Story of Lord Vithal at Pandarpur

Story of Lord Vithal at Pandarpur 

Pandharpur is known as the southern Kashi of India. This is a very famous and very holy place. It is visited by lakhs of devotees from all over the country. People from all religions and caste visit this shrine and the best part is all are allowed to enter the sanctum and touch the holy feet of the deity. Pandharpur is the only place in the country, where the devotee can touch the idol directly.

It is said that the devotee Pundalik founded Pandharpur. His father Janudeva and mother Satyavati lived in a thick forest called Dandirvan.
Pundalik was a devoted son but soon after his marriage he began to ill-treat his parents. To escape from their misery, the parents decided to go on a pilgrimage to Kashi.

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Haji Ali Dargah, Mumbai (Bombay)

The Haji Ali Dargah (Urdu: حاجی علی درگاہ , Marathi: हाजी अली दर्गा, हाजी अली दरगाह, Gujarati: હાજી અલી દરગાહ) is a mosque and dargah (tomb) located on an islet off the coast of Worli in Southern part of Mumbai. Lying as it does in the heart of the city, the dargah is one of the most recognizable landmarks of Mumbai.
This mosque houses the tomb of Hazarath Haji Ali, a Muslim Sufi saint. There are a number of stories related to the life of Hazarath Haji Ali and about how this tomb came to be built. One version claims that Haji Ali was a rich local merchant who gave up his worldly possessions after a visit to Mecca and took to meditating. Another story is that Haji Ali was an Afghan mystic who lived and meditated, on the island on which the shrine now stands. It is said that he left instructions that after death, his body should be put in a casket and should be cast off into the sea off the shore of what is today Pakistan. Legend has it that the casket with his body in it emerged in perfect condition in the place where the tomb is today. According to another story Haji Ali was on a pilgrimage to Mecca and he died on the way. His body was put into a casket and disposed off at sea. It is said that this casket floated back to Mumbai; though some believe that Haji Ali drowned at the spot where the dargah is today.

The dargah was built in 1431. The tomb is on a small islet just off the coast of Worli in Mumbai. It is about 500 yards from the coast, in the middle in the sea. There is a walkway that connects the shrine to the shore. This walkway is accessible only in low tide. During high tide and in the monsoons the shrine is completely cut off from the shore. The structure of the dargah is like other Muslim mausoleums in India. The structure is white with domes and minarets like the Mughal architecture. The dargah is a renowned pilgrimage site among the Muslims. Non-Muslims are also allowed to visit the dargah. Inside the dargah the tomb is covered with a red and green brocade chaddar(sheet) and an exquisite silver frame supports it. The tomb has a courtyard that normally has a festive atmosphere. The main hall has pillars on which the ninety-nine names of Allah are written. The whitewashed structure attracts visitors in large numbers on Thursdays and Fridays. This shrine is thronged by Hindu and Muslim devotees alike. 

Music Instruments in india

Veena

Veena, also known as Saraswati Veena is a musical instrument of South India. This classical instrument is basically a plucked stringed instrument that is used to accompany Carnatic music. It is essentially a member of the lute family. The Veena has been modified and refined over centuries and has been used since ancient times. The Saraswati Veena was created in the south of India during the 17th century. Given below is more information about the classical instrument Veena. 

The Veena is an instrument and is shown being played by Goddess Saraswati. That is how it derives the name "Saraswati Veena". Popular variations of the Veena are Rudra Veena, Mahanataka Veena, Vichitra Veena and Gottuvadhyam Veena. The Veena has been a very popular instrument with most singers and there are many famous Veena players who have played some great compositions. Some famous Veena players are listed below.

Famous Veena Players
Doraiswamy Iyengar
Jayanthi Kumaresh
Kalpakam Swaminathan
N. Muralikrishnan
N. Ravikiran
S. Balachander
S.V. Venkateshiah
Veena Dhanammal
Veena Venkatagiriappa
Veene Sheshanna

SITAR

The sitar (Hindi: सितार, Bengali: সেতার, Urdu: ستار, Persian: سه تار ) is a plucked stringed instrument predominantly used in Hindustani classical music Hindustani Sangeet, where it has been ubiquitous since the Middle Ages. It derives its resonance from sympathetic strings, a long hollow neck and a gourd resonating chamber.

   Sitar is of the most popular music instruments of North India. The Sitar has a long neck with twenty metal frets and six to seven main cords. Below the frets of Sitar are thirteen sympathetic strings which are tuned to the notes of the Raga. A gourd, which acts as a resonator for the strings is at the lower end of the neck of the Sitar. The frets are moved up and down to adjust the notes. Some famous

  Sitar players are Ustad Vilayat Khan, Pt. Ravishankar, Ustad Imrat Khan, Ustad Abdul Halim Zaffar Khan, Ustad Rais Khan and Pt Debu Chowdhury.

SAROD

 The sarod is a stringed musical instrument, used mainly in Indian classical music. Along with the sitar, it is the most popular and prominent instrument in Hindustani (northern Indian) classical music. The sarod is known for a deep, weighty, introspective sound (contrast with the sweet, overtone-rich texture of the sitar) with sympathetic strings that give it a resonant, reverberant quality. It is a fretless instrument able to produce the continuous slides between notes known as meend (glissandi), which are very important to Indian music.

Sarod has a small wooden body covered with skin and a fingerboard that is covered with steel. Sarod does not have a fret and has twenty-five strings of which fifteen are sympathetic strings. A metal gourd acts as a resonator. The strings are plucked with a triangular plectrum. Some notable exponents of Sarod are Ustad Ali Akbar Khan, Ustad Amjad Ali Khan, Pt. Buddhadev Das Gupta, Zarin Daruwalla and Brij Narayan.

The sarode family or granas or household as we know them today all have their roots in the Afghan rubab with a considerable Seni influence. About 300 years ago, three or four equestrians from Afghanistan migrated to India. One of them was Ghulam Bandegi Khan of Bangash, a soldier and rubab player. He trained his grandson, Ghulam Ali in the art of rubab playing. Ghulam Ali, who became court musician at Gwalior, also received musical training from seni rubab players who were direct descendants of Tansen the Afghan traveler. Ghulam Ali had 3 sons, Hussain Ali, Murad Ali and Nanhe Khan, all of whom were rubab players. Two of the prevalent Family today, from Nanhe Khan and Murad Ali Khan can be attributed directly to Ghulam Ali.

The Afghan rubab players were inducted into Tansen's musical training particularly through their discipleships with important Seni ustads, who were beenkars and dhrupadiyas. The Afghans naturally wanted to translate dhrupad into their instrument. Their rubab used to have catgut strings and the fingerboard was made of wood. The inherent lack of resonance did not facilitate the long glides that emulate the slow movements of vocal music. This led to the evolution of the sarode, which developed, on a host of vocabulary of plucking of different kinds (a la the Afghan rubab) for the right hand as well as the long glides for the left hand. But the finishing touches to the sarode were given by somebody belonging to a totally different family of music, as recently as 60 years ago - Ustad Allauddin Khan.

From Ghulam Ali's youngest son, Nanhe Khan descended Hafiz Ali. Hafiz Ali Khan's musical education took place under the tutelage of Ustad Wazir Khan of Rampur who was the leading representative of the Seni Beenkar family of music in the last century. Hafiz Ali's son Amjad Ali Khan is one of the most accomplished Sarode players of the present day and the family represents one of the oldest surviving sarode family. The Gwalior family of music is also referred to as Seni-Bangash today.

SARANGI

Standard Tuning - The most common approach to tuning the sarangi is shown below:

There are a number of different sets of strings.  There are three playing strings, one dronerag.string and two sets of sympathetic strings.  The tuning of Sa, lower Pa, and low Sa, would be the most basic for the main playing strings.  The drone string will usually be tuned to Sa, but even Ma or Pa is frequently found.  The tunings of the sympathetic strings are so numerous that it is impractical to even attempt to describe them all.  However, one normal approach is to tune one bank of the side sympathetics chromatically, the other bank of side strings to the rag, while the upper sympathetics may also be tuned to the notes of the rag.

  Sarangi is one of the most popular and oldest bowed instruments in India. The body of Sarangi is hollow and made of teak wood adorned with ivory inlays. Sarangi has forty strings of which thirty seven are sympathetic. The Sarangi is held in a vertical position and played with a bow. To play the Sarangi one has to press the fingernails of the left hand against the strings. Famous Sarangi maestros are Rehman Bakhs, Pt Ram Narayan, Ghulam Sabir and Ustad Sultan Khan.

Flute

Flute is a simple cylindrical tube of uniform bore and associated with Indian music since time immemorial. Flutes vary in size. Flute is held horizontally and is inclined downwards when it is played. To produce sound or melody one has to cover the finger holes with the fingers of the left and right hand. Variations in pitch are produced by altering the effective length of the air column. Notable flute exponents are Pt Pannalal Ghosh and Pt Hari Prashad Chaurasia.

Shehnai

Shehnai is a traditional musical instrument, associated with auspicious occasions like marriages and temple processions. Shehnai is a double reed instrument with a tapering bore which progressively increases towards the lower side. The Shehnai has finger-holes to produce semi, quarter and micro-tones. Ustad Bismillah Khan is the unrivalled maestro of the Shehnai.

Tabla

The most popular musical instrument used in North India is the Tabla. The Tabla consists of a pair of drums- the Tabla and the Bayan. The Tabla is made of wood and whereas its head is made of stretched animal skin. Finer tuning of Tabla is done by striking the rim of the Tabla with a small hammer. The Bayan is the bass drum and is usually made of metal with a stretched skin head. Both drums have a black spot in the center made of manganese or iron dust.

Pakhawaj

It is believed that the Tabla was derived from Pakhawaj. Pakhawaj usually accompanies Dhrupad style of singing. Pakhawaj is a barrel-shaped drum with two heads which are made of layers of skin. The heads of Pakhawaj are expanded by leather straps which run along the sides of the body over small cylindrical wooden blocks that are used for tuning.

Harmonium

The harmonium is a traditional and popular musical instrument of India. The harmonium has a keyboard of over two and one-half octaves and works on a system of bellows. The keyboard is played with the right hand while the left hand is used to operate the bellows. Harmonium is more popular in North India than in the South.

Jaltarangam

Jaltarangam consists of a set of eighteen porcelain cups of varying sizes. The cups are arranged in a semi-circle before the performer, in decreasing order of size. The largest cup is to the left of the performer whereas the smallest to his right. Water is poured into the cups and the pitch is changed by adjusting the amount of water in the cup. The cups are struck with two thin bamboo sticks.

Mridangam

The mridangam is one of the most popular classical instruments of South India. Mridangam accompanies vocal, instrumental and dance performances. The present day mridangam is made of a single block of wood. It is a barrel-shaped double-headed drum, the right head being smaller than the left. The two heads are made of layers of skin. The mridangam is played with hands, palms and fingers.

Ghatam

The Ghatam is one oldest percussion instruments of South India. The Ghatam is a mud pan with a narrow mouth. From its mouth, it slopes outwards to form a ridge. Ghatam is made mainly of clay baked with brass or copper filings with a small amount of iron filings. The Ghatam produces fast rhythmic patterns. Ghatam is generally a secondary percussion instrument accompanying mridangam.

Maharashtra Traditional Costume

It can be said that costumes of Maharashtra truly reflect the identity of a typical Maharashtrian culture. A nine yard sari is a traditional costume of its women, and dhoti and shirt is the traditional costume of its men folk. Maharashtra has a vast textile history, which has contributed to its rich variety of costumes. Pune, Paithan and Kolhapur are some of the ideal places to shop for typical Maharashtrian clothing.

Tirupati - Heaven of Tranquility

Tirupati

 Heaven of Tranquility
 

Tranquillity (also spelled tranquility) is the quality of calm experienced in places with mainly natural features and activities, free from disturbance from man-made areas.

 References to Tiruvenkatam abound in early Tamil literature(Tolkappiam and Silappadikaram)

Tirupati/Tirumala is a pilgrimage center of great significance and is visited by hundreds of thousands of pilgrims throughout the year.Tirupati balaji is also known as Venkateswara, or Srinivasa or Vishnu for many year's and it was located on a range of the Eastern Ghats, called the Seven Hills.It is an ancient temple and its glory has been sung by the saints of the yesteryears.

The richest temple in India, this temple is a vibrant cultural and philanthropic institution with a grand history spanning several centuries.  

The best time to vist tirupati in October to March

How to reach Tirupati Temple:

BY AIR:- Tirupati is 15 kms from the city centre and the Indian Airlines office is situated at the Hotel Vishnupriya, opposite the central bus terminal. East - West Airlines has four flights a week to Hyderabad (Saturday, Sunday, Tuesday and Thursday) and other flights to and from Chennai.

BY TRAIN:-There are two trains that connect Tirupati with Chennai - the Saptagiri Express and the Tirupati - Madras Mail. 

BY BUS:- The government bus stand, APSRTC Central bus station is about 2 kms away from the railway station. Express buses are available to and from Chennai to Tirupati. From Tirupati you can take direct buses to Hyderabad, Tiruchirappalli, Madurai, Vellore and Vijayawada and Bangalore.

Bhakt Darshan

For tourist purpose only the government had provided ahe Dharamshalas, located near the temple complex at cheap rate

The famous hotels and lodges of the town are New Bhimas House, Bhimas Paradise, The Bhimas Hotel, Indira Rest House, Vasantha Vihar Lodge, Gopi Krishna Deluxe Hotel, Hotel Vishnu Priya, Hotel Mayura, Oorvasi International Hotel, Raghunadha etc.

Life Story of Shirdi Sai Baba

 

Shirdi is located in Ahmednagar district of Maharashtra in Western India. Shirdi extends latitude 19°45 N and longitude 74°25 E..

Shirdi is quite close to the holy city of Nashik with just 90kms away. It takes about 6hrs to reach Saibaba of Shirdi from Mumbai. Pune is about 206kms from Shirdi.

Here is brief distance chart of Shirdi from some important cities of Maharashtra:
Mumbai 266 kms
Nasik 90 kms
Hyderabad 610 kms
Surat 373 kms
Nagpur 618 kms
Jalgaon 233 kms
Ahmednagar 83 kms
Aurangabad 144 kms
Delhi 1166 kms
Pune 207 kms
Sholapur 312 kms

Sai Baba of Shirdi (Unknown – October 15, 1918), also known as Shirdi Sai Baba (Marathi: शिरडीचे साईबाबा, Hindi: शिरडीके साईबाबा, Telugu: షిర్డీ సాయి బాబా), was an Indian guru, yogi and fakir who is regarded by his Hindu and Muslim followers as a saint. Some of his Hindu devotees believe that he was an incarnation of ShivaDattatreya. Many devotees believe that he was a Sadguru. There are many stories and eyewitness accounts of miracles he performed. He is a well-known figure in many parts of the world, but especially in India, where he is much revered.

Life Story of Shirdi Sai Baba

 

On September 29, 1990

In the former Nizam's [Maharaj] dominion, there was a remote village called Pathri. In that village there were a couple named Gangabhavadya and Devagiriamma. They were grieving over the lack of children. In answer to their prayers, a son was born on September 28, 1835. Today is the anniversary of that day. This child was Sai Baba. As Gangabhavadya had developed a feeling of total detachment and renunciation, he decided to retire to a forest regardless of the child. Devagiriamma, who looked upon her husband as God, decided to follow the husband leaving the child.

Khajuraho - Temples of Love in India

Khajuraho - Temples of Love in India

The name Khajuraho, ancient "Kharjuravahaka", is derived from the Sanskritkharjur meaning date palm. word

The Khajuraho Group of Monuments in Khajuraho (Hindi: खजुराहो), a town in the Indian state of Madhya Pradesh, located in Chhatarpur District, about 620 kilometres (385 mi) southeast of New Delhi, are one of the most popular tourist destinations in India. Khajuraho has the largest group of medieval HinduJain temples, famous for their erotic sculpture. The Khajuraho group of monuments has been listed as a UNESCO World Heritage Site and , and is considered to be one of the "seven wonders" of India.

Khajuraho derives its name from the Khajur tree (the date palm tree) which abound a plenty in the region.The construction of these temples began in the reign of King Yasovarman. Eighty five of these temples were built of which around twenty two survive today. These temples are divided into three geographical blocks: the western, eastern and the southern. The western block is the biggest and the richest in artistry. 
Khajuraho Temples are the most graphic, erotic and sensuous sculptures of India, the world has ever known. But Khajuraho has not received the attention it deserves for its significant contribution to the religious art of India – there are literally hundreds of exquisite images on the interior and exterior walls of the shrines. 
Architecturally these temples are unique. While each temple in Khajuraho has a distinct plan and design, several features are common to all. They are all built on high platforms, several metres off the ground, either in granite or a combination of light sandstone and granite. Each of these temples has an entrance hall or mandapa, and a sanctum sanctorum or garbha griha. The roofs of these various sections have a distinct form. The porch and hall have pyramidal roofs made of several horizontal layers. The inner sanctum's roof is a conical tower - a colossal pile of stone (often 30m high) made of an arrangement of miniature towers called shikharas. 
Major Groups of Khajuraho Temples
For the purpose of convenience, the village of Khajuraho has been divided into three directional areas in which are located the major groups of temples .  
1- Western Group Temples
These groups of Khajuraho temples are entirely Hindu, and constitute some of the finest examples of Chandela art at its peak. The largest being the Kandhariya Mahadev, followed by a granite temple - Chaunsath Yogini. The Chitragupta Temple is dedicated to the Sun God, while the Vishwanath Temple sports a three-headed image of Brahma – the Creator of the Universe. The Lakshmana Temple is superbly decorated, while the Devi Jagdambi Temple is dedicated to Goddess Kali. Other temples in the Western Group include the Varaha Temple with a nine-feet high boar-incarnation of Lord Vishnu, the Matangeshwara Temple with a eight-feet high lingam, and the Brahma Temple.
2- Eastern Group Temples
This group of Khajuraho tempels comprises of two historic Jain temples – the Adinath Temple lavishly embellished with sculpted figures, and the Parsvanath Temple, the largest Jain temple, sculpted with charming detail. There are other shrines such as the Vamana Temple with apsaras in sensuous poses, and the Javari Temple that has a richly-carved doorway.
3-Southern Group
This group has two impressive Khajuraho temples, mainly belonging to the 12th century – the Chaturbhuja Temple, with a massive, carved image of Vishnu, and the Duladeo Temple, one of the last temples of the Chandela era, dedicated to Lord Shiva.

Khajuraho Hotels

5 star hotels
Jass Trident
Hotel Chandela

3 star hotel
Hotel Khajuraho Ashok
Usha Bundela
Kairali Ayurvedic Health Spa

Tajmahal-The Symbol Of Love

The Taj Mahal is an immense mausoleum of white marble, built between 1631 and 1648 by order of the Mughal emperor Shah Jahan in memory of his favourite wife. Taj Mahal means Crown Palace; one of the wife's names was Mumtaz Mahal, Ornament of the Palace. The Taj is one of the most well preserved and architecturally beautiful tombs in the world, one of the masterpieces of Indian Muslim architecture, and one of the great sites of the world's heritage.  

The Taj Mahal stands serene and perfect in its garden of cypresses and reflecting pools on the banks of the River Yamuna. Its pure white marble shimmers silvery white in the moonlight, glows softly pink at dawn, and at close of day reflects the fiery tints of the setting sun. The Taj in all its timeless beauty is still the inspiration of poets and painters, writers and photographers. And lovers still meet here in the moonlight in the shadow of the world's most famous monument to love. Shahjehan built the Taj in memory of Mumtaz Mahal who died giving birth to their 14th child. No cost was spared to make it the most beautiful monument the world had ever seen. White marble and red sandstone, silver and gold, carnelian and jasper, moonstone and jade, lapis lazuli and coral were fashioned by 20, 000 skilled workers to make the emperor's dream a reality. It took 22 years to complete - a symbol of eternal love where Shahjehan too lies buried, re-united at last with his beloved Mumtaz.
Set at the north end of a formal Persian garden with water courses, paved walkways and rows of dark cypresses, the Taj rises on a high red sandstone base topped by a huge white marble terrace, its flawless double dome flanked by four tapering minarets. Within lies the jewel-inlaid cenotaph of the queen, and a little to one side - the only asymmetrical feature in the Taj - the richly decorated casket of the emperor. Both are enclosed by an octagonal screen of finely pierced marble. So perfect are the proportions of the Taj, so exquisite its workmanship, that it has been described as having been designed by giants and finished by jewellers.
The legend, the poetry and the romance that shroud was described by Rabindranath Tagore as "a teardrop on the cheek of time". Taj Mahal means "Crown Palace" and is in fact the most well preserved and architecturally beautiful tomb in the world. It is best described by the English poet, Sir Edwin Arnold, as "Not a piece of architecture, as other buildings are, but the proud passions of an emperor's love wrought in living stones." It is a celebration of woman built in marble and that's the way to appreciate it. Taj Mahal stands on the bank of River Yamuna, which otherwise serves as a wide moat defending the Great Red Fort of Agra, the center of the Mughal emperors until they moved their capital to Delhi in 1637.

The Story of a Taj Mahal

According to popular legend, Shah Jahan decided to construct another Taj Mahal in black marble on the other side of the river Yamuna and to connect the two by a bridge. This structure was intended to be his own tomb. It has been recorded almost contemporarily by a French merchant Tavernier : "Shah Jehan began to build his own tomb on the other side of the river but the war with his sons interrupted his plan and Aurangzeb who reigns at present is not disposed to complete it".
Later gazetteers and guide books mention this story almost invariably. The irregular position of the cenotaph of Shah Jahan as compared to that of Mumtaz Mahal which occupies the exact centre of the hall is said to be proof of this assumption. The Mehtab Burj and the wall adjoining it opposite the Taj Mahal are generally said to be the foundations and remains of the proposed plan.
Many scholars, however, believe that this idea belongs to fiction rather than history. The traces which are identified as the foundations of the second Taj Mahal are actually the enclosing wall of a garden founded by Babar. The irregular position of Shah Jahan's cenotaph in comparison to Mumtaz Mahal's, is similar to that at the tomb of Itmad-ud-Daulah, and thus should not be of any striking significance. Besides, according to Islamic law, bodies are buried with their faces towards Mecca and legs towards the south, and the husband is placed on the right hand side of his wife. The interpretation that the cenotaph of Shah Jahan was not meant to be placed here appears to be superfluous.

Languages in India with MAP

There are 1652 different languages in India and 350 are as major languages. 

Most of the languages of India belong to two families, Aryan and Dravidian. Languages spoken in the five states of south India belong to the Dravidian family and most of the
languages spoken in the north are of Aryan family. The general script of the Aryan languages is different from the general script of the Dravidian languages. The Indians also distinguish between the general north Indian accent and general south Indian accent. Along with these two main language families, there are others from Sino-Mongoloid family spoken in the East India.
Indian literature dates back several millennia to the hymns of the Vedic Aryans. The oral tradition nurtured classical literature, and produced great works of philosophy and religious doctrine. It also accounted for compilations of anecdotes like the Panchatantra and the Jataka tales, as well as epics like the Ramayana and the Mahabharata. In southern India, the creative energies of the Tamil poets found expression in the great works of Sangam literature. The epic Tirukkural by Tiruvalluvar is a masterpiece of this age. In the north, dramatists like Kalidasa and Bhasa produced great dramas in Sanskrit.
The Constitution has recognized Hindi, in the Devanagiri script, as India's official language. However English continues to be the working language. For many educated Indians, English is virtually their first language, and for a great number of Indians who are multi-lingual, it will probably be the second. The regional languages have been recognized as official languages of the States. In many cases, the state boundaries are drawn along linguistic lines. Listed below are the 22 languages officially recognized by the Indian Constitution. Four of them, namely Bodo, Dogri, Maithili and Santhali, have been recently added to the eighth schedule.

STATES AND CAPITAL OF INDIA

STATES AND CAPITAL

Topest Historical Places in India

 Topest Historical Places in India

India is a diverse country steeped in history. Its past has seen a melting pot of different religions, rulers and empires -- all of which have left their mark on the countryside. Many historical places in India are listed as World Heritage sites due to their cultural importance.
Visit these popular historical places in India and take a trip back in time to ancient India. You'll marvel at the architecture of what are some of the most stunning and captivating historical attractions that India has to offer.

1. The Taj Mahal

 

The Taj Mahal looms fairytale-like from the banks of the Yamuna River. It's actually a tomb that contains the body of Mumtaz Mahal – the wife of Mughal emperor Shah Jahan. He had it built as an ode to his love for her. Dating back to 1630 AD, the Taj Mahal is made out of marble and took 22 years and 20,000 workers to complete. One of the most captivating things about it is the way its color appears to gradually alter in the changing light of the day.

2. Hampi

 

Now a laid back village, Hampi was once the last capital of Vijayanagar, one of the greatest Hindu empires in India’s history. It has some extremely captivating ruins, intriguingly intermingled with large boulders that rear up all over the landscape. The ruins, which date back to the 14th century, stretch for just over 25 kilometers (10 miles) and comprise more than 500 monuments. An incredible energy can be felt at this ancient place.

3. Khajuraho Temples

 

If you want proof that the Kama Sutra originated in India, Khajuraho is the place to see. Erotica abounds here with over 20 temples devoted to sexuality and sex. The temples are best known for their erotic sculptures. However, more than that, they show a celebration of love, life and worship. They also provide an uninhibited peek into ancient Hindu faith and Tantric practices. No where else will you find such unique temples with meticulously detailed carvings.

4. Ajanta and Ellora Caves

Astonishingly carved into hillside rock in the middle of nowhere are the Ajanta and Ellora caves. There are 34 caves at Ellora dating from between the 6th and 11th centuries AD, and 29 caves at Ajanta dating back to between the 2nd century BC and 6th century AD. While the Ajanta caves are rich in paintings and sculpture, the Ellora caves are renowned for their extraordinary architecture. The most incredible thing about these caves is that they were crafted by hand, with only a hammer and chisel.

5. Fatehpur Sikri

A city that was once the proud capital of the Mughal Empire in the 16th century, Fatehpur Sikri now stands deserted as a well preserved ghost town. It was abandoned by its occupants after only 15 years due to insufficient water supply. Constructed out of red sandstone, Fatehpur Sikri is full of regal palaces and courtyards. You can almost feel yourself being transported back to medieval times here.

CLASSICAL DANCE OF INDIA

CLASSICAL DANCE OF INDIA

Indian classical dance is a relatively new umbrella term for various codified art forms rooted in Natya, the sacred Hindu musical theatre styles, whose theory can be traced back to the Natya Shastra of Bharata Muni
The classical dance forms which have developed, have set rules that have been followed traditionally over the years. On the basic model, various gurus incorporate their own imaginative innovations, leading to various schools within a particular dance form. Apart from the gracious hand & leg postures & movements, the dancers have to acquire the skill of portraying various emotions faithfully in each expression on their face & each fluid movement of their hand, legs & in fact their whole body. Every part conveys some meaning in their graceful motion.

Kathak - UP Classical Dance

 Kathak - UP Classical Dance

Kathak (Hindi: कथक, Urdu: کتھک) is one of the eight forms of Indian classical dances, originated from northern India.
Kathak is the major classical dance form of northern India.  The word kathak means "to tell a story".  It is derived from the dance dramas of ancient India.  When the patronage shifted from the temples to the royal court, there was a change in the overall emphasis.  The emphasis shifted from the telling of religious stories to one of entertainment.  Today, the story-telling aspect has been downgraded and the dance is primarily an abstract exploration of rhythm and movement.

Performance of the Kathak Dancers

Kathak can be divided into two main parts, namely nritta and abhinaya on the one hand, and tandava and lasya on the other. The nritta portions are presented in a sequence beginning with the traditional entry, known as the amada. Through the amada, the dancer makes his entry into the stage and the invocations to the Hindu god Ganesa were changed into the salami or the court salutation.

List of Famous Kathak Classical Indian Dancers

• Sitara Devi (Kathak)
• Shovana Narayan (Kathak)
• Pandit Birju Maharaj (Kathak) 

Kathakali - Malayali Classical Dance

Kathakali - Malayali Classical Dance

Kathakali is a highly stylized classical Indian dance-drama noted for its attractive make-up of characters, their elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion.
Kathakali means a story play or a dance drama. Katha means story. Belonging to the South-Western coastal state of Kerala, Kathakali is primarily a dance drama form and is extremely colourful with billowing costumes, flowing scarves, ornaments and crowns. The dancers use a specific type of symbolic makeup to portray various roles which are character-types rather than individual characters. Various qualities, human, godlike, demonic, etc., are all represented through fantastic make-up and costumes.

Origin of Kathakali

Kathakali as it is known today is not more than three to four hundred years old, even though its actual roots can be traced to at least 1500 years earlier. The art of Kathakali incorporates the characteristic features of many of the dances and dramas and it is safe to conclude that Kathakali evolved out of the earlier dance forms like the Chakiayarkoothu and Koodiyattom in Kerala, various ritual dances associated with the cult of Bhagavathy, such as the Mudiyattu, thiyyattom and Theyyattom, the socio-religious and material dances such as the Sastrakali and Ezhamattukali and the lately evolved dance - dramas such as the Krishnanattom and Ramanattom.

Indian Kathakali Dancers

One of the great living performers this art today in Kerala is Guru Ramankutty who both teaches and performs all over the world with his troupe. Another well known Guru and practitioner of this style in Bombay is Guru Gopalakrishnan.

Sattriya - Assamese Classical Dance

 Sattriya - Assamese Classical Dance

Sattriya, or Sattriya Nritya, is one among eight principal classical Indian dance traditions. Whereas some of the other traditions have been revived in the recent past, Sattriya has remained a living tradition since its creation by the Assamese Vaishnav saint Srimanta Sankardeva, in 15th century Assam
The Sattriya dance of Assam is a classical form of dance which is highly devotional in character with the spiritual aspect being predominant.
The word Sattriya is derived from Sattra which means monastery. Since the dance developed and grew within the Satras, it is named after these religious institutions. Specifically, it emerges from a 500 year old comprehensive theatre tradition nurtured in the Vaishnav Monasteries of Assam.
In the mid 15th century, Srimanta Shankardev, a poet and religious leader united the various sects of Assam through his teachings and established a universal social brotherhood of Neo-Vaishnavism through congregational prayer which included the music, the dance and the drama based on the life of Lord Krishna. The monks who lived in these Sattras performed these dance dramas as a votive offering to their Lord.
The popular artists of the Sattriya dance are Apsara Nritya, Behar Nritya, Chali Nritya, Dasavatara Nritya, Gosai Prabesh, Jhumura, Nadu Bhangi, Manchok Nritya, Bar prabesha, Natua Nritya, Gopi Pravesha, Rasa Nritya, Rajaghariya Chali Nritya, and Sutradhara.

Mohiniaattam - Malayali Classical Dance

 Mohiniaattam - Malayali Classical Dance

Mohiniyattam, also spelled Mohiniattam (Malayalam: മോഹിനിയാട്ടം), is a traditional South Indian dance from Kerala, one of the eight Indian classical dance forms. It is considered a very graceful dance meant to be performed as a solo recital by women.
Mohiniyattam is a dance form said to have originated in Kerala. It is closely related to Bharathanatyam of Tamil Nadu, which was originally called 'Dasiyattam'. Originated as the temple dance performed by Devadasis, it portrays feminine love in its myriad forms - carnal, devotional and maternal- with accent more on Lasya and Bhava. In the main items Cholkettu, Padavarnam and Padam, Mudras and facial expressions are more important than the rhythmic steps. Costumes and ornaments of Mohiniyattam have much in common with female characters of Koodiyattam and Kathakali.

History

Kuchipudi originated from a hamlet in Andhra Pradesh, called Kuchelapuri or Kuchelapuram, in the 3rd century B.C. This dance style, like many other classical dance forms, was initially presented at temples and was performed by the Brahmin men (known as Bhagavathalu). These dances were meant to prove as offerings to the deities and women were never allowed to participate in the dance group. The very first group of Brahmin performers (Bhagavathalu) was formed in 1502 A.D.

Manipuri - Manipuri Classical Dance

 Manipuri - Manipuri Classical Dance

Manipuri is the classical dance from the north East Indian state of Manipur.  Its themes are devotional and are performed on religious occasions and in temples throughout the area.  It is even often referred to as "sankirtan".  The term Manipuri actually covers a number of dance forms from the region.  The most important being the Ras Lila and the Pung Cholom.

Origin of Manipuri Dance

In the quiet north-eastern corner of India, where the majestic Himalayas coils toward the sea, the brilliant valley of Manipur, the jeweled city lies with its sheer grace and charm. Manipur is the home of the Meities, the artistic race who since ages have redefined their lifestyle amidst the expression and appreciation of art and indeed through the grace of their Nritya and lasya. The Meities love to dance. All their delights and grieves, desires, hopes and aspirations, are interpreted through their dance. Their lovely, cadenced yet carefully-disciplined movements create their own vivid imagery, while bringing out the unedited realisms of life. It was against this background Manipuri dance evolved and later developed as a distinct dance form in India.

Kuchipudi - Telugu Classical dance

Kuchipudi - Telugu Classical dance

The famous dance form of Kuchipudi originated in the Kuchipudi village located in Krishna District of Andhra Pradesh. It is a dance drama tradition originally performed by men only. It is yet another precious pearl in the majestic crown of India's rich culture. The Kuchipudu dance form is famous for its grace, elegance and charm. Kuchipudi was nurtured, protected and refined by the great artists, who are responsible for its present form.

Make-up and costumes are the unique characteristics of Kuchipudi dance form. Apart from the make-up, the female characters also wear ornaments and jewelry, such as Rakudi (head ornament), Chandra Vanki (arm ornament), Adda Bhasa and Kasina Sara (neck ornament), and a long plait decorated with flowers and jewelry. Most of the ornaments worn by the artists are made of a light weight wood, called Boorugu.

Odissi - Oriya Classical dance

 Odissi - Oriya Classical dance

Odissi, the essence of the state of Orissa. Orissa is the highly inspired, impassioned, ecstatic and sensuous form of dance. Odissi was performed in the temples of Orissa as a religious rite and offering by the Devadasis known  as 'Maharis'.  Odissi is a rich and generous cultural gift of the land, well known for its dedication to religion and arts and known in the past as 'Kalinga Desha'. The people of this land raised magnificent temples, each erected as an  act of religious faith and embellished by the skills of master craftsmen, sculptures and architects. These temples became the centre of art and culture and it was here that Odissi, one of  India's scintillating dance-forms was born, nurtured and nourished.
The Odissi (Orissi) dance is the Indian classical dance from the Eastern state of Odissa. It has a long, yet broken tradition. Although dance in Odissa may be traced back more than 2000 years, it was brought to near extinction during the colonial period. Therefore, modern Odissi dance is a reconstruction.

Bharatanatyam - Tamil Classical Dance

 Bharatanatyam - Tamil Classical Dance

Bharatnatyam is one of the most popular classical Indian dances. Bharatnatyam is more popular in South Indian states of Tamil Nadu and Karnataka. Bharatnatyam dance is almost 2,000 years old. It is believed that Bharatnatyam was revealed by Lord Brahma to Bharata, a famous sage who then codified this sacred dance in a Sanskrit text called the Natya Shastra. The Natya Shastra is one of the fundamental treatises on Indian drama and aesthetics. Natya Shastra divides dance into two distinct forms- nritta, and nritya. In nritta, focus is on mastery of abstract hand gestures and movements, whereas the dancer employs a complex system of hand signals and body language to depict emotional expressions in nritya.

This is the most famous and practiced dance form in the the state of Tamil Nadu that has fascinated one and all. This is one of the oldest forms of performing arts not only in south India but in the entire country. You will find to your amazement that Bharatanatyam is not just a simple dance that is performed just for the sake of entertainment but it is an amalgamation of many different essences. Few of them are Bhava(expression), Tala (rhythm), and Natyam (dance). Take a close look at the flow of the body and discover new definitions for expressions and rhythm. Though the exact time of origin of Bharatanatyam is not known, but reference even in the Natya Shastra written by the great sage Bharata, confirms it as one of the oldest forms of dance. Along the path of its development it has gone through quite a few changes. Earlier, Bharatanatyam was considered the practice of only devdasis in the temples of south India and was not considered a reputed profession. But then it was taken up by Rukmini devi who learned Bharatanatyam from these devdasis, practiced it and perfected this art. She then started performing this divine art form in public and slowly and gradually, Bharatnatyam started gaining recognition and number of people who wished to get trained in this increased drastically. Bharatanatyam was no longer considered the profession of devdasis. It had now become one of the most sought after dance form in the world. Learn the art in one of the many institutes that specialize in the area of Performing arts like the Kalakshetra, which is the most famous of all institutes.