Mysore Royal Palace ( 1399)

Mysore Royal Palace ( 1399)

      Welcome to the Royal Splendour of Mysuru, the home of the Wodyers who ruled Mysuru for more than 500 years, known as the City of Palaces, Mysuru retains a quaint charm, that never fails to enchant. Mysuru is a popular tourist destination, offering several attractions ranging from the royal splendour of Mysuru City and its fabulous Dasara Festival to exquisite temples, pilgrimage centres and scenic spots.  The royal lineage can be traced back to 1399, when Yaduraya, a royal prince of the Yadava dynasty, was on a pilgrimage visit to Chamundi Temple with his brother Vijaya,.  They took shelter in the Kodi Bhairava temple on the banks of Doddakere, the ‘Big Lake’.  There they came to learn that the local royal family was in great danger.  Their ruler had just died, and Maranayaka, a neighboring chief, was threatening the queen.  He wanted her daughter’s hand in marriage.  The queen and the princess were in very vulnerable position.  With the help of Jangama (Wadiyar) killed Maranayaka and married the daughter of Chamaraja and succeeded to the Mysuru principality.  And so the Wodyer dynasty was established – a succession of 25 kings who ruled until 1947, when Mysuru became part of the Indian Union.  The Wadiyars were great patrons of the arts, and the finest craftsmen in the state were employed to work on the Palaces.  Wadiyar period was a new era of prose literature as an independent literary medium and it was in other words a prose writing in the form of the history of the Mysuru rulers.  Chamaraja Wadiyar encouraged Kannada scholars like Ramachandra, author of Hayasaara Samuchchaya.

Designed by the English Architect, Henry Irwin, the Mysuru Palace dominates the skyline of Mysuru. A three storied structure in the Indo-Saracenic style built between 1897-1912, the palace has beautifully designed square towers at cardinal points, covered with domes. The Durbar Hall with its ornate ceiling and sculpted pillars and the Kalyanamantapa (Marriage Pavilion) with its glazed tiled flooring and stained glass, domed ceiling are worth noting. Intricately carved doors, the golden howdah (elephant seat), paintings as well as the fabulous, jewel encrusted golden throne (displayed during Dasara) are amongst the palace's other treasures. The walled palace complex houses the Residential Museum (incorporating some of the Palace's living quarters),temples and shrines including the Shwetha Varahaswamy temple. The palace is illuminated on Sundays, Public Holidays as well as during the Dasara Celebrations when 97,000 electric bulbs are used to illuminate it.

About Mysuru City

Mysuru is the second biggest city in the state of Karnataka. It lies 140 kms from the State headquarters, Bangalore.
It is the erstwhile capital of the Mysuru Maharajas, who ruled Mysuru State from this royal city, for several centuries. Thanks to royal patronage, artists, writers and craftsmen have flourished in Mysuru, making it the cultural epicentre of Karnataka.

Mysuru still retains an aura of old world charm and much of the city’s architectural heritage remains intact. The city’s proximity to famous wild life sanctuaries and its very own zoo make it a popular destination for wildlife enthusiasts from across the world.

Brief History of Mysuru

Mysuru city was the capital of the former royal Mysuru province. The word Mysuru expands to 'Mahishasurana Ooru', which means the town of Mahishasura. According to Hindu mythology Mahishasura was a demon king who was killed by the warrior goddess Chamundeshwari on Chamundi hill near Mysuru. Ever since, the people of Mysuru have worshipped Chamundeshwari as their tutelary deity. 

The Wadiyar royal family ruled Mysuru since the 14th century except for a short period of 40 years in the 18th century when Hyder Ali and Tipu Sultan were the rulers. Hyder Ali was a general in the army of the Wadiyar king who rose to become the ruler of Mysuru. His son Tipu Sultan followed in his footsteps expanding Mysuru’s territories in a series of daring battles, until he was killed when fighting the British.
Following his death in 1799 the kingdom again returned to the Wadiyar family who ruled Mysuru till monarchy was abolished in 1947, when India gained independence.  

Fast Facts

Population: 22,81,653
Languages: Kannada, English  and Hindi
Best Time to Visit: October to March
Temperature in summer: Max 34° C Min 21°C
Temperature in winter: Max 30°C Min 12°C
Rainfall yearly average: 80 cms
Clothing summer: Cottons
Clothing winter: Cottons and light woollens at night
STD Code: 0821
ISD Code: + 91

Climate 

India is not the first location you might consider for a cooler summer holiday, but, because of its altitude, Mysuru enjoys wonderful weather all year round.
The highest temperatures are from May to June (23-35°C), and even at it coolest, the temperature rarely drops below 16°C.
The rainy season is from June to August, but even then it seldom rains all day.

TOURIST INFORMATION CENTRES:

Tourist Information Center - KFC building, 48 Church street, Bangalore, Karnataka, India. Tel: (91) - 080 - 25585417
Karnataka Tourism Information Centre - Airport Road - Bangalore
Commissioner of Tourism - Govt. of Karnataka. # 49 Khanija Bhavan, IInd floor, Race Course Road, Bangalore. Ph: 080 - 22352828.
Asst. Director Regional Tourist office - Old Exhibition Building. Irvin Road, Mysuru. Ph: 0821 - 2422096 Fax:  2421833

Regional Tourist Office - 

Old Exhibition Road, Mysuru, Karnataka, India. Tel: (91) - 0821-2422096
Karnataka State Tourism Development Corporation -
Yatrinivas Buildings, J.L.B Road Mysuru, Karnataka, India. Tel: (91) - 0821 - 2423652.

History of Mysuru Palace

A testament to the irrepressible spirit of the people of Mysuru and their kings, the Mysuru Palace has survived political upheavals, disaster and destruction, only to rise out of the ashes more magnificent than ever.

The current Mysuru Palace – the fourth to occupy this site – was designed by the British architect Henry Irwin after its predecessor was destroyed in a fire in 1897. The imposing building that stands today was completed in 1912, but it is believed that a Mysuru Palace was established as part of a wooden fortress, by the royal family of Mysuru, the Wodeyars, as early as the fourteenth century.
In 1638 the palace was struck by lightning and rebuilt by Kantirava Narasa Raja Wodeyar (1638 - 1659 AD), who extended the existing structures, adding new pavilions.
The glory of the new building was to prove short-lived. The death of Chikka Devaraja Wodeyar (1673 - 1704 AD) in the eighteenth century plunged the kingdom into a period of political instability.
During these turbulent times the Mysuru Palace slipped into a state of neglect culminating in its demolition in 1793 by Tipu Sultan, the son of Hyder Ali, a maverick general in the king’s army who rose to become the ruler of Mysuru.
In 1799, when upon the death of Tipu Sultan the five-year old Krishnaraja Wodeyar III (1794-1868) AD assumed the throne, the coronation ceremony took place under a marquee. One of king’s first tasks, on his accession, was to commission a new palace built in the Hindu architectural style and completed in 1803.
The hastily constructed palace soon fell into disrepair and in 1897 was razed to the ground by a fire at the wedding ceremony of princess Jayalakshmmanni.
The destiny of the Mysuru Palace now passed to Queen Regent Kempananjammanni Vanivilasa Sanndihana, who commissioned well-known British architect Henry Irwin to build a new palace that would be a tribute to the legacy of Mysuru and the Wodeyars.
Completed in 1912 and at a cost of Rs. 41,47,913 the result was the Mysuru Palace you see standing today. A masterpiece in Indo-Saracenic architecture, on par with great Mughal residences of the North and the stately colonial public buildings of the South.

 The Royals

Patrons of art and culture, fierce warriors and astute administrators, the Wodeyars grew from provincial chieftains, to a mighty dynasty that would rule Mysuru for nearly six centuries.

The founding of the dynasty is veiled in the chivalrous legend of two princely brothers from Dwaraka, in the Northern State of Gujarat.
While on pilgrimage in Mysuru the two princes heard women lament the fate of the local Princess Devajammanni. The King of Mysuru had died and the Chieftain of Karagahalli, a neighboring province, was trying to marry the princess and acquire Mysuru by force.
Rising to the occasion the two brothers mobilized troops, killed the Karagahalli Chieftain and rescued the princess. The grateful princess married the elder of the two brothers, named Yaduraya, who became the first ruler of the Wodeyar dynasty.
It was Raja Wodeyar (1578-1617), the eight king of the Wodeyar dynasty, however, who transformed Mysuru from a feudal principality into a kingdom. Defeating the king of the declining Vijayanagar Empire, he shifted his capital from Mysuru to Srirangapatna. It was also during his reign that the famous Dasara festival was revived.
Ranadhira Kantirava Narasaraja Wodeyar (1638-1659) consolidated the kingdom won by his predecessor, thwarting two invasions by the powerful Bijapur Adilshahis. He also fortified Srirangapatna and Mysuru and began minting coins with his seals.
Chikka Devaraja Wodeyar (1673-1704), the next great Wodeyar, further expanded the kingdom. He also introduced land reforms and streamlined the administration. Following his death, a series of inept rulers plunged the kingdom into political instability.
By the mid eighteenth century, Mysuru was virtually ruled by Hyder Ali, a general in the army of Krishnaraja Wodeyar II (1734 - 1766), and then his son Tipu Sultan. Finally, following the death of Tipu Sultan in 1799 in a battle with the British, the five-year-old Prince Krishnaraja Wodeyar III [1799-1868] was installed on the throne of Mysuru.
It was under the reigns of Krishnaraja Wodeyar III [1799-1868] and his son Krishnaraja Wodeyar IV [1895- 1940], that the modern township of Mysuru was created. It was also during the reign of Krishnaraja Wodeyar IV that the Mysuru Palace was built, under the commission of his mother Maharani Kempananjammanni of Vanivilasa Sanndihana who served as Regent during his minority from 1895-1902.
After his death in 1940, Jayachamaraja Wodeyar became the 25th and last ruler of the Mysuru royal family. It is during this period that India won freedom and monarchy was abolished, closing a chapter in history and ending the era of the Mysuru Maharajas.

 Architecture

A dramatic three storied stone building of fine gray granite with deep pink marble domes dominated by a five-storied 145 ft tower with a gilded dome mounted by a single golden flag.

Designed by Henry Irwin, the Mysuru Palace is one of the finest achievements of Indo-Saracenic architecture, summing up many diverse themes that have played through Indian architecture over the centuries. Muslim designs and Rajput style combine with Gothic elements and indigenous materials in an exuberant display of grandeur.
The palace is set among meticulously laid gardens and has an intricately detailed elevation with a profusion of delicately curved arches, bow-like canopies, magnificent bay windows and columns in varied styles ranging from Byzantine to Hindu.
The striking façade has seven expansive arches and two smaller ones flanking the central arch, which is supported by tall pillars. Above the central arch is an impressive sculpture of Gajalakshmi - the Goddess of wealth with elephants.
The sumptuous interiors of the palace, in keeping with the grand exteriors, are replete with exquisitely carved doors, expansive pavilions, delicate chandeliers, exquisite stained glass ceilings and decorative frescoes depicting scenes from the Indian epics. An enduring reminder of the splendour of the Mysuru maharajas and a testament to the dexterity of the local artisans and craftsmen.

Unique Rooms

 Ambavilasa or Diwan e khas
The Ambavilasa, a hall used by the king for private audience, is one of the most spectacular rooms of the palace.
Entry to this opulent hall is through an elegantly carved rosewood doorway inlaid with ivory that opens into a shrine to Ganesha.
The central knave of the hall has ornately gilded columns, stained glass ceilings, decorative steel grills, and chandeliers with fine floral motifs, mirrored in the pietra dura mosaic floor embellished with semi-precious stones.

Gombe Thotti (Doll’s Pavilion)

Entry to the palace is through the Gombe Thotti or the Doll’s Pavilion, a gallery of traditional dolls from the nineteenth and early twentieth centuries.
The pavilion also houses a fine collection of Indian and European sculpture and ceremonial objects like a wooden elephant howdah (frame to carry passengers) decorated with 84 kilograms of gold.
Other features of the Gombe Thotti are the seven canons which is situated in front of the Gombe Thotti and are still fired to mark the beginning and end of the annual Dasara procession.

Kalyana Mantapa

The Kalyana Mantapa or marriage hall is a grand octagonal-shaped pavilion with a multihued stained glass ceiling with peacock motifs arranged in geometrical patterns. The entire structure was wrought in Glasgow, Scotland.
The floor of the Mantapa continues the peacock theme with a peacock mosaic, designed with tiles from England.
The hall is lined with elaborately detailed oil paintings, illustrating the royal procession and Dasara celebrations of bygone years.

 Public Darbar Hall

The Public Darbar Hall for public audience is 155 feet in length and 42 feet in breadth, with majestic bottle-shaped columns tastefully painted in pleasing colors. The hall contains a priceless collection of paintings by great Indian artists including Raja Ravivarma.
The hall opens into an expansive balcony supported by massive columns that has a fine view of the Chamundi Hills and parade grounds.

 Royal Paintings

On the southern part of the Kalyana Mantapa is the portrait gallery. The focal points of the gallery are two portraits by Raja Ravivarma of the one year old child prince Krishnaraja Wodeyar IV. Considered national treasures the paintings also show fine examples of the traditional royal jewellery of the nineteenth century.
The portrait gallery also has two large portraits of King Edward VII and Queen Alexandra, by English artist Harold Speed. Other portraits of interest are a miniature of Krishnaraja Wodeyar III in water-colour and gold and an oil on canvas of Yuvaraja Narasimharaja Wodeyar by Felix Wecksler.
The portrait gallery also contains a fine selection of photographs from the nineteenth century, the most interesting being a large portrait of Krishnaraja Wodeyar III, consisting of thin bromide prints pasted on canvas, by palace photographer R. Vasu.   Apart from this the Palace also houses innumerous examples of traditional Mysuru paintings. Artists of this school used locally available material for their paintings Subjects of the paintings include Hindu deities, courtly life, historic battles and scenes from the great Indian epics.

The Armoury

The Ayudhashala or Royal Armoury is considered to contain one of the most important collections of its type in India. It displays arms and armour that belonged to kings of Mysuru and other members of the Royal Family, from the fourteenth century onwards.
The articles on display include traditional weapons like ‘Vyaghrankha’ or Tiger’s Claw, ‘Vajramushti’, the sword used by Kanthirava Narasaraja Wodeyar I resembling a belt and swords used by Hyder Ali and Tipu Sultan.
There is also an exhaustive collection of 725 offensive and defensive weapons like javelins, discs, spikes and axes. Many weapons of antiquity like mudgara (club), suragi (cutlass), Jambiya (dagger), and bharji (lance) are also found here.
Many models of guns with inscriptions bearing the names of princes and officials are also on display.
The royal throne with captivating artwork done on gold plates and studded with precious stones is preserved here in a locked room, and is on display during the Mysuru Dasara.

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Madurai Meenakshi Amman Temple (1310)

According to legend, the sacred Suyambulingam discovered by the king of Gods indira at Kadambavanam, was later enshrined by him in Madurai. The fact that the Lord is seen on the vehicle of Indira in this temple is said to be proof for this. Many historical evidences of the temple have been found dating back from early A.D. The temple was almost completely destroyed in the year 1310 following the invasion of the Islamic conqueror Malikkapur.As kings who were followers of Islam were noted for their intolerance towards other religions, the invaders destroyed most of the ancient sculptures of the temple.

Thirugnanasambandar the Hindu Saint has mentioned the temple in his songs which go back to early 7th century. The Lord has been described as Alavai Iraivan in his songs.The temple was restored to its pristine glory in the late 14th century when the Hindu Kings came back to power in Madurai.This can also be termed as a new beginning of a new era in the history of the temple, when it was almost rebuilt. The King Thirumalai Naicker played an important role in the construction of the new form of the temple according to records. The Madurai Meenakshi Amman Temple is now under the administration of the HR and CE department of Tamil Nadu.

Temple History

According to legend, the sacred Suyambulingam discovered by the king of Gods indira at Kadambavanam, was later enshrined by him in Madurai. The fact that the Lord is seen on the vehicle of Indira in this temple is said to be proof for this.

Many historical evidences of the temple have been found dating back from early A.D. The temple was almost completely destroyed in the year 1310 following the invasion of the Islamic conqueror Malikkapur.As kings who were followers of Islam were noted for their intolerance towards other religions, the invaders destroyed most of the ancient sculptures of the temple.

Thirugnanasambandar the Hindu Saint has mentioned the temple in his songs which go back to early 7th century. The Lord has been described as Alavai Iraivan in his songs.The temple was restored to its pristine glory in the late 14th century when the Hindu Kings came back to power in Madurai.This can also be termed as a new beginning of a new era in the history of the temple, when it was almost rebuilt. The King Thirumalai Naicker played an important role in the construction of the new form of the temple according to records.

The Madurai Meenakshi Amman Temple is now under the administration of the HR and CE department of Tamil Nadu.

Temple Deities:

The presiding Lord of this sacred shrine was in the times of yore known as Chockanathar, and Chockalinga Perumal.

Now the deity is known as Sundareswarar, Meenakshi Sundarar, Somasundarar, Kalyana Sundarar, Shanbaga Sundarar, Attavai Shevagan, Chockalingam, Adiyarku Nallan, Adhiraveesi, Vilayaduvan, Abhideka Chockar, Azhagiya Chockar, Kadambavana Chockar, Puzhugu Neidhu Chockar, Kadambavaneswarar, Karpoora Chockar, Madureswarar, Irayanar, Peralavayar and other names.

Temple Structure:

The temple which has five entrances, covers an area 847 feet (254.1 meters) long and 792 feet (237.6 meters) wide in the North South direction, the circumference of the Adi Veedhi which is the path within the great walls is 830 feet (249 meters) on the east west and , measuring 730 feet (219 meters) from North South direction.

If the devotees bathe in the waters of this pond of Golden Lotus on Amavasya (new moon) day, the first day of the month, days of eclipse and other auspicious days and worship the Lord, they will be blessed with all their aspirations for success.

The Temple Towers

Towers:

The temple has four Rajagopurams or majestic towers, there are five towers on top of the sanctum sanctorum of the Lord, three on top of the sanctum sanctorum of the Goddess and two golden towers or gopurams, all which have been exquisitely designed and sculptured. All fourteen towers have been segregated based on the stages they are,

• Nine tier gopurams – four
• Seven tier, Chittirai gopuram – one
• Five tier gopurams – five
• Three tier gopurams – two
• Golden gopurams – two

Rajagopurams (Nine Tier Gopurams)

1. The tower on top of the sanctum sanctorm of the God (east)

• This tower was constructed by Maravarman Sundarapandian the Pandian King (1216 – 1238)
• The tower is 153.3 feet in height, and the base measurers 111.3 feet by 65.6 feet..
• This bears 1011 episodes from puranams sculptured in it.

2. South Rajagopuram

• It was constructed in the year 1559 by Siramalai Sevanthi Murthy Chetti.
• It is the tallest of the temple towers measuring 160.9 feet in height, with a base area of 108 feet by 67 feet
• 1511 mythological figures are seen in it.

3. North Rajagopuram (Tower Without Roof)

• Construction of this tower was started by Krishnaveerappanaicker (1564 – 1572) and completed by the family of Amaravathi Pudur Vayinagaram Nagappa Chetti in 1878.
• This gopuram remained unfinished for a number of years and was therefore called Mottai Gopuram meaning a tower without a roof.
• This is 152 feet in height and the length of the base is 111.6 feet with a width of 66.6 feet..
• This houses 404 carvings depicting mythological stories.

4. The West Rajagopuram.

• This was constructed by King Parakrama Pandian duri ng his reign between 1315 and 1347.
• This has a height of 154.6 feet with a base length of 101 feet and a width of 63.6 feet.
• This tower houses 1124 sculptures of mythological importance.

The Towers of Swami Shrine

There are five towers above the sanctum of the Lord.

1. Swami shrine gopuram (three tiers).

• Built by King Kulasekarapandian (1168 – 1175).
• Of all the towers of the temple,this is the most ancient.
• This is situated at the entrance to the Swami Sannidhi near the Lords flag staff mandapam.

2. Gopura Nayaka Gopuram, also called Swami Sannidhi gopuram (five tiers).

• It was constructed by a person named Vasuvappan in 1372
• It is situated between the flag post of the Swami Sannidhi and the Thirukalyana Mandapam or marriage hall.
• Standing 66 feet tall, it has a base area of 42 feet x 33 feet.
• It has 280 mythological figures on it.

3. The Mukkuruni Vinayagar gopuram or Nadukkattu gopuram or Idaikattu gopuram (five tier) .

• It was constructed by Siramalai Sevanthi Murthy Chetti in 1559
• It is situated opposite to the shrine of the Mukkuruni vinayagar which is situated in the passage that leads from the Amman sannithi to the Swami Sannithi.
• It is 69 feet in height with a base area of 44 feet x 33 feet. 112 mythological figures are sculptured on it.

4. Wooden gopuram (timber) or the Swami Sannithi west gopuram.

• It was constructed by Mallappan in the year 1374.
• It is situated in west end of the second corridor of the swami sannithi.
• It is 72 feet in height with a base area of 48 feet x 31 feet.
• 340 mythological figures are seen on it.

5. Sinnamottai gopuram (small roofless gopuram) or Swami Sannithi North Gopuram (five tiers).

• It was constructed by Sevanthivellappa Chetti in 1560.
• This tower is also situated on top the second corridor of the Swami Sannithi on the north side near the Kalyanasundareswarar Sannithi.
• There are 184 sculptures on it.

Amman Sannithi Gopurams:

There are five towers above the sanctum of the Lord.

1. Amman sannithi gopuram (three tier).

• It was constructed by Anandathandava Nambi between 1227 and 1228.
• It is seen on top of the entrance of the Amman Sannithi at the west end of the Killikoondu mandapam.

2. Kadahagopuram or Amman Sannithi west gopuram

• This was constructed in the year 1570 by a person called Veerathummasi.
• It is seen on top of the first corridor surrounding the Amman sannithi in the west end..
• It is about 64.6 feet tall, with a base area of 50 feet x 28.6 feet.
• There are 228 mythological figures on it.

3. Chittira Gopuram or Amman Sannithi gopuram

• It was constructed by Kallathiappan Mudaliar in the year 1569.
• It is situated inbetween the Meenakshi Naicker mandapam and the Muthupillai mandapam in the Amman sannithi.
• As it contains 730 aesthetic sculptures of exquisite refinement it is also called the Chittira gopuram.
• It 177 feet in height and has a base area of 78 feet x 38 feet.

Halls & Sculptures:

This mandapam which is the eastern entrance of the Amman Sannithi is said to have been constructed by the queens Uruthirapathiammal and Tholiammal (1623-1659) who were the wives of Thirumalainaicker. The eight forms of Goddess Sakthi the consort of Lord Shiva, Kaumari, Rowthiri, Vaishnavi, Mahalakshmi, Yangnarubini, Shyamala, Maheswari and Manonmani have been sculptured into the pillars of the mandapam individually. There are drawings depicting the life of Meenakshi Amman on the roof of the mandapam. There are statues of Vallaba Vinayagar and Murugan at the entrance of this mandapam.

Meenakshi Naicker Mandapam

This mandapam which is seen next to the Ashta Sakthi mandapam was constructed by Meenakshi Naicker belonging to the Naicker clan in the year 1708. There are sculptures depicting Goddess Meenakshi and Lord Shiva who took the form of a hunter and huntress to rid a Brahmin of his sin. The twelve Sun signs of zodiac have been depicted in a square shape structure on top of the mandapam. This mandapam is 160 feet in length and has pillars that have been arranged in six rows.

Muthupillai Mandapam or Iruttumandapam

It was constructed by Kadanthai Mudaliar in 1613. There are statues of Pitchanar, Munivars or saints of the Tharukavanam and wives of the saints. Mythology has it that Lord Shiva took the form of Pitchanar to preach to the Munivars of Tharukavanam. The statues of Munivar, Mohini and Kadanthai Mudaliar are seen at the southern side of the mandapam.

The Museum

Since 1966, the thousand pillars hall is also doubling as the museum of the temple. Among those items of artistic elegance and cultural excellence are:

• Paintings explaining the quintesscence of the ancient arts of archtecture, sculpture, painting, music, dance and other forms of aesthetic importance.
• Antique panchaloka (five metal) idols.
• Collection of rare photographs.
• Rare antique items.
• Articles of Saiva and Vaishnava religions.
• Antique coins.
• Carvings in tusks and antique items.
• Paintings from the Nayakka period depicting the 64 miracles performed by Lord Sokkanathar.
• This mandapam is now being renovated and modernised using latest techniques.
• The saying that one needs thousand eyes to view the hall of thousand pillars is not without truth.

Swamy Sannidhi(sanctum sanctrom) – Dhakshinamoorthy,Lingothpavar,Durga Mandapams:

On the walls of the sanctum sanctorum of the Lord are the Dhakshinamoorthy Mandam with a pinnacle, the Lingothpavar mandapam has sculptures of Maal and Ayan unable to find the feet and crown of the Lord and the Durga mandapam. These mandapams were built by Kambavarayar.

The celestial wedding hall:

The sacred wedding hall to the south of Veeravasantharayar mandapam was built by Vijayaranga Sokkanatha Nayakkar (1706 – 1732). His sculpture is etched on a pillar. The ceiling of the sacred wedding hall are covered with teak planks with exquisite art work. The 64 miracles of Lord Sivaperuman have also been painted on the dome of the mandapam. There are also paintings depicting the twin worlds and fourteen worlds.

Earlier the celestial wedding of the Lord and Goddess used to be solemnized in this mandapam. Now the wedding takes place at the new wedding hall where the North Aadi street and West Aadi street meet. After the wedding, the Lord and Goddess would proceed to the old wedding hall to bless the devotees.

A scene from the wedding of the celestial couple form the backdrop of the wedding dais in the mandapam. Sculptures of the Meenakshi and Sokkanathar are found at Kambathadi mandapam and new mandapam.. Paintings of the celestial weddings adorn the walls of entrance to Amman Sannidhi and the western wall of the parrot cage mandapam.

The golden chariot of the temple is kept in this mandapam. During the festivals the Lord and Godess would be taken out in procession from this mandapam. The golden chariot procession also starts from this mandapam.

Mangayarkarasi mandapam and sculpture:

This mandapam is situated opposite the old wedding hall. In view of the kumbabishekam. this mandapam was renovated according to the present style between 1960-63. This mandapam houses statues of Arikesari, Maravarman, his consort Mangayarkarasiyar, Minister Kulachirayar and Thirugnanasambar in poses worshipping Lord Sivaperuman.

Servaikarar Mandapam

Situated opposite the old wedding hall, this mandapam was built in 1795 by Marudhappa Servaikarar.

Muthuramayyar mandapam:

Situated near the Servaikarar mandapam, this mandapam was built by Muthuramayyar. One of the pillars in this mandapam bears the statue of Muthramayyar. Kasiviswanathar and Visalakshi Amman shrines are situated in this mandapam. In a pillar opposite there is a statue of Sarabeswarar. It is in the mandapam opposite this hall, that the sacred task of Annadhan is distributed everyday. About 250 persons are fed free every day.

Nagara Mandapam:

Nagara mandapam situated opposite the Amman sanctum in East Chitra street was built in the year 1635 by Achutharayan, minister of Rani Mangammal. This mandapam was built for the purpose of sounding the Nagara drum toannounce important events and festivals to the devotees. Even though many shops are situated in the premises, the practice of beating the Nagara drum continues.

New Mandapam:

The New Mandapam, situated opposite the East Rajagopuram was built by King Thirumalai Naicker with the work starting in 1626 and ending in 1645. The dimensions of this mandapam known as Vasantha mandapam and Thirumalai Naickerr Choultry are: length – 333 feet (100 meters), width 105 feet (31.5 meters) and height 25 feet (7.5 meters). On both sides of this mandapam have been carved the statues of ten famous kings of Naicker dynasty. These statues which range from King Viswantha Naicker to Thrimalai Naicker had been chiseled in a life like manner.

On the pillars surrounding the mandapam, along the first six rows on the eastern side are carved figures of equestrian heroes, yalis, Ekapathamoorthy and that of Gajasankarar. In the adjacent inteior are sculptures of Thadagapirattiar, her tours (dikvijayam), Lord Shiva facing her, feeding of piglets, moon, sun, tiger feeding fawns and two dwarapalakars.

On the six pillars next to the western entrance to the mandapam, there are sculptures of Thiripurasankarar, four heroes on horses, Ravana trying to lift Mount Kailash and others. In the interior of the mandapam, there are scenes of Meenakshi celestial wedding, Indra, Bramha, Sankaranarayanan, Arthanareeswarar, Oorthandavar, Kali, feeding the granite elephant with sugarcane and other sculptures.

On the pillars are 25 poses of Lord Shiva: According to the work Thiruppani Maalai all the sculptures in the mandapam were executed by Sumandira Moorthy Asari. Since the sculptures were new at the time the mandapam was built, it was called Pudhu Mandapam(New Mandapam). There are interesting episodes of events that took place while the sculptures were being carved.

Theradi Mandapams(the Mandapam at the foot of chariot shed):

Theradi Mandapams are situated along the East Masi street. During the Chitra Festival, the procession deities Meenakshi and Sundareswarar arrive at this mandapam on the day of car festival before being taken out in procession. in their chariots. The shed housing the car of Amman was built by Pappu Chettiar. Now the cars of Amman and the Lord have been renovated with modern technology. The shed of the Lord was built in the year 1795 by Anandazhvan Ayyan.

Paintings:

The drawings depicting incidents of the Thiruvilayadal or miraculous dramas of Lord Shiva belong to the Naicker period. There are paintings depicting the 64 miracles of Lord Shiva, all which were enacted in Madurai. These aesthetic drawings can be seen on the northern wall facing the Pottamarai kulam of tank of the golden lotus. These drawings are at present being given a facelift by using natural dyes at a cost of Rs 26.25 lakhs.

Many paintings which have been damaged due to neglect are now being kept in the museum in the 1000 pillar hall or mandapam of the temple.

Thiruezhukootrikkai drawings: Drawing explaining the meaning of the songs sung by Nakkeerar have been drawn in the shape of a charriot in the Petchiakkal mandapam.

Panchakkasabhai drawings Panchakkasabhai drawings: Drawings showing the five sabhas or Panchaga sabhas of Tamil Nadu can be seen opposite to the Velliammbala Nadarajar Sannithi. The art belongs to Rani Mangammal period. These drawings can be seen on the roof of the Palaya unjal mandapam (old swing hall) in the eastern side of the unjalmandapam. These drawings depict Queen Mangammal and her court watching the Meenakshi Thirukalyanam or celestial wedding. The drawings of the six abodes of Lord Muruga can be seen at the entrance of the New glass unjal mandapam. The drawings of the Meenakshi Thirukalayanam and Pattabishekam in the entrance of the Amman Sannithi have also been touched.

Diagramatic representation of heaven and earth: There are drawings depicting earth and heaven on both sides of the wedding stage in the old Kalyana mandapam. The Kalyana mandapam also has drawings of 64 Thiruvilayadal and other celestial incidents

STONE INSCRIPTIONS

There are about 44 stone inscriptions on the walls of the corridors of the Sundareswarar shrine and that of Meenakshi Amma shrine. These inscriptions contain details of lands donated to the temple, the rituals for worship, the list of articles used for performing neivethiyam, the religious status of the people in ancient days, government procedures and social habits

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Somnath Temple (1947)

Somnath Temple (1947)

The Somnath temple located in Prabhas Patan near Veraval in Saurashtra on the western coast of Gujarat, India, is the first among the twelve Jyotirlinga shrines of Shiva. It is an important pilgrimage and tourist spot. The temple is considered sacred due to the various legends connected to it. Somnath means "Lord of the Soma", an epithet of Shiva. Somnath Temple is known as "the Shrine Eternal". This legendary temple has been destroyed and rebuilt several times by Islamic kings and Hindu kings respectively.[page needed] Most recently it was rebuilt in November 1947, when Vallabhbhai Patel visited the area for the integration of Junagadh and mooted a plan for restoration. After Patel's death, the rebuilding continued under Kanaiyalal Maneklal Munshi, another minister of the Government of India. The temple is open daily from 6AM to 9PM.

There are 3 aarti daily; in the morning at 07:00, at 12:00 and in the evening at 19:00. It is also believed that this is the place where Krishna ended his lila on earth and left for his heavenly. Jyotirlinga[edit] The Shiva linga in Somnath is believed to be one of the 12 jyotirlingas in India, where Shiva appeared as a fiery column of light. The jyotirlingas are taken as the supreme, undivided reality out of which Shiva partly appears.[5][6] The jyotirlinga shrines are the places where Shiva is believed to have appeared as a fiery column of light.[5][6] Originally there are believed to have been 64 jyotirlingas and 12 of them were considered to be very auspicious and holy.[7] Each of the twelve jyotirlinga sites take the name of a different manifestation of Shiva.[8] At all these sites, the primary image is a lingam representing the beginningless and endless stambha pillar, symbolizing the infinite nature of Shiva.[8][9][10] Even though there are believed to have been 64 jyotirlingas, twelve of them are considered to be very auspicious.[7] In addition to the one at Somanath, the others are at Varanasi, Rameswaram, Dwarka etc.[7][11] A Picture of the Somnath Temple from the Beach History[edit] The site of Somnath has been a pilgrimage site from ancient times on account of being a triveni sangam (the joining of three rivers —

Kapila, Hiran and the mythical Sarasvati River). Soma, the Moon god, is believed to have lost his lustre due to a curse, and he bathed in the Sarasvati River at this site to regain it. The result is the waxing and waning of the moon, no doubt an allusion to the waxing and waning of the tides at this sea shore location. The name of the town Prabhas, meaning lustre, as well as the alternative names Someshvar and Somanath ("lord of the moon" or "moon god") arise from this tradition.[12] History of the Temple[edit] According to popular tradition documented by J. Gordon Melton, the first Siva temple at Somanath is believed to have been built at some unknown time in the past. The second temple was said to be built at the same site by the Seuna kings of Vallabhi around 649 CE. In 725 CE, Al-Junayd, the Arab governor of Sindh is said to have destroyed the second temple as part of his invasions of Gujarat and Rajasthan. The Gurjara-Pratihara king Nagabhata II is said to have constructed the third temple in 815 CE, a large structure of red sandstone.[13] There is no historical record of an attack on Somnath by Al-Junayd. However, Nagabhata II is known to have visited tirthas in Saurashtra, including Someshvara (the Lord of the Moon) at Somnath, which may or may not be a reference to a Siva temple.[14] The Solanki king Mularaja possibly built the first temple at the site sometime before 997 CE, even though some historians believe that he may have renovated a smaller earlier temple.[15] Somnath temple, 1869 In 1024, during the reign of Bhimdev I, the prominent Afghan ruler Mahmud of Ghazni raided Gujarat, plundering the Somnath temple and breaking its jyotirlinga. He took away a booty of 2 crore dinars.[16][17] Historians expect the damage to the temple to have been minimal because there are records to pilgrimages to the temple in 1038, which make no mention of any damage to the temple.[18] However, powerful legends with intricate detail had developed regarding Mahmud's raid in the Turko-Persian literature,[19] which "electrified" the Muslim world according to scholar Meenakshi Jain.[20]

 The prior temple appears to have been a wooden structure which decayed in time (kalajirnam) and Kumarpal (r. 1143-72) rebuilt it in "excellent stone and studded it with jewels," according to an inscription in 1169.[21][22] In 1299, Alauddin Khilji's army under the leadership of Ulugh Khan defeated Karandev II of the Vaghela dynasty, and sacked the Somnath temple.[23] According to Taj-ul-Ma'sir of Hasan Nizami, the Sultan boasted that "fifty thousand infidels were dispatched to hell by the sword" and "more than twenty thousand slaves, and cattle beyond all calculation fell into the hands of the victors."[citation needed] The temple was rebuilt by Mahipala Deva, the Chudasama king of Saurashtra in 1308 and the Linga was installed by his son Khengar sometime between 1326 and 1351.[24] In 1395,

 the temple was destroyed for the third time by Zafar Khan, the last governor of Gujarat under the Delhi Sultanate.[25] In 1451, it was desecrated by Mahmud Begada, the Sultan of Gujarat.[26] In 1546, the Portuguese, based in Goa, attacked ports and towns in Gujarat including Somnath and destroyed several temples and mosques.[27] By 1665, the temple, one of many, was once again ordered destroyed by Mughal emperor Aurangzeb.[28] In 1702, he ordered that if Hindus had revived worship there, it should be demolished completely.[29] Later the temple was rebuilt to its same glory adjacent to the ruined one by the joint efforts of the Marathas including the Peshwa of Pune, Raja Bhonsle of Nagpur, Chhatrapati Bhonsle of Kolhapur, Queen Ahilyabai Holkar of Indore & Shrimant Patilbuwa Shinde of Gwalior rebuilt the temple in 1783 at a site adjacent to the ruined temple.[citation needed] 'Proclamation of the Gates' Incident during the British raj[edit] In 1782-83 AD, Maratha king Mahadaji Shinde, victoriously brought back the Three Silver Gates from Lahore after defeating Muhammad Shah of Lahore. After refusal from Pundits of Guzrath and the then ruler Gaekwad to put them back on Somnath temple, these silver gates were placed in the temples of Ujjain. Today they can be seen in two temples of India, Mahakaleshwar Jyotirlinga and Gopal Mandir of Ujjain.[30] In 1842, Edward Law, 1st Earl of Ellenborough issued his famous Proclamation of the Gates, in which he ordered the British army in Afghanistan to return via Ghazni and bring back to India the sandalwood gates from the tomb of Mahmud of Ghazni in Ghazni, Afghanistan. These were believed to have been taken by Mahmud from Somnath. There was a debate in the House of Commons in London in 1843 on the question of the gates of the Somanatha temple.[31] After much crossfire between the British Government and the opposition, the gates were uprooted and brought back in triumph. But on arrival, they were found to be replicas of the original.[30] They were placed in a store-room in the Agra Fort where they still lie to the present day. In the 19th century novel The Moonstone by Wilkie Collins, the diamond of the title is presumed to have been stolen from the temple at Somnath and, according to the historian Romila Thapar, reflects the interest aroused in Britain by the gates.[32] Reconstruction of the Somnath Temple[edit] Early picture of the present temple Before independence, Prabhas Patan was part of the princely state of Junagadh, whose ruler had acceded to Pakistan in 1947. After India refused to accept his decision, the state was made a part of India and Deputy Prime Minister Patel came to Junagadh on 12 November 1947 to direct the stabilization of the state by the Indian Army and at the same time ordered the reconstruction of the Somanath temple.[33] When Patel, K. M. Munshi and other leaders of the Congress went to Mahatma Gandhi with their proposal to reconstruct the Somnath temple, Gandhi blessed the move, but suggested that the funds for the construction should be collected from the public and the temple should not be funded by the state. He expressed that he was proud to associate himself to the project of renovation of the temple[34] However, soon both Gandhi and Sardar Patel died and the task of reconstruction of the temple continued under Munshi, who was the Minister for Food and Civil Supplies in the Nehru Government.[34] The ruins were pulled down in October 1950 and the mosque present at that site was shifted few kilometres away.[35]

 In May 1951, Dr. Rajendra Prasad, the first President of the Republic of India, invited by K M Munshi, performed the installation ceremony for the temple.[36] The President said in his address, "It is my view that the reconstruction of the Somnath Temple will be complete on that day when not only a magnificent edifice will arise on this foundation, but the mansion of India's prosperity will be really that prosperity of which the ancient temple of Somnath was a symbol.".[37] He added "The Somnath temple signifies that the power of reconstruction is always greater than the power of destruction"[37] Architecture of the present temple[edit] Bāṇastambha (Arrow Pillar) The present temple is built in the Chalukya style of temple architecture or "Kailash Mahameru Prasad" style[38] and reflects the skill of the Sompura Salats, one of Gujarat's master masons. The temple's śikhara, or main spire, is 15 metres in height, and it has an 8.2-metre tall flag pole at the top.[38] The temple is situated at such a place that there is no land in a straight line between Somnath seashore until Antarctica, such an inscription in Sanskrit is found on the Bāṇastambha (Sanskrit: बाणस्तम्भ, lit. arrow pillar) erected on the sea-protection wall. The Bāṇastambha mentions that it stands at a point on the Indian landmass that is the first point on land in the north to the South Pole at that particular longitude.[39]

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The Great Pyramid of Giza (BC 3,800)

The Great Pyramid of Giza (BC 3,800)

The Great Pyramid of Giza (also known as the Pyramid of Khufu or the Pyramid of Cheops) is the oldest and largest of the three pyramids in the Giza pyramid complex bordering what is now El Giza, Egypt. It is the oldest of the Seven Wonders of the Ancient World, and the only one to remain largely intact.  Based on a mark in an interior chamber naming the work gang and a reference to fourth dynasty Egyptian Pharaoh Khufu,Egyptologists believe that the pyramid was built as a tomb over a 10 to 20-year period concluding around 2560 BC. Initially at 146.5 metres (481 feet), the Great Pyramid was the tallest man-made structure in the world for more than 3,800 years. Originally, the Great Pyramid was covered by casing stones that formed a smooth outer surface; what is seen today is the underlying core structure. Some of the casing stones that once covered the structure can still be seen around the base. There have been varying scientific and alternative theories about the Great Pyramid's construction techniques. Most accepted construction hypotheses are based on the idea that it was built by moving huge stones from a quarry and dragging and lifting them into place.
   There are three known chambers inside the Great Pyramid. The lowest chamber is cut into the bedrock upon which the pyramid was built and was unfinished. The so-called Queen's Chamber and King's Chamber are higher up within the pyramid structure. The main part of the Giza complex is a setting of buildings that included two mortuary temples in honour of Khufu (one close to the pyramid and one near the Nile), three smaller pyramids for Khufu's wives, an even smaller "satellite" pyramid, a raised causeway connecting the two temples, and small mastaba tombs surrounding the pyramid for nobles.

                                                                               History and description

It is believed the pyramid was built as a tomb for Fourth Dynasty Egyptian pharaoh Khufu (often Hellenicised as "Cheops") and was constructed over a 20-year period. Khufu's vizier, Hemon, or Hemiunu, is believed by some to be the architect of the Great Pyramid. It is thought that, at construction, the Great Pyramid was originally 280 Egyptian cubits tall (146.5 metres (480.6 ft)), but with erosion and absence of its pyramidion, its present height is 138.8 metres (455.4 ft). Each base side was 440 cubits, 230.4 metres (755.9 ft) long. The mass of the pyramid is estimated at 5.9 million tonnes. The volume, including an internal hillock, is roughly 2,500,000 cubic metres (88,000,000 cu ft). Based on these estimates, building the pyramid in 20 years would involve installing approximately 800 tonnes of stone every day. Additionally, since it consists of an estimated 2.3 million blocks, completing the building in 20 years would involve moving an average of more than 12 of the blocks into place each hour, day and night. The first precision measurements of the pyramid were made by Egyptologist Sir Flinders Petrie in 1880–82 and published as The Pyramids and Temples of Gizeh. Almost all reports are based on his measurements. Many of the casing stones and inner chamber blocks of the Great Pyramid fit together with extremely high precision. Based on measurements taken on the northeastern casing stones, the mean opening of the joints is only 0.5 millimetre wide (1/50 of an inch).
Great Pyramid of Giza from a 19th-century stereopticon card photo The pyramid remained the tallest man-made structure in the world for over 3,800 years,unsurpassed until the 160-metre-tall (520 ft) spire of Lincoln Cathedral was completed c. 1300. The accuracy of the pyramid's workmanship is such that the four sides of the base have an average error of only 58 millimetres in length.The base is horizontal and flat to within ±15 mm (0.6 in).The sides of the square base are closely aligned to the four cardinal compass points (within four minutes of arc based on true north, not magnetic north, and the finished base was squared to a mean corner error of only 12 seconds of arc.

 The completed design dimensions, as suggested by Petrie's survey and subsequent studies, are estimated to have originally been 280 royal cubits high by 440 cubits long at each of the four sides of its base. The ratio of the perimeter to height of 1760/280 royal cubits equates to 2π to an accuracy of better than 0.05% (corresponding to the well-known approximation of π as 22/7). Some Egyptologists consider this to have been the result of deliberate design proportion. Verner wrote, "We can conclude that although the ancient Egyptians could not precisely define the value of π, in practice they used it". Petrie, author of Pyramids and Temples of Gizeh concluded: "but these relations of areas and of circular ratio are so systematic that we should grant that they were in the builder's design". Others have argued that the Ancient Egyptians had no concept of pi and would not have thought to encode it in their monuments. They believe that the observed pyramid slope may be based on a simple seked slope choice alone, with no regard to the overall size and proportions of the finished building.

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