter the fort secretly. Mahalakadeva was killed while attempting to flee, on 24 November 1305. When Timur captured Delhi in 1401, the Afghan Dilawar Khan, governor of Malwa, set up his own little kingdom and the Ghuri dynasty was established. His son, Hoshang Shah, shifted the capital from Dhar to Mandu and raised it to its greatest splendour.

Mohammed Khalji established the Khalji dynasty of Malwa (1436-1531) and went on to rule for the next 33 years. It was under his reign that the Malwa Sultanate reached its greatest height. He was succeeded by his son, Ghiyas-ud-din, in 1469 and ruled for the next 31 years. He had a large harem and built the Jahaz Mahal for housing the women, numbering thousands. Ghiyas-ud-din was poisoned at the age of 80, by Nasir-ud-din, his son. Thereafter, the history is mired with conspiracy, assassinations and betrayal for the next few centuries till the reign of Akbar, the Mughal Emperor.

One of the rulers was Baz Bahadur who was not only a connoisseur of music but an accomplished singer himself. Legend says that once he happened to listen to the melodious voice of Rani Roopmati and was so enamoured that he brought her to Mandu and settle her at the Rani Roopmati Pavilion, originally built as an army observation post. It offered a complete view of the fort area besides the Narmada River. When the news of the defeat of Baz Bahadur reached her, she committed suicide by swallowing a diamond ring to avoid capture by the marauding army.

The Mandu Fort is perhaps the largest fort in India if not of the world with interesting spots to explore.

Roopmati’s Pavilion A large sandstone structure originally built as an army observation post it is known today as Roopmati’s Pavilion. Rani Roopmati – the love interest of Baaz Bahadur lived here and is said to have gazed at the Baz Bahadur’s Palace – situated below and also at Narmada River, flowing through the Nimar plains far below, a river which the queen revered.

Baz Bahadur’s Palace Built by Baz Bahadur, this 16th-century structure is famous for its large courtyards encompassed by large halls and high terraces. It is situated below Roopmati’s Pavilion and can be seen from the pavilion.

Rewa Kund A reservoir constructed by Baz Bahadur for the purpose of supplying water to Rani Roopmati’s Pavilion. The reservoir is situated below the pavilion and hence is considered an architectural marvel because of its complex maze-like corridors for escaping any attack.

Darya Khan’s Tomb complex Darya Khan was a minister in the court of Mahmud Khalji II, and his tomb lies in a walled complex along with another tomb, a mosque, a pond, and an inn. At the centre of the complex is the massive sandstone tomb of Darya Khan.

Shri Mandavagadh Teerth temple is dedicated to Lord Suparshvanatha, belongs to Shwetambar sect of Jainism and has been attractively constructed with exquisite looks. It underwent expansion in 14th century. The 3 feet high idol of Lord Suparshvanath seated in padmansana is believed to be much older. Ruins of many other temples and idols can be seen here giving rise to the belief that the Islamic invaders took the short-cut of constructing their forts, palaces and mosques over already existing temples of Hindu, Buddhist and Jains.

Jami Masjid Inspired by the great mosque of Damascus, this enormous structure is striking in both its simplicity and architectural style-with large courtyards and grand entrances. At the front of Jaami Mosque, there are ruins of Asharfi Palace. There is a seven-story winning memorial at the north-east of the palace, now in ruins with only two floors visible.

Hoshang Shah’s Tomb India’s first marble structure, it is one of the most refined examples of Afghan architecture. Its unique features include the beautifully proportioned dome, intricate marble lattice work and porticoed courts and towers. It served as a template for the construction of Taj Mahal.

Jahaz Mahal/Ship Palace Situated between two artificial lakes, this two-storied architectural marvel is so named as it appears as a ship floating in water. Built by Sultan Ghiyas-ud-din-Khalji, it served as a harem for the sultan. Apart from the enthralling architecture, Jahaz Mahal is also a significant venue for the vibrant colours of the Mandu festival. With a series of adventure activities, music shows, lights, and balloon festivals that happen every year in the winter season. The sound and light show at the Jahaz Mahal is another interesting event that holds the eyes of every tourist.

Hindola Mahal Hindola Mahal – meaning Swing palace is so named due to its sloping side walls. The Hindola Mahal might have been constructed during the reign of Hoshang Shah about 1425 C.E. but may date to the end of the 15th century during the reign of Ghiyas al-Din. It is one of a set building making up the royal palace complex at Mandu, which consists of the Jahaz Mahal, the Hindola Mahal, the Taveli Mahal, and the Nahar Jharokha. The Hindola Mahal may have been used as a chamber to plan military expeditions with the top commanders.

The Darwazas (Gates) The wall encompassing Mandu has 12 major darwazas or gates. The present road, through which Mandu is reached passes through many of these.

At the end of the tour of Mandu Fort lasting 5.5 hours, we were exhausted and hungry as well. The contact person (Mr. Patankar) was at the gate to meet us and took us to the guest house to freshen up and then lead us to Sri Sai Baba Guest House Restaurant serving local (Malwa) cuisine, for lunch. Always enthused in trying out local delicacies, we ordered Kadhi Pakodi, Dal Paniye and Dal Bafley served with plain boiled rice. I can tolerate reasonably spicy food but the Paniye and Bafley were on a different level altogether and it got multiplied when I accidentally bit a very hot green chilli. Water flowed from my eyes and nose while fire came out from my ears and mouth. Amalda’s sister-in-law, Shraboni suggested to put a pinch of salt in the mouth to subdue the spiciness. Oh boy, it worked and I became normal in a jiffy. Great learning.

Reaching back to the parking lot, we found a Maruti Alto parked very irresponsibly blocking Topshe’s car and it had the parking brake applied. I used my previously used technique and asked Topshe to place the pillows that he had in his car, at the point of contact while I gently drove his car hitting the illegally parked car to create a gap large enough to take the car out.  

It took us little over 2 hours to reach back in Indore. Deepika, Sumita and Sudipta went out to shopping at the insistence of Sumita and I predicted that while the other two will end up buying, Sumita won’t find anything worthwhile to buy. On the lighter side, it was her way of helping the shopkeepers do their stock-taking, once in a while. Topshe and I went in search for some dry savouries of Indore to take back home along with some sweets.

We ordered food and miscalculated the quantity, ending up with extra food on the table. The quality wasn’t that good to call for a doggy bag. After dinner, we played few rounds of TwentyNine and this time Topshe & I comprehensively beat Amalda-Manojit. I packed up our bags before hitting the bed.

We left for Delhi (Home) after breakfast passing through Ujjain, Kota and bypassing Sawai Madhopur and Jaipur. We wanted to visit Mahakaleshwar Jyotirlinga Temple in Ujjain on our way back but was advised to drop the plan as it was a festive weekend with thousands of people visiting would have been very crowded and would have delayed us significantly.

We stopped at roadside restaurant called Shri Krishna Restaurant and had one of the worst foods of the entire trip causing health issue with Sumita and Deepika.

As we bring closure to this amazing journey, the next one is eagerly awaited. Jai Hind.        

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Discovering the Gems of India-1

This year (2025) Independence Day (15 August) offered a long weekend of 3 days and if one could add 2 more days, it became a fabulous 5-day break. We couldn’t have missed this chance. Together with Topshe and Gora, a road trip was planned in the hills, Shangarh and Sissu, both in Himachal Pradesh, are quaint non-commercialized urban villages offering breathtaking view of the mountains besides doable treks. Everything was fine and going as per plan till the nature decided to open up the skies to wash and cleanse the mountains, every day, news of cloudburst and landslides blocking the roads floated in and we were forced to focus on Plan-B, Madhya Pradesh. The sites closer home viz Khajuraho was already covered by us separately, earlier. I have heard of Bhim Betka Rock Shelters and its rock paintings dating back to 30000 to 10000 years, beginning of human race, and proposed it to Topshe. He in turn made a grand plan of not just Bhim Betka but included Udaigiri Caves, Sanchi Stupa (3rd Century BCE) and Mandu (Jahaj Mahal) Fort in the itinerary. We also thought of visiting Mahakaleshwar Jyotir Linga Temple in Ujjain, if time permitted. The proposed tour spanning 5 days started on 13th and culminated on the late evening of 17th August 2025 and was planned in two days’ time.

The tour party comprised of Tapas & Sudipta, Manojit, Amalda, Mitali & Shraboni (sister-in-law of Amalda), Sumita (Deepika’s friend), Deepika & I. Traveling in Kia Carens and Jeep Compass.

With so much content, I decided to do it in two parts… the account of first part is here.

Day One: The Day of Travel

We started from my home around 5:45 am, a clear 30 minutes delay from the proposed time and caught up with Topshe & others at the Mahamaya Flyover at 6:05 am. After a brief chat we began our journey. The first break came at Jewar Toll Plaza where we stopped for tea and bathroom break. And I realized in the hurried departure from home, I had forgotten to carry my black coffee flask.

We had our proper breakfast at the Chambal Spice restodhaba, Dholpur, where I had visited 3 years ago while traveling to Bengaluru by road with my son Ayush. At that time, we were informed that the place had started operation only a week ago; in three years, it had lost its shine both in ambiance as well as the quality of food and service.

The journey from thereon was a long one through NH44 and we were greeted with light showers on and off. Right after Morena, we took the NH46 towards Gwalior-Shivpuri. Unlike the NH44, this National Highway, a 2-lane road took us inside the towns and villages with local traffic pouring on it, maneuvering through such condition affected our time and consumption of fuel. After crossing Guna, we found some reprieve with lesser local traffic but rain and narrow 2-lane road did not allow us to speed up beyond 60-70 kmph. Since we had a heavy breakfast, we did not stop for the lunch but halted at a BP fuel station to freshen up. Unfortunately, the toilet at this place was extremely dirty prompting us to abandon the idea till we found the IO fuel station 100 meters away with a clean one. I was carrying boiled egg while Mitali had some homemade delicious cake which were devoured in quick time standing under the open skies ready to open up and it did.

As soon as we started for the final leg of our journey, we were greeted with light to heavy rains most of way to Udaigiri but the advantage was practically empty road allowing us zip through whenever the visibility improved. We reached our destination, Village Deck Resort around 7 pm, a good 13 hours journey. The lowest point in our travel from Delhi to Udaigiri was the abandoned cattle on the road, any distraction or slight mistake could have been fatal.

The Village Deck Resort can hardly be classified as a resort. It was spread over 3000 sq mtr with habitable rooms, a swimming pool, a water body with a flock of swans besides open grassland kept for future development. In their website the name was prefixed with “MPT” denoting “Madhya Pradesh Tourism”, a govt owned property but it was a misnomer…the place is privately owned and managed property. We were allotted 3 rooms in the main block and 2 rooms on the other side of the water body, supposed to be cottages. The wild smell around it suggested they were less frequently occupied. The rooms were of decent size with functional air conditions that quickly cooled down the temperature and evaporated the wild smell. We settled down and gathered at Sumita’s room to play a few rounds of Tambola that I had carried with us. Later, we had dinner at their dining hall, the food, we were told will be vegetarian throughout our stay as the property followed a strict vegetarian only principle.

Day Two: Exploring the Bygone Era

All of us were tired from the day-long road journey and therefore needed good sleep and rest for the day trip exploring the Sanchi Stupa and Udaigiri Caves, very close to our place of residence.

Sanchi Stupa is a Buddhist complex, famous for its Great Stupa, on a hilltop at Sanchi Town, district Raisen, Madhya Pradesh, India. It is located, about 23 kilometres from Raisen town and 46 kilometres north-east of Bhopal, capital of Madhya Pradesh.

The Great Stupa at Sanchi is one of the oldest stone structures in India, and an important monument to the historical architecture of India. The Sanchi Stupa was originally commissioned by the Mauryan emperor Ashoka in the 3rd century BCE. Its nucleus was a simple hemispherical brick structure built over the relics (bones) of the Buddha. It was crowned by the chhatra, a parasol-like structure symbolising high rank, which was intended to honour and shelter the relics. The original construction work of this stupa was overseen by Ashoka, whose wife Devi was the daughter of a merchant of Vidisha who was born in Sanchi which incidentally happened to be the venue their wedding. In the 1st century BCE, four elaborately carved toranas (ornamental gateways) and a balustrade encircling the entire structure were added. The stupa at Sanchi built during the Mauryan period was made of bricks which over the centuries and dynasties were overlayed with stones to stand in its current form. There are numerous stupas around Sanchi including the Relics of Sariputra and Mahamoggallana, now enshrined in the new Vihara. Sanchi Stupa is depicted on the reverse side of the Indian currency note of ₹200 to signify its importance to Indian cultural heritage.

During the later rule of the Shunga, the stupa no.1 (popularly called the Great Sanchi Stupa) was expanded with stone slabs to almost twice its original size. The dome was flattened near the top and crowned by three superimposed parasols within a square railing signifying the symbol of the dharma, the Wheel of the Law. The dome was set on a high circular drum meant for circumambulation, which could be accessed via a double staircase. A second stone pathway at ground level was enclosed by a stone balustrade. The railings around Stupa 1 do not have artistic reliefs, these are only slabs, with some dedicatory inscriptions. These elements are dated to circa 175–125 BCE. Although the railings are made up of stone, they resemble wooden fence, the joints between the coping stones have been cut at a slant, as wood is naturally cut, and not vertically as stone should be cut. There are short records of the donors inscribed on the railings as well as stone slabs in Brahmi script. 

The decorations of Stupa No. 2 are probably the oldest extensive stupa decoration in existence and this Stupa is considered as the birthplace of Jataka illustrations. The reliefs at Stupa No.2 bear mason marks in Kharoshthi, as opposed to the local Brahmi script. This seems to imply that foreign workers from the north-west (from Gandhara, where Kharoshthi was the script in use) were responsible for the motifs and figures that can be found on the railings of the stupa. For the first time, clearly Buddhist themes are represented, particularly the four events in the life of the Buddha that are: the Nativity, the Enlightenment, the First Sermon and the Death.

Stupa No. 3 was built during the time of the Shungas, who also built the railing around it as well as the staircase. The Relics (bones) of Sariputra and Mahamoggallana, the disciples of the Buddha are said to have been placed in Stupa No. 3, these relics boxes were excavated in 1950’s and are kept in the vault of the nearby museum. Every year, they are taken out and displayed for public viewing on the last Sunday of the month of November coinciding the inauguration of the museum by Pandit J L Nehru, the first Prime Minister.

We had commissioned the services of an ASI certified guide, Rakesh, a very knowledgeable person, who took us through the site explaining each facet of the monument often interspersing with local folklore, e.g. the 40ft high Ashoka Pillar was cut into pieces and the lion head was taken by a local zamindar or land owner to adorn his home. We saw the black stone pieces of the pillar on site, the top portion with lion heads is now on display at the Bhopal Museum.

We did not realise that we spent more than 3.5 hours touring the Grand Stupa and the surroundings. There were groups of Buddhist devotees from Sri Lanka wearing a kind of uniform of similar T-Shirts with badges and caps for easy identification, were seen offering prayers at the site and doing parikrama or circumambulation of the Great Stupa. Some of us bought a few souvenirs from the vendors at the parking lot before leaving for our next destination, Udaigiri Caves.

The Udayagiri Caves are twenty rock-cut caves near Vidisha, Madhya Pradesh primarily denoted to the Hindu gods Vishnu and Shiva from the early years of the 3rd century CE to 5th century CE. They contain some of the oldest surviving Hindu temples and iconography in India. They are the only site that can be verifiably associated with a Gupta period monarch from its inscriptions. One of India’s most important archaeological sites, the Udayagiri hills and its caves are protected monuments managed by the Archaeological Survey of India.

Udayagiri caves contain iconography of Hinduism and Jainism. They are notable for the ancient monumental relief sculpture of Vishnu in his incarnation as the man-boar Varaha, rescuing the earth symbolically represented by Bhudevi clinging to the boar’s tusk as described in Hindu mythology. The site has important inscriptions of the Gupta dynasty belonging to the reigns of Chandragupta II (c. 375-415) and Kumaragupta I (c. 415-55). In addition to these, Udayagiri has a series of rock-shelters and petroglyphs, ruined buildings, inscriptions, water systems, fortifications and habitation mounds, all of which remain a subject of continuing archaeological studies. The Udayagiri Caves complex consists of twenty caves, of which one is dedicated to Jainism and all others to Hinduism. 

The Udaigiri Caves was on our way back from Sanchi towards our hotel. We were told that only a portion on the ground level is open to public as a Leopard family with 4 cubs have taken shelter in one of the upper caves and it would not be wise to disturb them. The caves at the ground level were all gated and locked without any source of light inside, so we had to be satisfied with the inscriptions outside each cave. At the cave number 13, we could see the rock-cut image of reclining (sheshshayi) Lord Vishnu on the coil of primeval snake, Sheshnag with his head resting on one of his four hands. It is one of the earliest and largest single-rock sculpture of reclining Vishnu. In another cave, visible clearly was the image of Lord Vishnu in Varaha Avatar rescuing the earth depicted as Bhudevi.

I had a mild hope of seeing the leopard family in the wild but it remained unfulfilled. We came back to the Village Deck Resort, very hungry, just in time as the skies opened up for the next one hour with torrential rain. We enjoyed our food and the rains from the safety of the dining hall.

We rested for couple of hours and then played tambola through the evening before dinner time. Later, I teamed up with Topshe while Amalda partnered Manojit for few hands of TwentyNine to end the first leg of our journey.

To be continued…

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Ajanta-Ellora Sojourn

Let’s go somewhere in the coming week, declared Deepika.

Where? I asked knowing well that I will have to search the destination. I shortlisted few places… Varanasi, Corbett, Kanataal, Aurangabad and Goa. All of them are drivable as far as I am concerned.

Let’s go to Aurangabad but fly down because I have to be back by Saturday. So, in 24 hours, the flight ticket bought and hotel booked. Sumita (Deepika’s friend) joined us this time.

Chhatrapati Sambhaji Nagar (Aurangabad)

There are four direct flights to Aurangabad, 2 in the morning and 2 in the evening. We took the evening Indigo flight and reached Aurangabad around 6:15 pm and in the hotel by 7pm. There was a bit of confusion at the airport… Deepika had booked a taxi service for our entire stay right from airport pickup to drop. She received the vehicle number and we were surprised to find a Toyota Innova and then another group of seven also claimed it to be theirs’ but we beat them in occupying. The driver was in a dilemma and called the owner to explain the confusion. The owner realised his mistake and gave us the number of another vehicle, fortunately, the car, a Suzuki Desire was there at the airport parking and came to us in quick time.

Once we checked into the Hotel Click, suggested by my friend Tapas, we freshened up and went to The Bhoj Thali Restaurant at CIDCO, next to Fern’s Residency. The speciality of this restaurant is the Thali consisting of over 21+ items and unlimited regional delicacies and non-alcoholic local drinks. We were not very hungry but still enjoyed the tasty platter and when we thought we are done, they brought Khichdi and Rice which we had to decline.

Ajanta Caves

Ajanta Caves are about 100 km from Aurangabad on way to Jalna and takes approx. 2.5 – 3.0 hours, most of the road stretch is in good condition with work in progress at few points. We had a quick breakfast and by the time we are done, the cab also arrived at the hotel.

We checked about the road condition with the young driver, Samadhan (Solution) and he confirmed that roads have been re-laid/newly constructed however there are patches where work is still going on. He said that he makes at least ten trips to Ajanta every month.

It took us about 2.5 hours to reach our destination. We paid for the parking and use of utilities and was told to proceed for the bus which will take us to the cave site. The bus ride costs INR 30 per person each way for non-AC coach and INR 35 for AC, though I couldn’t find any AC coach. The drive was through serpentine hilly track of 4.5 km and took about 10 minutes.

The Ajanta Caves dates back to 2nd century BCE through 6th century CE and had been a sanctuary for the Buddhist Monks and their disciples. The caves are adorned with sculptures as well as paintings that still reflect vibrant colours. There are 30 caves but some of them remains unfinished…the important ones to explore are 1, 2, 16, 17 & 19 for mural paintings and 1, 4, 17, 24 & 26 for sculptures. The cave number 9, 10, 19, 26 & 29 are Chaitya Halls while the others are Viharas. Out of these, Chaitya caves 9, 10 and Viharas 8, 12, 13 & 30 belongs to Hinayan system where instead of the Buddha Idol, the symbols associated with Gautam Buddha such as Dharma Chakra in the shape of Lotus, Stupa and the Bodhi Tree were worshipped through 2nd century BCE to 2nd century CE. The other caves excavated after long break belongs to the 5th & 6th century CE and belongs to the Mahayana sect. These caves have the image and idol of Gautam Buddha in various postures.

The theme of the paintings is Jataka Tales right from the birth of Buddha to his attaining Moksha. Similar themes can be found in the sculptures as well. The fascinating details in the sculptures and the use of vivid colours in the paintings made us wonder at the creativity and workmanship of our ancestors. They not only hand carved those caves cutting up the mountains, large enough for habitation but created chambers for different activities without any modern tools and machines. We were told that the caves were carved out at different periods over many centuries. After the decline of Buddhism some time in the 6th century CE, the caves were abandoned and remain hidden behind thick foliage and jungle for many centuries. It was accidentally discovered by a British Cavalry Officer named Captain John Smith in 1819 while hunting a tiger, he stumbled upon the horseshoe shaped rock with many caves having Buddhist artifacts inside…couldn’t resist to leave a graffiti message on a painting in the cave number 10, “John Smith, 28th Cavalry, 28th April 1819”.

We spent more than 3.5 hours exploring the caves and each one fascinated us with its creativity and workmanship…told us stories of the bygone era. Even the unfinished caves have their own stories to tell if only someone has the patience to sit back and meditate.

On the way back to the parking, we stopped at a shop to buy few rough-cut stones like amethyst and crystal. I bought two idols of Ganesha and Radha-Krishna as an act of charity from a roadside vendor.

While driving back, Samadhan, our driver received a call from his uncle that his father had a paralytic stroke and taken to the hospital. On returning to the city, he still took us to the shop specializing in Paithani Silk sarees and dress material as he had promised to Deepika and Sumita. I pray to Madhav for his father’s quick and complete recovery.

We rested for about half hour in our rooms while our phones were charging then went to another famous restaurant of Aurangabad called The Great Sagar specialising in Mughal cuisine. We were told their specialty dish is Naan Khaliya, a non-veg preparation of either chicken or mutton and served with thick naan or Khamiri Roti. It sounded to be a good dish and Sumita decided to try it out the chicken version, I wasn’t so sure, so opted for the tried n tested mutton biriyani while poor vegetarian Deepika was stuck with dal-tadka, paneer and roti. As it turned out, the Naan Khaliya is a overhyped dish…it is basically a spicy soupy curry of chicken or mutton with naan, a damp squib. Deepika found the vegetarian dishes below par, but the biriyani was decent flavourful with well cooked mutton pieces. Overall, it was not a pleasant dining experience especially after our visit to the Bhoj Restaurant.

Back in the hotel, we played Rummy till midnight… needless to say I did not win a single hand.

Ellora Caves

We started a bit late for the Ellora caves as the cab designated to us had a flat tyre and came late to pick us. We had earmarked few other places to see besides Ellora. Our first destination was Ghrishneshwar Temple, close to the Ellora caves. Ghrishneshwar means “lord of compassion”.

Ghrishneshwar Jyotirlinga is a Hindu temple of Shiva in Verul village of Aurangabad district and considered as the 12th Jyotirlinga mandir. The mandir is a national protected site, 1.5 Km away from the Ellora Caves and approx. 30 kilometres north-west of the city Aurangabad. Ghrishneshwar finds mention in various scriptures such as Shiva Purana, Skanda Purana, Ramayana and the Mahabharata.

The temple structure, just like the Somnath Temple in Gujarat, was relentlessly attacked and destroyed by the Delhi Sultanate in 13th and 14th centuries. It was re-built by Maloji Bhosale, grandfather of Shivaji Maharaj in the 16th century only to see another destruction by the barbaric Mughal empire. The current form of the temple was re-built in the 18th century under the sponsorship of Queen Ahilyabai Holkar of Indore. Today, it is an important and active pilgrimage site of the Hindus and attracts devotees from across the country. There is no bar in entering the temple premises and its inner chambers, but to enter the sanctum sanctorum or garbha-gruha of the temple, the local Hindu tradition demands that men must go bare-chested just like in Guruvayur Temple in Kerala.

Deepika and Sumita went inside the temple while I remained outside guarding their belongings. Mobile phones and cameras are not allowed inside, like in many other Hindu pilgrimage sites, a practice, I neither understand nor support. It took them more than half hour to perform the rituals and we started off for the Ellora Caves.

As you enter the Ellora Cave complex, the majestic Kailasha Temple (cave no.16) welcomes you. The Kailasha temple is the largest of the rock-cut temples at the Ellora Caves. A megalith carved from a cliff face, it is considered one of the most remarkable cave temples in the world because of its size, architecture, and sculptural treatment. It has been called “the climax of the rock-cut phase of Indian architecture“. The top of the structure over the sanctuary is 107 ft above the level of the court below. Although the rock face slopes downwards from the rear of the temple to the front, archaeologists believe it was sculpted from a single rock. The complete temple complex gives an impression of a Chariot on the move.

The Kailasa Temple (Cave 16) is the largest of the 34 Brahminical, Buddhist, and Jain cave temples and monasteries known collectively as the Ellora Caves, ranging for over two kilometers along the sloping basalt cliff at the site. Most of the excavation of the temple is generally attributed to the eighth century Rashtrakuta King Krishna-I (756 – 773), with some elements completed later. The temple architecture shows traces of Pallava and Chalukya styles. The temple contains a number of relief and free-standing sculptures on a grand scale equal to the architecture, though only traces remain of the paintings which originally decorated it.

The Kailasa Temple is notable for its vertical excavation—carvers started at the top of the original rock and excavated downward. The traditional methods were rigidly followed by the master architect which could not have been achieved by excavating from the front.

“The local Marathi legend, Katha-Kalpataru by Krishna Yajnavalki (c. 1470-1535 CE) mentions that the local king suffered from a severe disease. His queen prayed to the god Ghrishneshwar (Shiva) at Elapura (Ellora) to cure her husband. She vowed to construct a temple if her wish was granted, and promised to observe a fast until she could see the shikhara (top) of this temple. After the king was cured, she requested him to build a temple immediately, but multiple architects declared that it would take months to build a temple complete with a shikhara. One architect named Kokasa assured the king that the queen would be able to see the shikhara of a temple within a week’s time. He started building the temple from the top, by carving a rock. He was able to finish the shikhara within a week’s time, enabling the queen to give up her fast. The temple was named Manikeshwar after the queen.”

The entrance to the temple courtyard features a low Gopuram. Most of the deities at the left of the entrance are Shaivite (followers of Shiva) while on the right-hand side the deities are Vaishnavites (followers of Vishnu). A two-storeyed gateway opens to reveal a U-shaped courtyard, edged by a columned arcade three storeys high. The arcades are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Some of the most famous sculptures are Shiva the ascetic, Shiva the dancer, Shiva being warned by Parvati about the demon Ravana and river goddess Ganges coming out of Shiva’s knotted hair.

Within the courtyard, there is a central shrine dedicated to Shiva, and an image of his mount Nandi (the sacred bull). The central shrine housing the lingam features a flat-roofed mandapa supported by 16 pillars, and a Dravidian shikhara. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous stone lingam at its heart – is carved with niches, plasters, windows as well as images of deities, maithuna (erotic male and female figures) and other figures. As is traditional in Shiva temples, Nandi sits on a porch in front of the central temple. The Nandi mandapa and main Shiva temple are each about 7 metres high, and built on two storeys. The lower storeys of the Nandi mandapa are both solid structures, decorated with elaborate illustrative carvings. The base of the temple has been carved to suggest that elephants are holding the structure aloft. A rock bridge connects the Nandi mandapa to the porch of the temple. The base of the temple hall features scenes from Mahabharata and Ramayana. There are five detached shrines in the temple premises; three of these are dedicated to the river goddesses: Ganga, Yamuna and Saraswati. There are two Dwajasthambs (pillars with flagstaff) in the courtyard. A notable sculpture is that of the Ravana attempting to lift Mount Kailasa.

After being awestruck by the magnitude of the marvelous Kailasha Temple, we proceeded to see the cave nos. 30 to 34, the Jain excavations. We were taken there by an electric van… the distance almost 2 km from the entrance gate. The cave number 32 is the biggest of the caves having a large hall with antechambers and the sculpture of Lord Mahavira. Its 2-storey cave with steep unequal stairs going up to reveal a serene room fit for meditation. There is a connecting narrow corridor to the cave no.34. We were sceptical of the unequal stairs and decided to climb down carefully, no point in injuring oneself at this ripe age.

The EV took us to the cave number 29, another massive cave structure, 46 metre wide and almost 6 metre high. It has a group of halls in the form of a cross with wide columns and a pair stone lion guarding the entrance. Everything in this cave is huge… Lord Siva with eight arms depicting the fearsome destroyer. Another colossal Shiva in Nataraj dance posture in the portico.   

We were dropped back to the main entrance gate from where we walked towards the cave nos. 10 to 1 but midway, Sumita decided to stay back because of exhaustion. These are primarily Buddhist excavation quite similar to the ones at Ajanta. We quickly reviewed these and left for the Bhadra Maruti Temple dedicated to Lord Hanuman.

At the Bhadra Maruti Temple, located in Khuldabad, the idol of Lord Hanuman is portrayed in a reclining or sleeping posture. It is one of only three places where Lord Hanuman is represented in a sleeping posture. The other two places are on the banks of Ganges at Triveni Sangam in Prayagraj, Uttar Pradesh and at Jam Sawali, Madhya Pradesh.

“According to a folklore, in ancient times the Khuldabad was known as Bhadravati and the ruler was a noble king named Bhadrasena, who was an ardent devotee of Lord Rama and used to sing songs in His praise. One day Lord Hanuman descended in the place, listening to the devotional songs sung in praise of his master, Lord Rama. He was mesmerized and without his knowledge took a reclining posture – called ‘Bhava-samadhi’ (yogic posture). King Bhadrasena, when he had finished his song, was astonished to find Hanuman in Samadhi before him. He requested Hanuman to reside there forever and bless his as well as Lord Rama’s devotees.”

Normally, I don’t go inside any religious places unless it has some architectural, historical significance but it had very little crowd and on Deepika’s insistence went inside. It’s a comparatively small temple, quite clean. Inside the temple it was clearly mentioned that photography is not allowed but there were people, not devotees…(they can’t be called devotees if they do not have the basic sense of discipline) rampantly ignoring/ disobeying the order and taking pictures as well as selfies. I felt disgusted at their callousness. Within the complex, there exists another small open temple dedicated to Shani Dev. Just outside the temple perimeter, some vendors were selling Puja Samagri including mustard oil in a small bottle, Deepika was about to buy when I noticed that only male members are allowed to do the puja. I do not know the reason behind it and will ask my learned friend Acharya Indrajit Ji but found it very patriarchal, especially in these modern times. Another interesting thing I learned recently that the Shani Dev idol is never covered from the top, it stands under the open sky irrespective of weather.

Sumita wanted to buy Paithani Saree and Himroo Shawl right from the time we decided to come to Aurangabad. These are speciality items of the region and well known even beyond the borders. While coming from the city, we had seen few shops selling such items. I went with them in the first shop but realised that it was not for me, I decided to sit in the car while my phone got charged, allowing me to take a quick power nap that got me recharged for the evening.

We visited the Bibi ka Maqbara in the evening after sunset, it was all lighted up making it look surreal and beautiful. I haven’t seen Taj Mahal at night… I thought if this looks so beautiful, then Taj would be magnificent majestic with its overpowering presence under skilful lighting arrangements.

“The Bibi Ka Maqbara is a tomb located in the city of Aurangabad, Maharashtra. It was commissioned in 1660 by the Mughal emperor Aurangzeb’s son, Prince Azam Shah in the memory of his loving mother Dilras Banu Begum also known as Rabia-ul-Durrani. It bears a striking resemblance to the Taj Mahal, the mausoleum of Aurangzeb’s mother, Mumtaz Mahal and that is why it is also called the Taj of the Deccan. The mausoleum was intended to rival the Taj Mahal, but the decline in architecture and proportions of the structure (both due to the severe budgetary constraints imposed by Aurangzeb) had resulted in a different and particular monument with its own significant beauty.”    

It was time for dinner by the time we finished exploring the monument… we were hungry too as the last meal we had was our breakfast. Initially, we thought of visiting Lok Seva Restaurant, a multi-cuisine restaurant serving both veg and non-veg dishes but Deepika and Sumita wanted to revisit Bhoj Thali Restaurant. We are living in democracy!!

This time we went to their second outlet, newer and well-appointed décor’ at Pushpa Nagari, Samarth Nagar. We knew what to expect and were ready to rejoice the dishes. I can’t say about my companions but I had a hearty dinner to my complete satisfaction even though it was vegetarian.

Later, coming back to our room, we played Rummy again and this time I won few hands. We slept late after a video chat with Ayush-Rajashree calling from Rome.

Freestyle Roaming

After breakfast, we checked out from the hotel but kept our luggage in the cloakroom of the hotel. We have kept the day for local sightseeing and shopping, though I doubted if we would get anything worthwhile to carry back to Delhi.

Our first destination was Soneri Mahal, located inside the campus of Dr. Bhim Rao Ambedkar University. The main building is constructed across the ridge of a hill and is surrounded by lush green trees, gardens, and fields. The palace was said to feature paintings made of real gold, thus giving it its name. The entrance is a solidly built structure with fortifications. The Hathikhana gate has ornate arches and is adorned with intricate carvings. From this gate, a central pathway leads to the main palace. On either side of the pathway are gardens and in the middle of this pathway is a large rectangular water reservoir.

Unfortunately, the palace was closed for renovation and I hope they will do justice to the gardens which were full of weeds and other unwanted foliage.

The next destination was Aurangabad Caves, quite similar to the Ajanta and Ellora caves but much more recent excavation. We had to climb more than 82 stairs to reach the caves and it killed me, I was panting like never before. When I looked at Deepika and Sumita, realized they were in no better condition. The caves are divided in three separate sections, we managed to see only one section and had no energy to climb again, moreover, the architecture and ornamentation of the caves are quite similar to Ajanta and Ellora and we had seen them all.

The Aurangabad Caves, are twelve rock-cut Buddhist shrines located on a hill running roughly east to west, close to the city. The Aurangabad Caves were dug out of comparatively soft basalt rock during the 6th and 7th century. The caves are divided into three separate groups, the “Western Group”, with Caves 1 to 5, the “Eastern Group”, with Caves 6 to 9, and a “Northern Cluster”, with the unfinished Caves 9 to 12. The carvings at the Aurangabad Caves are notable for including Hinayana style stupa, Mahayana art work and Vajrayana goddess. These caves are among those in India that show 1st millennium CE Buddhist artwork with goddesses such as Durga, and gods such as Ganesha besides numerous Buddhist deities of the Tantra tradition are also carved in these caves.

With that we completed our touristy exploration, Sumita now wanted to see the local markets, so we proceeded to Gul Mandi Market/ Nirala Bazaar. They are very similar to the markets of Lajpat Nagar, Ajmal Khan markets of Delhi, only scaled down substantially. Deepika bought a suit piece for gifting. Sumita couldn’t find anything interesting and after searching the net, decided to check Paithani Silk Store situated at the Connaught Shopping Market. While they went in, I stayed back in the car, my phone battery had drained out to only 30% and needed immediate recharging… the car charger was old and wasn’t charging the phone, so I went to a nearby shop and bought one. By the time the girls came, my phone showed 82% charged, so one can imagine how quickly they did their shopping!!

As per our tradition, we have one meal in a star rated hotel to complete our travel, so we went to Taj Vivanta for lunch and relaxed there till evening. Later, the cab dropped us to the hotel as the driver had other assignments promising that another cab would come to drop us at the airport. I knew that the owner, Suresh himself would be coming to collect the money and drop us at the airport. I found Suresh to be friendly and amiable person. On request from Deepika and Sumita took us to a shop specializing in Paithani Silk sarees from where Sumita bought a saree.

We reached the airport early and had a long waiting time, so took out the pack of cards and played Rummy till our boarding was announced. Sumita stayed overnight with us and went home in the morning. On a scale of 1 to 10, I would place this escapade at least 8.9 because of certain hiccups we faced which I avoided mentioning. We also skipped two historical places, Daulatabad Fort, because of steep climbing/ trekking of almost 4 km and Tomb of Aurangazeb, for obvious reasons.