ISSN : 2348-3458 dy’k

fl·¸ — 6 l •¥∑§ — 19 l •ä ʸflÊÁ·¸∑§ ¬Áò Ê∑§Ê l ¡Ÿfl⁄UË -¡ÍŸ, 2015 Year : 6 l Issue : 19 l Half Yearly Magazine l January - June. 2015 dy’k

∑§‹‡Ê ¬Á⁄UflÊ⁄U KALASH FAMILY •ŸÈ∑˝§◊ I N D E X ‚¥⁄UˇÊ∑§ 4‚ê¬ÊŒ∑§Ëÿ / Editorial (i) ◊„UÊÁŸŒ‡Ê∑§ 4¬˝ÊÄ ∑§â ÊŸ/ Preface (i) ÷Ê⁄UÃËÿ ¬È⁄UÊÃà fl ‚fl¸ˇÊá Ê 4A Brahmanical Legacy of Temple Art & Architecture at Badoh-Pathari, Dist.-Vidisha (MP) 1 Zulfequar Ali ‚ê¬ÊŒ∑§ Dr. M.C. Joshi 4 7 ¡ÈÀ»§∑§Ê⁄U •‹Ë „UÊ‡Ê¥ªÊ’ÊŒ ∑§Ê flÒcá Êfl ◊¥ÁŒ⁄U-¡ªŒË‡Ê ◊¥ÁŒ⁄U MkW- galk O;kl 4A Note on Ancient Temple at Chheeri and ∑§Êÿ¸∑§Ê⁄UË ‚ê¬ÊŒ∑§ Parvezabad, Tehsil-Bara, District- Allahabad (UP) 9 «UÊÚ. ∞◊.‚Ë. ¡Ê‡ÊË Rajendra Yadav 4Origin, Development and Decline of Monolithic Pillars and the continuity of the tradition in Polylithic, Non-lithic •Ê∑§À¬Ÿ and structural forms 15 ‹πŸ ∑ȧ◊Ê⁄U ÷ʪø㠌ʟË, ‚¥¡ÿ ∑ȧ◊Ê⁄U üÊËflÊSÃfl S. Krishnamurthy Sachin Kr. Tiwary

‚„UÿÊª üÊË ‚¥¡ÿ •Ÿª⁄‘U, ∑§.•Ê⁄U. ◊Ê‹flËÿ, ¬¥∑§¡ ⁄UÊ◊ø㠌ʟË

Patron Director General, Archaeological Survey of India

Editor Zulfequar Ali

Executive Editor Dr. M.C. Joshi ‚ŒÊÁ‡Êfl (|flË¥-}flË¥ ‡ÊÃÊé ŒË ß¸U.) ∑ȧ≈U∑§‡fl⁄U ◊¥ÁŒ⁄U, ¬∆UÊ⁄UË, ÁflÁŒ‡ÊÊ (ÿ„U ◊ÍÁø ª÷¸ªÎ„U ∑§Ë Á¬¿U‹Ë ŒËflÊ⁄U ¬⁄U ∞∑§ S‹’ ¬⁄U ⁄UπË ªß¸U „ÒU) Sadasiva (7th -8thc. AD) Kutakeswara Temple, Pathari, Vidisha (M.P.) Designing (This sculpture is placed on a slab in rear wall of the garbhagraha ) L.K.Bhagchandani & S.K. Srivastava

Support —— •Êfl⁄Uá Ê / Cover —— Shri Sanjay Angare, ¬˝ÊøËŸ ÃÊ‹Ê’ ∑§ Á∑§ŸÊ⁄‘U ÁSÕà Á‡Êfl ◊¥ÁŒ⁄U, ’…∏UÊ„U, ÁflÁŒ‡ÊÊ (◊.¬˝.) Siva Temple near the bank of an ancient water reservoir, Shri K.R. Malviya, Shri Pankaj Ramchandani Badoh, Vidisha (M.P.) dy’k

‚ê¬ÊŒ∑§Ëÿ ...... E d i t o r i a l ...... Á¬˝ÿ ¬Ê∆U∑§ªá Ê, Dear Readers, “∑§‹‡Ê” ∑§Ê v~flÊ° •¥∑§ •Ê¬∑§ „UÊÕÊ¥ ◊¥ ‚ÊÒ¥¬∑§⁄U ◊ȤÊ •Áà ¬˝‚ÛÊÃÊ „UÊ I am delighted to present the 19th Issue of “Kalash” ⁄U„UË „ÒU– ◊¥ÁŒ⁄U ‚fl¸ˇÊá Ê ¬Á⁄UÿÊ¡ŸÊ (©U.ˇÊ.), ÷Ê¬Ê‹ mUÊ⁄UÊ ÁflÁŒ‡ÊÊ Á¡‹ ∑§ ’…∏UÊ„U- in your hands. In the course of an architectural survey of ¬∆UÊ⁄UË ª˝Ê◊Ê¥ ◊¥ Á∑§ÿ ªÿ ◊¥ÁŒ⁄UÊ¥ ∑§ SÕʬà ÿËÿ ‚fl¸ˇÊá Ê ∑§ ŒÊÒ⁄UÊŸ Œ‡ÊÊflÃÊ⁄U fl ‚Ã◊…∏UË temples in villages Badoh-Pathari in Vidisha district of ◊¥ÁŒ⁄U ‚◊Í„UÊ¥ ∑§Ê ÁflSÃÎà •ä ÿÿŸ Á∑§ÿÊ ªÿÊ Á¡‚∑§ •¥Ãª¸Ã ©UŸ∑§Ê «UÊÄ ÿÍ◊¥≈U‡ÊŸ fl Madhya Pradesh, the Dashavatara and Satmarhi group of temples were studied through documentation along with their ⁄‘UπÊÁøò Ê (ËÿÊ¡ŸÊ/©Uä fl¸ ÿÊ¡ŸÊ) ÃÒÿÊ⁄U Á∑§ÿ ªÿ– ßUã „UË¥ ∑§Ë ∞∑§ ¬˝SÃÈÁà ßU‚ •¥∑§ drawings and images which are being incorporated in this ◊¥ ‚◊ÊÁ„Uà „ÒU– ßU‚∑§ •ÁÃÁ⁄UQ§ „UÊ‹ „UË ◊¥ ßU‹Ê„UÊ’ÊŒ Á¡‹ ∑§ ø⁄UË ÃÕÊ ¬⁄Ufl¡Ê’ÊŒ issue. Along with this, in the recent survey in Cheeri & ªÊ°flÊ¥ ◊¥ ÷Ê⁄UÃËÿ ¬È⁄UÊÃà fl ‚fl¸ˇÊá Ê ∑§ «UÊÚ. ⁄UÊ¡ã Œ˝ ÿÊŒfl mUÊ⁄UÊ ¬˝∑§Ê‡Ê ◊¥ ‹Êÿ ªÿ ◊¥ÁŒ⁄UÊ¥ Parvezabad villages of Alahabad district (U.P.) by Dr. ∑§Ê ∞∑§ ÁflSÃÎà •ä ÿÿŸ ∑§ ‚ÊÕ ¬˝∑§ÊÁ‡Êà Á∑§ÿÊ ¡Ê ⁄U„UÊ „ÒU– ‚ÊÕ „UË ‚ÊÕ ÷Ê⁄Uà ◊¥ Rajendra Yadav of ASI, two temples were studied and they SÃê÷Ê¥ ∑§Ë ©Uà ¬Áû Ê ©UŸ∑§ Áfl∑§Ê‚ ¬⁄U •Êä ÊÊÁ⁄Uà ∞∑§ ‹π ∑§Ê ßU‚ •¥∑§ ∑§ ◊Êä ÿ◊ ‚ have been braught out for the scholars. In addition, a note •Ê¬ ¡Ò‚ ‚Èä ÊË ¬Ê∆U∑§Ê¥ ∑§ Á‹∞ ¬˝Á·Ã Á∑§ÿÊ ¡Ê ⁄U„UÊ „ÒU– based on the origin and development of pillars is also a part of Á◊ò ÊÊ¥, ÿ„U ¬Áò Ê∑§Ê ◊¥ÁŒ⁄U SÕʬà ÿ fl ∑§‹Ê ∑§ ˇÊò Ê ◊¥ ø‹ ⁄U„U ‡ÊÊä Ê ∑§ÊÿÊZ this issue. ∑§Ê ‚÷Ë ‡ÊÊä Ê∑§Ãʸ•Ê¥ fl ¬È⁄UÊÃà fl ∑§ ÁfllÊÁÕ¸ÿÊ¥ Ã∑§ ¬„È¥UøÊŸ ∑§Ê ∞∑§ ‚‡ÊÄ Ã ◊Êä ÿ◊ Friends, this magazine shares the on going research „ÒU– ◊Ò¥ ◊¥ÁŒ⁄ ‚fl¸ˇÊá Ê ¬Á⁄UÿÊ¡ŸÊ (©U.ˇÊ), ÷Ê¬Ê‹ ∑§Ë •Ê⁄U ‚ ¬Í⁄UË ¬˝∑§Ê‡ÊŸ ≈UË◊ ÃÕÊ activities in the field of Temple Art and Architecture among all Ç ‹Ê’‹ ª˝ÊÁ»§Ä ‚ ∞fl¥ ¬Áé ‹Á‚≈UË, ÷Ê¬Ê‹ ∑§Ê ¬Áò Ê∑§Ê ∑§ ¬˝∑§Ê‡ÊŸ „UÃÈ •Ê÷Ê⁄U ¬˝∑§≈U the scholars researchers and students of Archaeology. I, on behalf of the Temple Survey Project (N.R.), Bhopal extend my ∑§⁄UÃÊ „Í°U– gratitude to the publishing team and Global Graphics & Publicity, Bhopal for publishing the magazine.

¡ÈÀ»§∑§Ê⁄U •‹Ë Zulfequar Ali ‚¥¬ÊŒ∑§ (•ä ÊˡÊá Ê ¬È⁄UÊÃà flÁflŒ˜) Editor (Superintending Archaeologist) ÷Ê⁄UÃËÿ ¬È⁄UÊÃà fl ‚fl¸ˇÊá Ê, Archaeological Survey of India ◊¥ÁŒ⁄U ‚fl¸ˇÊá Ê ¬Á⁄UÿÊ¡ŸÊ (©U.ˇÊ.)÷Ê¬Ê‹ (◊.¬˝.) Temple Survey Project (N.R.), Bhopal (M.P.) ¬˝ÊÄ ∑§ÕŸ ...... P r e f a c e ...... Á¬˝ÿ ¬Ê∆U∑§ªá Ê, Dear Readers, •¬Ÿ ¬˝∑§Ê‡ÊŸ ∑§ ¿U∆Ufl¥ fl·¸ ◊¥ ¬„È¥Uø øÈ∑§Ë ßU‚ ¬Áò Ê∑§Ê In the 6th year of its publication, Kalash has got a ∑§Ê •÷ÍìÍfl¸ ‚»§‹ÃÊ Á◊‹Ë „ÒU ÃÕÊ ÁflÁ÷ÛÊ ‡ÊÊä Ê ‚¥SÕÊŸÊ¥, positive response for various research institutions, ¬È⁄UÊÃà fl Áfl÷ʪÊ¥ ÃÕÊ ∑§Êÿʸ‹ÿÊ¥ ‚ ‚∑§Ê⁄UÊà ◊∑§ ‚¥Œ‡Ê Á◊‹Ê „ÒU– archaeological departments and offices. Consequently, we Á¡‚∑§ ¬Á⁄Uá ÊÊ◊SflM§¬ ¬˝à ÿ∑§ •¥∑§ ◊¥ „U◊ ∞∑§ Ÿÿ ‡ÊÊä Ê Áfl·ÿ are in co-orporating every time a new research based study in our Issues ∑§Ê ‚◊ÊÁ„Uà ∑§⁄UŸ ◊¥ ‚»§‹ „UÊ ⁄U„U „Ò¥U– Further, I would like to request to my senior ◊Ò¥ •¬Ÿ ‚÷Ë flÁ⁄UDU ‚ÊÁÕÿÊ¥, ‡ÊÊä ÊÊÁâ ʸÿÊ¥ ÃÕÊ colleagues, research scholars kindly to send their notes, •Áä Ê∑§ÊÁ⁄UÿÊ¥ ‚ •ŸÈ⁄UÊä Ê ∑§⁄UÃÊ „Í°U Á∑§ fl„U ◊¥ÁŒ⁄U SÕʬà ÿ fl ∑§‹Ê articles and latest information on Temple Art & ‚ ‚¥’¥Áä Êà ŸflËŸ ¡ÊŸ∑§ÊÁ⁄UÿÊ¥ ∑§Ê ßU‚ ¬Áò Ê∑§Ê ◊¥ ¬˝∑§Ê‡ÊŸ „UÃÈ Architecture. Kalash family will be highly great full for the same. •fl‡ÿ ¬˝Á·Ã ∑§⁄‘¥U– ßU‚ „UÃÈ ∑§‹‡Ê ¬Á⁄UflÊ⁄U •Ê¬∑§Ê ´§á ÊË ⁄U„UªÊ–

«UÊÚ. ∞◊.‚Ë. ¡Ê‡ÊË (‚„UÊÿ∑§ ¬È⁄UÊÃà flÁflŒ˜) Dr. M.C. Joshi (Assistant Archaeologist) ∑§Êÿ¸∑§Ê⁄UË ‚¥¬ÊŒ∑§ Executive Editor, Kalash ÷Ê⁄UÃËÿ ¬È⁄UÊÃà fl ‚fl¸ˇÊá Ê, Archaeological Survey of India ◊¥ÁŒ⁄U ‚fl¸ˇÊá Ê ¬Á⁄UÿÊ¡ŸÊ (©U.ˇÊ.)÷Ê¬Ê‹ (◊.¬˝.) Temple Survey Project (N.R.), Bhopal (M.P.) i S◊Ê⁄U∑§ ∑§Ê ‚Ê»§-‚ÈÕ⁄UÊ ⁄UπŸ ◊¥ ‚„UÿÊª ∑§⁄‘¥U– KALASH

* Zulfequar Ali ** Dr. M.C. Joshi

Introduction: Report, Vol. VII, JD Beglar & Cunningham, 1871-72,1873- The twin villages known as Badoh ( 23o 35' N and 74 pp.64-80). Subsequently, this work was followed by A. 77 o 38' E) and Pathari ( 23 o 56' N 78 o 13' E) preserve a Cunningham(ASI Report, Vol.X, 1974-75 & 76-77:pp.69-76) glorious past of our ancestors in the form of various In 1931-42 the Gwalior State Archaeology Department did the architectural edifices including structural temples, rock-cut survey over here and some restoration works were carried out caves, mosques and other sculptural remains scattered here by the department. Documentation of the structures was also and there. The legacy of constructing temples in the villages initiated by the Gwalior State Archaeology Department. ID particularly Badoh authenticate the real zeal of contemporary Trivedi in his work i.e. Temples of Pratihara Period in Central rulers towards their religious bearing. Indeed, the present India also did study of the temples in Badoh and Pathari. In location of the villages witnesses the ancient favourable 1992-93 B L Nagarch of ASI had produced a brief account of conditions which might have been responsible to erect great rock-cut sculptures of Ramgarh hill near Pathari. temples such as Gadarmal, Dashavatara Group and a huge Jain temple. Distribution : Both the villages are located (Fig-1) about 40 km. north east of Villages Badoh-Pathari witness the existence of th th a small town Ganja Basoda and about 110 km from Bhopal on Brahaminical –Jaina - Budhhist cults prevailed during 6 -7 th th north-east direction by road in Kurwai Tahsil of Vidisha CE- 12 13 AD in this region of Madhya Pradesh. The temples district of Madhya Pradesh. The nearest railway station from particularly of Brahmanincal faith are found here in groups. the sites is Kulhar on Bhopal –Bina main line of central Broadly, four such groups have been noticed so far. railway. Both the villages are linked by village roads and Whole area of village Badoh-Pathari can be divided in the being separated by an old natural water reservoirs. The sites context of their architectural pattern as under: are surrounded by various water bodies and sand stone hills such as Gadori on the east of Pathari, mount Gyannath to the south nearly 500 ft. Besides, to the east of mount Gyannath and to the east of village Pathari mount Anhora and further to the east is mount Lapa-Sapa are located. As a whole the hills form a semi circle open to east and closed on the west by a curves ridge which joins mount Gadori and mount Gyannath. There were many water reservoirs in this region as indicated by the ground condition, among them an ancient reservoir in Badoh which even to this date Badoh-Pathari has bundings and ghats are still surviving. Ganj Basoda The sites were first visited by J.D. Beglar, the then Asstt. Archaeological Surveyor under the Superintendence of A. Cunningham in the year 1871-72 and he produced a primary account of Gyaraspur Dasavatara group, Gadarmal and Jain temple ( ASI

Vidisha * Superintending Archaeologist, ASI, Regional Directorate (Central Region) & I/C, TSP (NR), Bhopal ** Asst. Archaeologist, ASI, TSP (NR), Bhopal Fig-1, Google Map showing the location of villages Badoh-Pathri, Vidisha (M.P.) 1 dy’k

A - Brahaminical Edifices - Structural Temples 1) Temple Group-1, Dashavatara Temple Group, Badoh 2) Temple Group - 2, South East of Dashavatara Temple Group, Badoh 3) Temple Group-3, South West of Dashavatara Temple Group, Badoh 4) Siva Temple near water reservoir, Badoh 5) Kutakeswara Temple, Pathari 6) Siva temple, Pathari near Bhimgaja. 7) Temple Group at Satmarhi, Pathari 8) Group of two Temples near Satmarhi temple group, Pathari

T-12 9) Group of two Temples on Gyannath hill, Badoh T-13 Rock- cut Edifices 1- Rock-cut images and rock engravings, Sitamarhi,

Badoh T-18 T-19 2- Rock-cut temples at Ramgarh, Pathari Loose Brahiminical sculptures

B - Jaina Edifices Gadarmal Temple T-21

Jain Temple T-2 C- Buddhist Edifices - A remain of circular stone structure probably a stupa has been found on Gyannath hill. This is the only evidence in this area indicating the Buddhist activity and though it is not the absolute evidence, however this can be substantiated through a figure of Buddha kept in state museum Vidisha and it is said that the figure was brought from Badoh region. 0 5 10 Prepared by : S.K. Shrivastava SCALE M Besides, there are some structures belonging to 18th-19th century. Fig. 2 - Site plan, Dashavatara Temple Complex, Nadoh Brahaminical Edifices consisting of a garbhagraha and mandapa which now is 1. DASHAVATARA/VAISHNAVA GROUP OF completely lost. However, some portions of its floor are TEMPLES, BADOH survived. Dedicated to lord Vishnu, the temple has a square Garbhagraha which is devoid of central deity except a The ruins of Baro or Barnagar are pleasantly situated on the bank of a lake at the foot of the Gyannath hill, about 3 miles to the south of Pathari (ASI Report, vol X, p.7). Cunningham in his description has described Gadramal Temple, Jaina Temple and Dashavatar temple found here. Presently, there are altogether 21 temples mostly ruined and in most cases only the foundation or lower courses of the temples have been noticed in the complex. It has been figured out in drawing (Fig.2) to obtain an explicit idea of the groups. In fact, the documentation of the structures found here has been done clockwise and they have been given the numbers such as No- 1, 2.... and so on from the study point of view. Both Vaishnava & Saiva temples are noticed, however, most of the temples are of Vaishnava cult. Temple No. -1 The temple (Fig. 3-4) in tri-ratha plan facing east was Fig. 3, Temple No. 1, Dashavatara Group, Badoh 2 S◊Ê⁄U∑§ ∑§ ¬˝Ê∑ΧÁÃ∑§ ‚ÊÒ¥Œÿ¸ ∑§Ê ’ŸÊÿ ⁄UπŸ ◊¥ ‚„UÿÊª Œ¥– KALASH

rectangular pedestal. The inner walls of the sanctum are plain and roof of which is missing from the southern half part. Lord Vishnu riding over Garuda is shown on lalata flanked by Vidhyadhara and Mithuna figures while the architrave is adorned with all ten incarnations of Vishnu being from the right Matsya, Buddha, Balarama, Vamana, Varaha, Nrisimha, Rama, Drawn by : S.K. Shrivastava, D/M-I Parasurama, Kalki and Kurma. Fig. - 4, Plan of Temple No. 1, Dashavatara Temple Domplex, Badoh The doorsill of the temple is adorned with a central Fig. - 5, Temple No. 2, Dashavatara Group, Badoh Mandaraka flanked by fighting scene of lion and elephant on the cardinal ends. The doorway had a beautiful chandrasilla decorated with plain ghata -pallava motifs at both the ends but now broken . along with kapota bracket on the top which is resting upon two tired cushion. The doorway is embellished with three gracious sakhas such as Naga sakha, Mithuna sakha and Dev sakha while bahya There is no central deity inside the sanctum. However, the sakha is shown with patra -vallari. Dev sakha deserves ceiling is adorned with a full blown lotus and the architrave all special mention in which a few incarnations of lord Vishnu around the garbhagraha are designed with ratna patta. such as Varaha, Vamana and Rama at the right while Nrisimha, Doorway is small and contains Vishnu figure on lalata in Parasurama at the left side have been carved out. River lalitasana over Garuda. The recesses are depicted with the goddesses Ganga-Yamuna are displayed at the lower end of figures of Mithunas while the cardinal ends are displayed with the doorjamb . seated Brahma at the right and seated Siva at the left.Its tri- The temple stands upon a jadyakumbha pitha above which sakha doorway contains river goddess Ganga –Yamuna at the vedibandha mouldings composed of khura, kumbha, kalasha, base canopied with Naga deity. Mandapa is composed of kapotika and pattika decorated with floral design are two back pilasters and two front pillars having kakshasanas provided. Besides, exterior walls of the garbhagraha are on either side. The pillars are arranged in wrong way in the course of restoration The temple stands upon a very low plain but the central bhadra is adorned with sculptured niche jadyakumbha pitha below which a course of bhitta is seen. The surmounted by a long udgama in all cases which is running up pitha is adorned with usual khura, kumbha, kalasha and to the varandika. Interestingly, the vedibandha portion is also kapota mouldings. The height of the walls are comparatively adorned with projected designed panel composed of floral low and decorated with sculptural panels in single row above patterns and miniature udgama. The bhadra niches are which panels are set displayed with broad udgamas and displayed with the figures of Nrisimha on the south, niched panels pertaining ratna motif. Sikhara of the temple is Trivikrama on the west while Bhuvaraha on the north. missing. Above the doorway the varandika is embellished with hara Dashavatara Temple encircling pipal leaf while it is composed of a broad kapotika surmounted by another wide moulding decorated talpatra A temple in the form motif in rest sides of the temple. Sikhara of the temple is of an open pillared hall missing. enclosed by blank walls pierced with Temple No. -2 l a t t i c e w i n d o w s The west facing temple (Fig-5), located at the north- dedicated to Das- eastern side of temple no 1 stands upon a low jadyakumbha Avataras, is located pitha is consisting of a garbhagraha, an antarala and a south east of the pillared mandapa. The garbhagraha is composed of four temple no.1 now in corner pillars and big stone slabs. However, the pillars are much dilapidated condition composed of Fig. - 6, Dashavatara Temple 3 S◊Ê⁄U∑§ ©UlÊŸ ‚ »Í§‹-¬û ÊË Ÿ ÃÊ«∏¥– dy’k

good condition can be observed which is devoid of central deity. Facing east, the shrine is simple internally, the doorway of which has gone now. It had probably a mandapa in front which is now completely missing. In plan, the temple is tri- ratha but in very low relief. The walls are decorated with pilasters adorned with pot & foliage motif and lattice designs along with a low relief sculpture under a niche in each of the bhadra ratha canopied by a long udgama.

3. T E M P L E G R O U P - 3 , S O U T H - W E S T O F DASHAVATARA TEMPLE GROUP Besides, on the south-west of Dashavatara temple complex two Mandapika shrines and a Siva-linga have been noticed so far. They are much dilapidated. In one instance, a shrine facing south is a square chamber probably having a mandapa Drawn by : S.K. Shrivastava, D/M-I in front is constructed on simple plan. The exterior walls are Fig. - 7, Plan of Dashavatara Temple possessed Ganesha, Mahisasurmardini and a seated deity on three sides. a front portico, a pillared veranda and a long hall served as the sanctum (Fig-6-7). Cunningham noticed in the temple the 4 . T E M P L E G R O U P - 4 , T E M P L E G R O U P, sculptures of all ten incarnations of lord Vishnu. He narrates SATMARHI, PATHARI 'the statues inside are numerous; there are, in fact all the ten Satmarhi temple group (Fig-9) is located on the north-eastern avatara of Vishnu except the fish; the tortoise incarnation is direction of Dashavatara temple group about 3 km away at the remarkable, vide photograph; it represents a pole on the back foot of a hill. There are seven temples out of them 4 are of of a tortoise with a rope wound.... Vishnus'emblem'(ASI Mandapika type. The temples are standing upon a common Report, Vol.X p.77). Presently, the temple does not contain platform. There was most probably a lake/water pond nearby any sculpture. which can still be seen in the form of a large depression. The Remains of a Triple Shrined Temple temples here are mostly in dilapidated and devoid of central deity. One temple is dedicated to Vishnu while in another Within the ruins a lay out plan of a tripled shrine structure has instance the temple belongs to Nataraja Siva. been noticed which can be compared with that of Bajra Math of Gyaraspur datable to 10th-11th CAD of Kachhapaghata A Vishnu temple (Fig-10) facing west preserves Vishnu over affiliation. The temple has a common sabhamandapa having Garuda on the lalata flanked by flying Vidhyadharas is worth three garbhagraha facing north (Fig-2,T.20). 2. TEMPLE GROUP- 2, SOUTH-EAST OF DASHAVATARA TEMPLE GROUP On the south eastern side of the Dashavatara temple group about a fifty meters away another temple group (Fig-8) of two m a n d a p i k a t y p e temples mostly ruined is revealed under the bushes and cultivated lands. Interestingly , they have been found along with a well at one corner. A Saiva sculpture was also found in this complex. Among all, a temple comparatively in Fig. - 9, Google Image showing site plan of Temple Group-4, ( Fig. - 8, Temple Group-2, Badoh Satmarhi Group), Pathari 4 S◊Ê⁄U∑§ ∑§Ê Á∑§‚Ë ÷Ë ¬˝∑§Ê⁄U ∑§Ë ˇÊÁà ¬„È¥UøÊŸ flÊ‹ √ÿÁQ§ ∑§Ê ⁄UÊ∑¥§– KALASH

mentioning in which the plan is similar but the key feature of this temple is a panel of cardinal ends of the lintel are sthanaka Navagrahas above the lalata but the figure of lalata occupied by a sthanaka is badly eroded and cannot be identified. female holding probably a veena/ instrument. The 6. KUTAKESWARA TEMPLE, PATHARI doorway is adorned with The temple (Fig-13) dedicated to Siva , located about 1.5 km four sakhas including patra south –east of Bus station in Pathari village facing north is sakha, mithunas sakha, standing upon a high jagati consisting of a garbhagraha , an stambha and again patra antarala inside and a pillared mandapa in front. In plan it is sakha. The lower portion is tri-ratha. A Sahastralinga is kept in the garbhagraha on a wide adorned with the figures of gauripatta. Quite interestingly in the rear wall on a slab a bust river goddesses Ganga- portion of Sada- Siva is placed. Probably this figure is half Yamuna accompanied by broken. On the Fig. - 10, Doorway of Vishnu Temple, their female attendant one on doorway Nataraja Satmadrhi Group, Pathari each side. The jangha is Siva is displayed completely restored and i n t h e l a l a t a devoid of any sculptural representation. The sikhara is also flanked by flying missing. Vidhyadharas in A tri-ratha Siva temple the recesses while stands at the left side of the Vennadhara at the Vishnu temple, carries cardinal ends are Nataraja on the lalata (Fig-11) carved out. On the accompanied by a row of t o p o f t h e Navagrahas at the right while doorway figures another row of Sapta Matrikas of Navagahas and and Ganesha at the left side. It m a l e - f e m a l e Fig. - 13, Kutakeswara Temple,Pathari i s c o n s i s t i n g o f a dancers have garbhagraha and a front been provided. A separate panel is provided above the door mandapa. The janghas of the lintel which is displaying the figures of Parvati, Ganesha, temple are embellished with Kaumari, Chamunda. According to Cunningham the temple is datable to 8th-9th c.AD. R.D. Triwedi placed this in the third the figures of Ganesha, Yama, th Surya, etc . The sikhara of this Fig. - 11, Doorjamb of Siva Temple, quarter of the 9 century. Satmarhi, Pathari temple is also missing. 7. Siva Temple near water reservoir, Badoh 5. GROUP OF TWO TEMPLES NEAR SATMARHI This east facing temple (Fig-cover) dedicated to Siva is TEMPLE GROUP located at the right bank of a water reservoir presently in On the south-west of the Satmarhi group, another group of dilapidated condition and preserving no central deity in the garbhagraha. The northern and western jangha part is two Mandapika temples are located. They are badly damaged completely missing except the corner pillars. It stands upon a and are consisted of a garbhagraha and pillared mandapa in heigh pitha which is much damaged. However, the ratna front. But in one temple a portion of mandapa is survived. pattika and jadyakumbha mouldings are clearly visible The east facing in it. The vedibandha of the jangha caries as usual Temple (Temple No-1) features such as khura, kumbha, kalasha and kapota preserves the bhadra mouldings. The jangha part is being separated by a images such as Ganesha, medial bandha which is adorned with ratna motifs. The Kartikeya and a female doorway is highly weatherworn and adorned with a deity (Parvati?) on the figure of Nataraja on the lalata flanked by seated southern, western and Brahma at the right and seated Vishnu at the left cardinal northern side respectively. ends. The pancha sakha doorway is consisted of Patra There is no deity in the Sakha, Naga Sakha, Mithuna Sakha, Stambha Sakha garbhagraha. and Mithuna Sakha while river goddesses Ganga- Yamuna are displayed at the lower ends along their In temple -2 (Fig-12) the Fig. - 12, Temple No.-2, Satmarhi Group, Pathari attendants. Sikhara of the temple is missing. 5 S◊Ê⁄U∑§Ê¥ ∑§Ë ŒËflÊ⁄UÊ¥ ¬⁄U ⁄¥UªÊ߸U-¬ÈÃÊ߸U, Áøò Êá Ê fl •¥∑§á Ê Ÿ ∑§⁄‘¥U– dy’k

8. SIVA TEMPLE, PATHARI NEAR BHIMGAJA. the name of a person (Fig-15). Located at a distance of about 25 meter from Bhimgaja in Some fragmentary inscriptions are also engraved at the th Gadi Mohalla facing east, this temple is consisting of a entrance of the Kutakeswara temple which can be dated to 11 garbhagraha, an antarala and a mandapa in front. However, centry A.D. the antarala and mandapa are survived only in their lower Sprawling Temple remains at Badoh & Pathari villages and in courses. There is a Siva-linga in the garbhagraha on a heigh the surrounding area suggest that the region was an important pedestal. The ceiling is resting upon four corner pillars. In Hindu religious centre between 9th to 12th centuries A.D. and contrast, the lalata is adorned with a figure of Vishnu over perhaps enjoyed some sort of royal patronage as suggested by Garuda. Navagrahas are shown on the top architrave of the the inscription on the Bheem-Gaja (a Garuda Stambha). lintel. Janghas of the temple are ruined and only core is visible. Temple Architecture activity started in the Region from Gupta As far as elevation of the temple is concerned, its stands upon Period as evident from the exiting remains at the Sitamarhi the two courses of bhitta over which a broad vedibandha cave and rock cut caves in the nearby village Ramgarah. composed of khura, kumbha, kalasha and kapota mouldings However, the most of the Brahmanical temples were built has been provided. Sikhara is also missing. between 9th to 11th century A.D. All most all the temples of 9. TWO RUINED TEMPLES ON Badoh including Dashavatar Temple GYANANATHA HILL complex and temple ruins have been built on the banks of an ancient On a high hill know as Gyannatha, two pond/reservoir. These are Gadarmal temples found in ruined condition. In Temple (on south), Jaina Temple one case (Fig-14) only pillars and (North west), ruined temples, whereas beams are survived, where as, remains of at least two number temples evidences of anther temple is found can be traced over the same Hill. having only its foundation level. Similarly, the Satmarhi group in DISCUSSION : Pathari was also built on the bank of The earliest datable evidence comes reservoir which can be noticed in the from Pathari in the form of an form of a depression in the vicinity. inscription engraved near the Besides, some sati stones and an open Saptmatrika figures (datable to 5th Fig. - 14, Ruined Temple on Gyannatha Hill, Badoh pillared structure known as Solah centry A.D.) mentioning the name of King Jayasena. There Khambi are also situated near the lake indicating the religious th importance of the lake. are at least two no. of inscriptions recorded in the 9 century. The first inscription is engraved on the Graudadhvaja locally From the presence of Rsahtrakuta inscription engraved on known as Bheem Gaja. It informs that it was setup as Garuda Bheem gaja and inscription reported by Cunnigham, it can be Dhwaja by a chief minister of safely presumed that the Badoh and Rashtrakuta King Prabala in Vikrama Pathari hold political importance S a m v a t 9 1 7 i . e . 8 6 1 A . D . during the 9th century A.D. (Miscleniious inscription of the The site is also important in view that Rashtrakutas, pp. 48-49). it preserves the remains of Cunningham saw an inscription Saptmatrikas in the 5th century, A.D. (damaged partly) outside the Jain The Jaina Activities started in a temple complex dated 933 Samvat i.e. comparatively late phase somewhere 876 A.D. in the 11th-12th Century A.D. Majority The authors during survey have of the temples are smaller in size with noticed an inscription at the entrance plane roof, sometimes the ceiling is of Jaina Temple recording the visit of carved with a single lotus. Mandpika some pilgrim dating to Samvat 13 type of temples are found in the same (‚◊) probably Samvat 1300 i.e. Fig. - 15, Inscription on pillar- bracket considerable number over here. 1358 AD. Among the available shrines the majority can be associated Cunnigham noticed an inscription on the Dashavatar temple with the Vaishnva cult. Earliest, being the rock cut caves mentioning the name of a pilgrim “dola”. An inscription also carved in the nearby Ramgarah village. However, Saptmatrika noticed by the authors on the bracket of a pillar in the mandapa caves is also a clear indication that Shaivisom was also of temple no.2 of Dashavatar complex probably mentioning popular at this place during the Gupta period. 6 S◊Ê⁄U∑§ ◊¥ ©Uà ∑§Ëá ʸ Áøò Êá Ê fl ◊ÍÁøÿÊ¥ •ÊÁŒ ∑§Ê ŒÍ⁄U ‚ Œπ¥– KALASH

MkW- galk O;kl Hkwfedk foU/;kpy vkSj lriqM+k ds chp ueZnk ds fdukjs cls gks'kaxkckn dh igpku ijekj 'kkld mn;oeZu ds Hkksiky rkezi=kfHkys[k ds vuqlkj ts-,Q- ¶yhV us ^^ueZnkiqj** ls dh gSA1 vfHkys[k dh 9oha iafä esa ^^uEeZniqjs izfr tkxj.k ,oa xq.kkSjk xzke** dk mYys[k feyrk gS izkIr lUnHkksZ ls Kkr gksrk gS fd ueZnk ds fdukjs cls gks'kaxkckn dk xukSjk xzke vfHkys[k esa mYysf[kr xq.kkSjk xzke gh gSA vfHkys[k ls ;g Kkr gksrk gS fd mn;oeZu dk firk gfj'kpUnz Fkk ftldk izLrj LraHk vfHkys[k gks'kaxkckn esa feyk tks 1972 esa eq[; Mkd?kj ds ikl ,d pcqrjs ij LFkkfir FkkA2 1406 esa vYi [kka xkSjh ekyok dk lqYrku cuk vkSj fp=&1 mlus gks'kax'kkg dh mikf/k /kkj.k dhA izkIr laUnHkksZ ds vk/kkj ij ;g izekf.kr gS fd gks'kax'kkg us gks'kaxkckn clk;kA3 ij ijekj dkyhu 'kkld mn;oeZu ds vfHkys[k ls bl {ks= dh igpku ueZnkiqj ls dh tkrh gSA /kkfeZd lkaLd`frd uxjh gks'kaxkckn vius vapy esa vusd oS".ko efUnjksa dks efUnj LFkkiR; dyk dh /kjksgjks ds :i es lgsts gq;s gSA ;gk¡ dk oS".ko lEiznk; dk izeq[k efUnj txnh'k efUnj gSA ;g efUnj vR;Ur izkphu gSA txnh'k efUnj gks'kaxkckn {ks= esa oS".ko LFkkiR; dyk dk lcls izkphure efUnj gks'akxkckn esa ueZnk ds fdukjs fLFkr txnh'k efUnj ¼fp=&1&3½ gSA efUnj dk lEiw.kZ ifjlj ,d vkJe dks vfHkO;ä djrk gSA ;g efUnj LFkkiR; dyk dh n`f"V ls fp=&2 vR;Ur egRoiw.kZ gSA xHkZx`g esa LFkkfir txUukFk] cyHknz vkSj lqHknzk dh dk"B fufeZr izfrek;sa vn~Hkqr gSA izfrekvksa dk ;g :i gksus ds ihNs ikSjkf.kd vuqJqfr ;g gS fd & ^^,d le; fo'odekZ uked _f"k d`".k] cyHkzn o lqHknzk dh izfrek cuk jgs Fks vkSj mUgksus d`".k] cyHknz o lqHknzk dks funsZ'k fn;k fd tcrd ;g izfrek,¡ iw.kZ :i ls cudj rS;kj ugh gks tkrh bUgs ns[kus dk iz;kl u djsa] fdUrq ftKklko'k mUgksus _f"k fo'odekZ dks izfrek cukrs gq, Nqi dj ns[k fy;k ;g tkudj _f"k fo'odekZ :B x;s vksj v/kwjh izfrek ds fuekZ.k dks NksM+dj vUrj/;ku gks x;s rc ls bu nso izfrekvksa dh iwtk blh :i esa dh tkrh gSA izk-bfrgkl] 'kk-ueZnk egkfo|ky;] gks'kaxkckn fp=&3 7 Áøò Êá Ê fl •ã ÿ ∑§‹Ê∑ΧÁÃÿÊ¥ ∑§Ê Ÿ ¿ÈU∞° •ÊÒ⁄U Ÿ ©UŸ¬⁄U ¡‹ «UÊ‹– dy’k

bl efUnj ds egUr Jh ukjk;.k nkl th ds vuqlkj }kj ds nksuks rjQ uhps o Åij nks&nks iq:"k vkd`fr dk vadu ;g efUnj izkphu le; esa y{eh ukjk;.k efUnj Fkk fdUrq rhu gS ftuds gkFk esa chu o ikl gh liZ dk vadu gSa A uhps dh ihf<+;ksa ds ckn ;g txUukFk efUnj ds uke ls tkuk tkus yxk iq:"kkd`fr dks t;&fot; ds uke ls tkuk tkrk gSA efUnj lkFk gh mUgksus crk; dh lu~ 1864 esa ykMZ Mygksth us bl dh nhokjs uDdk'kh ;qDr gSA nhokjksa ij eghu vyadj.k efUnj {ks= dk losZ{k.k djk;k FkkA dh lqUnjrk esa o`f) djrk gSA vkaxu essa efUnj ds Bhd lkeus orZeku efUnj ls lEcfU/kr izkphu vfHkys[k ,oa nLrkost vc dh vksj ck;ha rjQ nks LraHk ;qä x`g cus gS nksuks gh LraHk ;qDr miyC/k ugh gSA ueZnk ds fdukjs yxk ;g efUnj izfro"kZ ck<+ x`gks esa guqeku dh fo'kky izfrek LFkkfir gSA efUnj ds izkxa.k dk lk{kh jgrk gSA laHkor% izkphu vfHkys[k ,oa nLrkost es ,d NksVh lh xqQk fufeZr gSaA ,slk dgka tkrk gS fd laj{k.k ds vHkko esa ck<+ esa u"V gks x, gksxsaA _f"k&eqfux.k riL;k fd;k djrs FksA orZeku esa bl xqQk dk njoktk cUn gh jgrk gSA efUnj dh lajpuk efUnj dk fo'kky izos'k }kjk dk"B ls fufeZr gSA jFk ;k=k & izos'k }kj ds Åij dh vksj NksVs xqacatks dk vyadj.k gS ;s txnh'k efUnj ds lkFk jFk ;k=k dk xgjk lEcU/k gSa xaqct LraHk ij fufeZr fd;s x;s gSA izos'k }kj ds Bhd lkeus iqjh esa iwoZ esa N% jFk cuk;s tkrs Fks ij vc rhu jFk cuk;s tkrs v}Z o`Ùkkdkj }kj cuk gS tgk¡ ls lh<+h;k¡ ueZnk ds rV rd gSA gks'kaxkckn esa ,d gh jFk ij txUukFk cycnz] lqHknzk tkrh gSA ;g ?kkV txnh'k eafUnj ?kkV ds uke ls tkuk tkrk fojktrs gSA jFk ;k=k izfro"kZ vk"kk<+ 'kqDy i{k dh f}rh;k ls gSA ;g izos'k }kj ls vkxs c<+us ij ck;h vksj dqN dne dh izkjaHk gksrh gSA ;g vk;kstu ikap fnu dk gksrk gSA jFk ;k=k nwjh ij fo'kky izkxa.k esa txnh'k efUnj fLFkr gSA orZeku esa gks'kaxkckn dk ,d yksd mRlo gSA LFkkuh; yksxks ds bl efUnj ds izkxa.k esa ck;h rjQ lkq/k lUrksa ds jgus ds fy;s lkFk&lkFk nwj&nwj ls lk/kq lar Hkh bl ;k=k esa 'kkfey gksrs LFkku cuk gqvk gSA ;gk¡ nks dejs vkSj ,d cM+k cjkenk gSA gSA LFkku&LFkku ij jFk dk Lokxr fd;k tkrk gSA jFk ;k=k nkfguh rjQ egUr th ds jgus dk ,d dejk] Hk.Mkj x`g] dh yEch le`) ijEijk gSA jlksbZ ?kj gSA iwjk efUnj ,d vkJe dk izHkko nsrk gSA ;|fi mijksDr eafnj dk Lo:i vk/kqfud gS rFkkfi 18oha & izkax.k esa ,d fo'kky pcwrjk cuk gS tgk¡ e.Mi vkSj 19oha ’krkCnh esa bl rjg ds dbZ eafnj vfLrRo esa vk;s gSaA v/kZ e.Mi fLFkr gSA e.Mi ls igys laxejej dh jsfyax ls ftudks mRrjizns’k] jktLFkku rFkk ekyok ds dbZ LFkkuksa esa cuk gqvk ,d NksVk lk LFkku gS tgk¡ lqUnj eghu uDdk'kh ns[kk tk ldrk gSA ;qDr laxejej dk flagklu j[kk gqvk gSA flagklu ds vkxs nksuks rjQ gkFkh dk vadu gSA e/; eas lqUnj vyad`r QOokjk gS laUnHkZ & tks fd xHkZx``g ds Bhd lkeus gSA QOokjs ds ihNs Å¡pk x:M+ 1- ¶yhV ts-,Q-&bf.M;u ,sUVhDosjh ¼1887½ Hkkx 16] i`- /ot LraHk fufeZr gSA ;g LraHk vyad`r gSA laxejej dh jsyhax 252&256] ds nksuks rjQ lhf<+;k¡ cuh gqbZ gS tks efUnj ds e.Mi rd 2- 1986 esa ysf[kdk }kjk Lo;a fd;k x;k losZ{k.k] feÙky ,- tkrh gSA e.Mi esa vyad`r vkB LraHkksa dh rhu ifÙk;k¡ gSA lh-&ijekj vfHkys[k ¼1979½] ykyHkkbZ nyir HkkbZ] izR;sd LraHk nks ds tksM+s ls fufeZr fd;s x;s gSA xHkZx`g ds Bhd Hkkjrh; laLd`fr]fo|kefUnj&9 i`-224A lkeus nks cSBs gq, flagks dk vadu gSA xHkZx`g esa txUUkkFk] cyHknz] lqHknzk dh dk"B fufeZr izfrek LFkkfir gSA ;s izfrek,¡ 3- ekyok ds lqYrku vYi [kka xkSjh us ^^gks'kax'kkg** dh T;s"B 'kqDy iw.kZeklh ds fnu vfHk"ksd ds fy;s xkts&ckts] mif/k /kkj.k dh vkSj gks'akxkckn clk;kA gks'kaxkckn eas ueZnk ds fdukjs vkt Hkh gks'kax'kkg ds fdys ds vo'ks"k 'ka[k] eathjksa ds lkFk efUnj ds izkxa.k esa ykbZ tkrh gSA fQj fo/keku gSA n xtsfV;j vkWQ nh lsUVªy izkfoUlst] Hkxoku txUukFk th 15 fnu ds fy;s chekj gks tkrs gSA vk"kk<+ 1870] i`-201] gks'kaxkckn fMLVªhDV xtsfV;j] 1908 'kqDy i{k dh nwt ls jFk ;k=k fudyrh gSA jktHkk"kk laLd`fr lapkyuky;] Hkksiky] i`-25 xHkZx`g ds Bhd Åij f'k[kj dk vadu gS y?kq J`ax lEiw.kZ fooj.k ysf[kdk }kjk Lo;a fd;s x;s losZ{k.k ,oa f'k[kjksa ds lewg ls fufeZr f'k[kj lknk ij lqUnj gSA f'k[kj ds orZeku egUr Jh ukjk;.k nkl th ds lkFk fy;s x;s Åij vkeyd dy'k fufeZr fd;k x;k gSA xHkZx`g ls ckgj lk{kkRdj ij vk/kkfjr gSA

8 S◊Ê⁄U∑§Ê¥ ◊¥ ÁSÕà Áøò ÊÊ¥ ∑§ ¿UÊÿÊÁøò Êá Ê ∑§⁄UÃ ‚◊ÿ ç‹Ò‡Ê ‹ÊßU≈U ∑§Ê ¬˝ÿÊª Ÿ ∑§⁄‘¥U– KALASH

* Rajendra Yadav

INTRODUCTION an opportunity to study few more temple remains found in the Since nineteenth century AD, a gamut of scholars worked on neighbouring district Chitrakuta (Yadav, 2010: 65-78; the art and architecture of Bundelkhand and published in their 2014:20-27) which are impending doom due to rapid writings. Cunningham (1969), Fuhrer (1891), Deva (1990, urbanization and negligence. Two more ruined temples have 1995) had made remarkable contribution in this field. Due to been found at village Chheeri and Parvezabad of district their relentless efforts, a plethora of temple remains and Allahabad which are under reference are yet to be studied. sculptures have been discovered from this region comprising These temples are under threat by a stone quarry which is districts of Banda, Chitrakuta, Mahoba, Jhansi, Lalitpur of running in the same hillock. The newly discovered temples of Uttar Pradesh and the contiguous districts of Madhya Pradesh Chheeri and Parvezabad seems to be mark the presence of viz. Panna, Chhatarpur, Tikamgarh, Sagar and Damoh. These Chandella hegemony on the north-eastern edge of their temples are covered spectacular information's to understand political boundary which is far away from the nucleus zone the subject matter- manifestations of temple art, style, Mahoba and Khajuraho. It is intended to discuss the aesthetics, development and its movement chronologically architectural speculation noticed in the late 9th to 10th century under the patronage of Guptas, Parivarjakas, Pratihara, AD in Bundelkhand under the cultural and political sphere. Kalchuris and Chandellas. The village Chheeri is located about 5km north-east of Tehsil In the continuation of previous discoveries, the author has got Bara and 35 km south, south-west of district headquarter Allahabad on the north of National Highway-76 connecting Allahabad to Banda, the two culturally and religiously eminent towns of those days. The village is well connected by a mettled road from district headquarter via Jasra and Bara (fig.-1). The village Parvezabad is situated about 1km north- west of Chheeri and about 300 m west of the ancient temple at Chheeri has also yielded remains of an old temple. The village Chheeri and Parvezabad lie on the right (southern) bank of the River Yamuna, flowing towards north- northwest of the site about 14 km crow flies distance. The flood plain on the right bank of the river is geologically known as Trans- Yamuna Tract forming a part of the Bundelkhand region. The area is largely covered with alluvial deposit called as upland which is formed by the River Ganga and Yamuna with intermittent breaks by Vindhyan outcrops emerges abruptly in the plains (Joshi, 1966 : 13). ANCIENT TEMPLE AT CHHEERI : Perched on the northern edge of a large talab, located about 500m east of the village Chheeri on a low hillock of the Vindhyan outcrop. Facing east, the dilapidated nirandhara temple built on a high jagati measuring 29.50m (east-west) x 18.5m (north-south) accessible though flight of steps from the east. The steps of jagati leading to the main temple are now dislodged; however, partly preserved stairs having double ascending steps from the opposite directions-north and south (fig.-2-3). The top of jagati is adorned with mouldings Fig-1, Location map of villages Chheeri& Parvezabad consists of bhitta, jadyakumbha and seems to have a parapet or Asstt. Archeologist, Archaeological Survey of India, 9th floor, Kendriya Bhawan, Purania Chauraha, Aliganj, Lucknow-226024. (M) 0-8004216958. E-mail:[email protected] 9 •‚¥⁄UÁˇÊà S◊Ê⁄U∑§Ê¥ fl ÿò Ê-Ãò Ê Á’π⁄UË ∑§‹Ê∑ΧÁÃÿÊ¥ ∑§Ë ‚È⁄UˇÊÊ ‚ÈÁŸÁ‡øà ∑§⁄‘¥U– dy’k

b a l u s t r a d e with chaitya-mesh design and divided into several bhumis by w h i c h i s compressed-amalakas as evident from the architectural debris missing now. (Fig-5). An amalaka stone is found near the temple also suggest that once the sikhara was crowned by an amalaka rest The temple is over the short griva constructed on decorated with the principal of s q u a r e - m e s h architectural design. But, the cannons. The present sikhara of p a n c h r a t h a the temple was temple consists r e n o v a t e d a n d of a sanctum, a plastered with lime p i l l a r e d Fig-2, Temple at Chheeri, Alahabad about a decade ago mandapa and having pyramidal mukhamandapa on axial plan. In elevation, the temple has roof while mandapa moulded-pitha with an has flat roof made additional set of mouldings, of stone plank. consists of a plain courses namely kharsila with laghu- The plain interior of Fig-5, Remnants of Temples,Chheeri, Alahabad kanika or thin round the sanctum is 3.5x moulding which seems to be 2.5m in dimension which was altered latter. A stone is fixed a prototype of karnika, against the rear wall of the shrine seems to be a pitha for bhitta, jadyakumbha, kanika enshrining deity worshiped in the temple. It is entered through with hanging vegetal a Nandini type of doorway (1.02m x 1.95m) is partly garland stenciled in design preserved in situ. The panchsakha doorway (102cm x 54cm x and a manchika decorated 45cm) comprising a plain-sakha, pushpa-sakha, patra-sakha with garland as that of or vegetal scroll and pushpa-sakha while outer most is kanika. The pitha is decorated with rope design. The dwarasakha of the temple can followed by another set of be compared with the doorway of Someshvara Mahadeva moulding of vedibandha to temple, Karvi, district Chitrakut (Yadav, 2015) which is little support the jangha, consists early in date showing similar decoration. Off course, of khura, kumbha, and udumbara and lintel of Someshvara Mahadeva is more kalasa as shown in situ on elaborate studded with a seated figure of Gajalakshami with t h e p a r t l y p r e s e r v e d flanking Siva and Ganesa on either side. adhishthana on the northern Fig-3 The design over the sakhas is crarved in stenciled pattern side. The jadyakumbha rather than in high relief as seen in many of the Pratihara moulding of pitha is adorned temples viz. Kuraiyabir temple, Sun temple at Budhni in with ardha-chitya and chaitya-arch design carved on e a c h (district Lalitpur), Jarai-ka-Math, Barua Sagar, Jhansi or in rathika (fig. 4). The pitha is studded with three projected mature Chandella temples. The river goddesses Ganga and pillared niches, one Yamuna accompanied each on the cardinal with dwarapalas are directions-north, shown on the pedya of e a s t a n d w e s t doorjamb right and left respectively. The respectively (Fig-6). rucaka (four-sided) The Saiva dwarapalas pillars of niches are are standing behind square and laced river goddesses and the with horizontal right dwarapala is bands and topped holding khatwanga in with dandachhadya his left hand while which are dislodged dwarapala on the left and none of them are Fig-4, Pithika of temple at Chheeri, Alahabad holding trisula in his found in situ. Among three, only northern bhadra-niche is right hand. All figures carved enshrining an image of a defaced god seated in dhyanamudra on pedya of doorjamb are while other niches are now lying vacant. standing in tribhanga pose In elevation, the garbhagriha seems to have a jangha studded displaying the art of medieval idiom such as with niches, varandika and a curvilinear sikhara decorated Fig-6, Door Jamb, Temple at Chheeri 10 •‚¥⁄UÁˇÊà S◊Ê⁄U∑§Ê¥ fl ∑§‹Ê∑ΧÁÃÿÊ¥ ∑§ ◊Í‹M§¬ ∑§Ê ÁflŸCU Ÿ „UÊŸ Œ¥– KALASH drapery, dhamilla coiffure and heavy flattish and blunt TEMPLE AT PARVEZABAD : jewelry. Another ruined temple (fig. 8) is located about 300m west of The five sakhas of doorjambs were continued on door-lintel of temple at Chheeri and 500m south-east of village Parvezabad the shrine broken in two pieces, the larger piece is lying near and about 1km west the mandapa while left smaller portion is kept on the left of north-west of village entrance. A seated image of Gajabhisakta-Lakshmi is shown Chheeri. Perched on a as lalatabimba flanked by Ganesa on the right, while the left l o w V i n d h y a n detached part is showing a mutilated female goddess playing hillock, the ruined on Vina (?). The udumbara (door-sill) is plain without temple constructed mandaraka and decorated over a low pitha with stenciled design of w h i c h i s p a r t l y padmapatra in the centre preserved on the as well as on the flanking south-west corner. sides. A chandrasila is Facing east, the placed on the front of the temple consists of a sanctum flanked by a garbhagriha and a conch on either side. A vestibule on axial step is raised behind plan. Conceptually, it chandrasila to get easy seems that there access in to the sanctum would be a mandapa through high udumbara. on the front of Presently, the sanctum garhbhagriha which enshrines a Siva-linga does not exist. The (Fig-7), obviously of latter p a n c h a r a t h a Fig-8, Temple at Parvezabad date fixed by local sanctum of the temple consists of pitha, though, it is badly inhabitants during the damaged. The surviving moulding of the pitha consists of renovation. Fig-7, Siva Linga in the grabhagraha bhitta, khura and kumbha. The sanctum is succeeded by a square hypostyle mandapa The square sanctum is measuring 1.9 x 1.9 m, having sunken measuring 5.5m x 5.5m. Originally, mandapa had eight pillars floor accessible through four numbers of down steps. The and two pilasters to support the roof which seems to have a floor of the sanctum could not be seen due to fallen debris phamsana type. Perhaps, there was a kakshasana balcony in filled in the sanctum. The interior of the sanctum is plain the mandapa as appeared in Someshvara Mahadeva temple. having kshipta-vitana which is partly damaged. The sikhara is The original roof of the mandapa has lost while base of the crowned by hallow sikhara, divided into three-stories with pillars are still in situ. The moulded octagonal base is like horizontal stone. kumbhika but having straight side, followed by mouldings A long vestibule measuring 1.45 x 1.10 was added on the front consisting of khura, kumbha, kalasa and kapota which are of the sanctum having plain walls and plain roof. There is identical of pitha mouldings. The pillars of the mandapa rose another story over the vestibule which may serve the purpose over the octagonal bases having eight (astasara) at the base, of devakostha for the sukanasa is now lying vacant. The sixteen (sodasara) facets in the middle while round (vritta) at original doorway of the temple is not available in the the top. The mandapa is followed by a mukhamandapa architectural debris seems to be lifted by local villagers. The accessible through a five flight of steps from the high jagati. exterior of the temple looks like a skeleton because the carved The roof of the mukhamandapa is supported on a two pairs of stones are wracked out from the top to bottom and core round pillars which are missing, however, the round base of masonry of the sikhara is standing in situ. In absence of the the pillars are in situ. Perhaps, the mukhamandapa has finding of evidences it is difficult to ascertain to whom the phamsana roof as suggested from the architectural members temple was dedicated. However, the low floor of the sanctum found close to the temple. suggests that it may have a Siva linga, such low sanctum has Besides, there are a large number of architectural members reported from many other places, and one is reported in have been reported at the site. Fragments of pillars, pilasters, Chittaurgarh fort, Rajasthan. The area is also dominated by amalaka, makara-pranala (gargoyle), roof stone, mouldings Siva worshipers and temple at Chheeri is also belonging to and few sculptures namely mutilated figure of Karttikeya, some female deity of Saiva family. male torso, leg of divine image, memorial pillar are important Besides, a few architectural members like amalaka, pitha- among them. The memorial pillar is having square section, mouldings, two fragments of memorial pillars and a stone divided into three tiers and each tier is having niches plaque depicting Hanuman is lying inside the sanctum seems displaying scenes of Krishna-lila on all four sides. The th th to be of latter in date. Stylistically, the temple displays the memorial pillar is stylistically assignable to 12 -13 century Chandella style and assignable to circa late 10th or early 11th AD. century AD. 11 ¬˝ÊøËŸ ∞ÁÄUÊÁ‚∑§ ßU◊Ê⁄UÃ¥ „U◊Ê⁄UË ‚¥S∑ΧÁà ∑§Ë ¬„UøÊŸ „ÒU •ÊÒ⁄U ßUŸ∑§ ‚¥⁄UˇÊá Ê ∑§Ë Á¡ê◊ŒÊ⁄UË „U◊Ê⁄UË „ÒU– dy’k

SECTARIAN AFFILIATION khatvanga and trisula. The conclusion is merely a suggestive The cultural background of Bundelkhand is clearly shows that rather than a conclusive regarding the temple at Chheeri was all Brahmanical sects –Siavism, Vaishnavism, Saurya, Shakta, dedicated to goddess Kshemankari. Ganapatya, Samarta-puja, etc. were worshiped either as a cult DATING deity or in association as minor gods and goddess, under the patronage of Pratiharas and Chandellas. Among Hindu trinity, Dating of the temples always becomes a challenging task for Shiva, Vishnu temple are found in abundance while Sun and the scholars. In absence of any epigraphcial records, only Shakta worship was also quite popular in Bundelkhand circumstantial evidence, art, architectural style, motifs is only (Yadav, 2015:12). Lokhri (or Lauri), district Chitrakuta, tools which are helpful in dating of the temples. So far as the Kalinjar, district Banda, Chausath Yogini temple, Khajuraho, temple at Chheeri and Parvezabad is concerned we do not have were famous Shakta centers. Among them, Lauri has reported any inscriptional evidence which could be helpful in dating. about 23 Yogini figures (Cunningham, 1969:15) which are Both the temples are very ruined in condition and only now shifted to the sculpture shed of the ASI at Gharwa fort, fragmentary pieces are available at the site. The existing pitha district Allahabad. and doorjamb of the temple at Chheeri still preserve a So far as the dedication of the temple at Chheeri is concerned, significant architectural feature which is having close in first instance it seems that the ancient temple is dedicated to resemblance with Brhama temple belonging to first group of some female divinity or Siva, though, a Siva-linga is enshrined Khajuraho (temples) those are made of mixed stones i.e. in the sanctum, but is very clear that it was placed in the sandstone and granite except the Chausath Yogini which is sanctum somewhere during the restoration of the temple. The made of granite dated between AD 950 to AD 1100 (Deva, most significant evidence which supports this hypothesis is the 1990, p.21). The earlier group of temples is characterized by broken door-lintel, exactly in size of the entrance of the shrine an austerity in design and ornamentation compare to the depicting Gajalakshmi as lalatabimba in the centre, a female Lakshamana and Kandaria Mahadev temple of the latter deity playing on Vina (?) on the left and Ganesa on the right. It group. is believe that a deity is always carved over the entrance (door- The early temples at Khajuraho are raised on high jagati lintel) as lalatabimba, often belong to the family of the having simple pitha and doorway with less sculptural enshrining god or form of the enshrining deity. The tutelary depiction. Both interior and exterior part of the temples is plain deity shown on the lintel is Gajalakshmi which is goddess of only having piercing transept for the light and air in the prosperity and found either independent or in accompany of sanctum as in case of Brahma temple. Whereas nirandhara Kubera and sometimes it is also depicted on the panels of temple at Chheeri is more elaborated on plan and elevation, Sheshashayi Vishnu alongwith other gods. The probability of raised over a high jagati, pitha with projected niches which is an independent Lakshmi temple cannot be accepted because it totally different from the Pratihara temples. The udumbara of was worshiped as minor deity during the medieval period. Chheeri temple is plain without round mandaraka and It is inferring that the temple was dedicated to a female divinity adorned with stenciled deign of padmapatra as that of Brahma on the following grounds. temple at Khajuraho which is assignable to AD 900. 1. Lakshmi shown as lalatabimba. Another temple reported from tehisl Karvi of district Chitrakut 2. The dwarapalas holding Saiva attributes which is only popularly known as Someshvara Mahadeva belong to circa possible if the temple is dedicated to Siva or his female mid 10th century AD can be compare with temples at Chheeri. consort. In this case of Chamunda or any other form of (Yadav, 2015). The sumptuous doorway have five sakhas Durga it is possible that the sanctum is guarded by Saiva similar to Chheeri and udumbara of Someshvara Mahadeva dwarapalas with his attributes. embellished with recessed niche enshrining mutilated figure 3. The name Chheeri seems to be derived from goddess of Lakshmi in place of round mandaraka and flanked by pair Khemkari, a form of Durga. of diamond motifs in place of grass-mukhas. The lateral extremities of udumbara depict a seated figure of Vinadhari The presence of Saiva drawarapalas with khatavanga (right) Siva on the right and Ganesa on the left. and trisula (right) indicated that the temple must have some close association with Siva. Perhaps, the name of the village Architectonically, the temple at Chheeri represents a transition Chheeri is derived from Kshemankari, one of the nine Durgas between Pratihara and Chandella art which was further and in due course of time it became Chheeri. In local dialect culminated in latter medieval temples in other regions under Kshemankari is called Kshamakari ({kekdjh ;k {keadjh ) and the various dynastic patronages. The temple at Chheeri may be gradually it was converted Chheeri or in Hindi Chheenri ({khjh placed after Someshvara Mahadeva temple and safely dated to th ;k {khajh). If the temple is dedicated to Kshemankari form of the last quarter of 10 century AD. goddess, it is make possible to guard the temple of goddess Durga by the Saiva dwarapalas with their attributes like S◊Ê⁄U∑§Ê¥ ∑§Ë ªÁ⁄U◊Ê ∑§Ê ’ŸÊÿ ⁄UπŸ ◊¥ ‚„UÿÊª ¬˝ŒÊŸ ∑§⁄‘¥U– KALASH

DISCUSSION The temple traditions of northern India should be viewed in broader spectrum to understand its stylistic complexities, their extent, authorship and tutelage. The close examination of the temples of northern Bundelkhand indicates that the temples at Chheeri and Parvezabad are belonging to Pratihara ancestry and display an architectural style prevalent in 7th-10th century AD, but it represents late milieu of Pratihara art with induction of new art motifs. The pre-Chandella mode of art and architectural expressions which is termed as Pratihara style on their dynastic nomenclature was bridging between post-Gupta art and the medieval dynastic art of the major part of northern and central Indian. The Pratihara temple art was transforming during the phase of decline (Mahipala (AD 912-944) and Devapla) and new mode of well-established architectural traditions, more elaborated on plan, elevation and decoration was passed to the succeeding medieval dynasties in the region, such as the Chandellas, Kachchhapaghatas, Paramaras and Kalachuries of Tripuri (Jabalpur) being the major ones (Trivedi, 1990:3). Deva states that “the Pratihara temple of Central Indian has a simple and relatively stunted sikhara, a low adhishthana and an unpretentious plan generally consisting of only the sanctum and antaralla, in few cases, is Fig-9 preceded by mukhamandapa (Deva, 1990:17). The jangha is decorated with single band of sculptural niches crowned by tall udgamas of chaitya-arch. lkfgLrLrLeknoki fNirqjxo ¼c½ysukuq gsjEo ¼Ec½iky%A Pertinently, that Chandella was true successor of Pratiharas rRlwuksnZoikykÙkeFk g;i¼ rs ½% izkI; fuU;s izfr'Bka and continued their architectural pursuit on the ruins of Pratiharas. The mighty Chandellas has added new impetus in oSdq.Ba dq.Brkfj% f{kfr¿/kfjfrÀyd% Jh;'kksoeZjkt%AA the artistic expression and grandeur of the temples of next four -Epigrahia Indica, Vol.1, Verse 43. successive centuries in Bundelkhand region. The decorative scheme was changed and figurative ornamentation become The Verse 43 of Khajuraho inscription of VS 1011 (AD 954) apparent on the pitha, adhishthana and jangha of the temples. says that princes, the illustrious king Yasovarman, who All this experimentation and its conventionalization did not crushed of enemies, had set up (here), ---the lord of Bhota remain confined to capital city at Khajuraho alone; it turned obtained it from Kailasa, and from him Sahi, the king of Kira, into a movement that came to have north-Indian acceptance received it as a token of friendship; from him afterwards and spread over the larger part of the Bundelkhand. These Herambpala obtained it for a force of elephants and horses and temples are largely reported from the district of Banda, (Yasovarman himself) received it from Devapala, the lord of Chitrakuta, Mahoba, Lalitpur, Jhansi, Allahabad across the horses (Hayapati ) the son of Herambpala (EI, Vol.I:134). The river Yamuna (on the east) of Uttar Pradesh and district Panna, Vese 23 of the same inscription records the victory of Tikamgarh and Chhatarpur of Madhya Pradesh. Yasovaraman over the Gaudas, Khasas, Kosalas, Kasmiras, Mithilas, Malavas, Chedis,Kurus and Gurjaras and he is, in The political history clearly shows that Chandella had particular, stated to have defeated the king of Chedi in Verse established their kingdom over the declining Pratiharas as 28, and conquered the Kalinjar mountain (EI,Vol. I:123). evident from the inscriptions. Yasovarman Chandella became Dhanga (AD 950-1002) the son of Yasovarman and the most independent during the reign of Devapala, the son of Mahipala illustrious ruler of the Chandella dynasty became fully Pratihara. Yasovarman had receive an image of Vaikuntha, independent in the mid of the tenth century AD. Khajuraho perhaps forcibly, from Devapala which was installed in inscription of AD 954 describe that his territories were Lakshamana temple at Khajuraho as recorded in the stretched from Bhasvat (Bhilsa) to river Tamasa (Awadh) and inscription of Dhanga dated in VS 1011 (AD 954). from Yamuna to Narbada and even the fort of Gopagiri was in dSyk'kk ¼lk½ HMksVukFk% lqâfnfr p rr% dhjjkt% izisn his possession (Bose, 1956:45). The Nanyaura (District 13 „U◊Ê⁄‘U ¬Ífl¸¡Ê¥ mUÊ⁄UÊ ¬˝Œû Ê •◊ÍÀÿ ©U¬„UÊ⁄U -¬˝ÊøËŸ ä Ê⁄UÊ„U⁄UÊ¥ ∑§Ê ‚È⁄UÁˇÊà fl ‚¥⁄UÁˇÊà ⁄UπŸÊ „U◊Ê⁄UÊ ∑§Ã¸√ÿ „UË Ÿ„UË¥ •Á¬ÃÈ ä Ê◊¸ „ÒU– dy’k

Hamirpur, UP) copperplate inscription of VS 1055 (AD 998) and the Maldevi temple at Gyaraspur have all the members of recording an endowment of a land in village Yuetti to one the plan of a developed medieval temple, i.e. sanctum, Yashodhara at Kasika or modern Varanasi by King vestibule, mandapa and mukhamandapa on axial plan Dhangadeva in the year VS 1055 (AD 998) when there was (Trivedi, 1990: 3). Kakshasana balconies are common in all eclipse (Bose, 1956: 45). medieval temples while it is totally absent in the Pratihara From the inscriptional evidences it is very clear that the temples. The roof of mandapa is usually a flat or monolithic in Yasovarman had conquered the area upto the river Yamuna Pratihara except in the latter phase of the temples, while near Allahabad and included in his territory. His territory was Chandella temples have phamsana type roof over mandapa further consolidated by his son Dhanga in the east and even he and mukhamandapa. However, none of the early Chandella conquered Kashi (Varanasi) where he made endowment. It is temple of Patha region are intact which show the complete inferred on the basis of inscription the Chandella territory was mandapa and sikhara, but architectural members tangibly extended up to the river Yamuna on the east right from the expressed and supported this hypothesis. period of Yasovarman. The temples at Someshvara Mahadeva, Pertinently, R.N. Mishra observed that both in essence and stylistically dated to mid of 10th century AD, a few decades substance, art styles remained region-bound rather than rooted early to Chheeri and Parvezabad. Perhaps these two temples in a ruling dynasty, including the later's offshoots and branches were constructed after four-five decades later during the reign (1987: ). The temple evidences found in Patha and Trans- of Dhanga. Yamuna tracts are indeed of synthesis of more than two The inscriptional evidences are further substantiated by the architectural styles which is historically and culturally valid temples remains which are assigned to Pratihara and and transition between 'post-classical' to 'medieval art.' The Chandella period. Though, the temples which have been temple of northern Bundelkhand, may be studied in broader reported from district Chitrakuta and Allahabad are assignable way and considering their stylistic, patronage, th th institutionalization in the political and cultural sphere. to 4 to 12 century AD. Siva temple, Kalipur, Jalpa Mata temple, Itha Devipur (Yadav, 2014: 20-27) and Samoga Mata temple, Rajapur displayed the typical Pratihara features ACKNOWLEDGMENT representing the cultural expansion of the Imperial Pratihara. My sincere thanks to Shri C.B. Mishra, Superintending A transformed art style was initiated in the northern part of his Archeologist, Lucknow Circle, Lucknow who has given me an territory i.e Chitrakut and Allahabad which is more like as that opportunity to inspect the site. of early temples of Khajuraho, the capital city under the patronization of Chandellas and soon culminated in REFERENCES Lakshamana, Kandariya Mahadeva temple. Bose, N.S. 1956, History of Chandellas of Jejakbhukti, Calcutta. Some of the temples reported from district Chitrakuta and Burgess, Jas. 1892, Epigraphia Indica, Vol.I. Cunningham, A., 1969, Report of Tours in Bundelkhand and Malwa 1874-75 southern part of Allahabad district which is an extension of and 1876-77, Volume X, Varanasi (reprint). Patha or Trans-Yamuna tract are more like a hybrid of -1969, A Tour in Bundelkhand and Rewa in 1983-84 and of a Tour in Pratihara and Chandella art. Someshvara Mahadeva temple, Rewa, Bundelkhand, Malwa, and Gwalior, in 1884-85, Volume XXI, Part 1 and II, Varanasi (reprint). Char, Chandella temple at Ramnagar, Temple at Gonda, Bose, N.S. 1956, History of the Candellas, Calcutta. Bhairambaba temple at Bhairampur all in district Chitrakut are Deva, Krishana, 1990, Khajuraho, New Delhi. representative example of early Chandella style but still -1995, Temples of India, New Delhi. retains Pratihara ancestry. The introduction of high jagati, Fuhrer. A., 1969, The Monumental Antiquities and Inscriptions in the North- studded with pillared niches for displaying images of gods and Western Provinces and Oudh, New Delhi (reprint). Joshi, Esha Basanti, Uttar Pradesh District Gazetteers, Allahabad, Allahabad goddess, evolved high pitha with projected niches on bhadra- 1966. rathika, multi-friezed jangha with udgamas on bhadra Misra, R.N. ,1987, Sculptures of Dahala and Daksina Kosala, Delhi. rathikas are early features of Chandellas. The raised jagati Trivedi, R.D., 1990, Temples of the Pratihara Period in Central India, New was emerged in Pratihara period but it was rarely seen in their Delhi. Varun, Dangli Prasad, ed., 1988, Uttar Pradesh District Gazetteers, Banda, art exceptionally at Lakshmi Naraiyan temple, Chandpur, Allahabad. district Lalitpur, Harshat Mata temple, Abaneri, Distt. Dausa Yadav, Rajendra, 2010, 'Kalinjar: A Gupta Art Center of Bundelkhand,' and Osia in Rajasthan. This elaboration is also reflected in plan Rakesh Tiwari (Ed), Pragdhara, No. 20, Lucknow. -2014, Newly Discovered Temples at Bhairampur, Itha Devipur and gudhamandapa, mandapa and mukhamandapa which and Basingha, District Chitrakuta (UP), Gyanvirttika, Year 1, Vol. 2, July-Dec. were further added on the front of sanctum, while the early 2015. Pratihara temples have only a vestibule or some time a pillared Gupta, Viray, et.al.(eds.), 2015, Mani-Sushma, Studies in Indian Archaeology and Heritage mukhmandapa on the front. The Gadarmal temple at Badoh (A Felicitation Volume in the Honour of Dr. B.R. Mani), New Delhi

14 „U⁄U ŸÊªÁ⁄U∑§ ∑§Ê ¬„U‹Ê ∑§Ã¸√ÿ „ÒU Á∑§ Œ‡Ê ∑§Ë ¬˝ÊøËŸ ä Ê⁄UÊ„U⁄UÊ¥ ∑§Ë ‚È⁄UˇÊÊ ∑§⁄‘¥U– KALASH

- S. Krishnamurthy1 and Sachin Kr. Tiwary2

Origin: and its capitals. Early Indologists like Vincet Smith, Sir John The origin of any tradition has a reason and purpose Marshall, Mortimer Wheeler have pointed out Hellenistic behind it and it is same in this case as well. When we probe into inspirations over the artistic production of Mauryan pillars and the archaeological context and inscriptions of these pillars it Susan L. Huntington (1993: 42-44) opines that after the fall of reveals that all of them were associated either with a sacred the Achaemenid empire due to Alexander's campaign the place or an important or memorable event, person or act. craftsmen in search of patronage found shelter in the newly We can say that the earliest extant examples of erecting emerging Mauryan empire in India, and as a result has something resembling a pillar can be had from the Iron age tremendously influenced both technique and art styles. period in the form of menhirs (from Briton word men = stone + However Sir Arthur Evans in his thesis on 'Mycenaean tree hir = long) which were like memorials meant for marking the and Pillar cult' has observed the popularity of the tradition of place where the dead lay buried and later on these memorials erecting such pillars in several of the West-Asian cultures and were worshipped by the people related to the dead person. in the Meditterranean littoral even since the Neolithic times, and has thus paved way for some scope of regional or We find the earliest datable pillar in India from the time of rd indigenous development of the pillar cult. In India we have Asoka (3 century B.C.) (Fig.1-a,b,c,d) and his inscriptions much literary evidence in support of indigenous origin of this engraved on some of them is a testimony to this. But there were tradition. also some pillars which were non-inscribed and bear a similarity with their Vedic literature such as the Apastamba Srautasutra (VII. 2. 13- Asokan counterpart in 15), mentions that a sacrificial post called yupa, which should all aspects like raw be as high as the sacrificer standing with or without raised material, art, theme hands or standing on a chariot has to be erected at the eastern and technique. The side of the altar and the animal to be sacrificed was tied to this uninscribed two pillars yupa. The text also says that the yupa has to be eight cornered a r e a t K o l h u a , and tapering at the top. (Sen, 1976:101) But here the purpose is M u z a ff e r p u r a n d restricted to the Vedic sacrifice and it could not be said with Bodhgaya, Gaya both certainty whether the same concept of yupa developed into a are in Bihar. So it was pillar associated with a sacred spot. Further the text speaks of also proposed that at an octagonal shaft whereas the earliest example we get from least some of the Asokan times is circular and smooth in form. pillars could be of The great epic Mahabharatha states that the dvaja was Mauryan or even Pre- worshipped by the warriors before the commencement of Mauyran origin. For battle in the belief that the deity manifests in it and brings this we have the edicts victory. Small standards were also taken to the battle field by of Asoka himself as a the kings and it is believed that the destruction of the enemy's proof. The Delhi- dvaja brings misfortune to their opponents. Artistic evidence Topra pillar edict no Fig.1-a,b,c,d for such practice can be found from a bas-relief panel on a VII (lines 23 and 32) mentions that he ordered to engrave his railing from Bharhut, portraying a queenly personage on edicts on the existing pillars and slabs wherever available apart horseback carrying a Garudadhvaja (John Irwin, 1974: 715), nd from the pillars he himself erected. Further a study of the datable to 2 century B.C. Alexander Cunningham in his extant pillars show that different type of stone was used (Susan reports also hints this association of the dvaja with the L. Huntington, 1993: 44) and diverse methods had been warriors. He says that, in the adjacent of many of the so called adopted as foundation for the pillar and even not all the pillars Asokan pillars he has noticed the existence of ancient tumulus can be regarded as well-polished to meet the 'Mauryan' nearby, which he prefers to refer them by the term 'barrow' standards. instead of 'stupa'. He further opines that they could be dated Various theories have been put forth in respect of the origin of between 600 B.C. to 1500 B.C. and believed them to be the technique of making monolithic pillars in India and the sepulchral tombs of early kings. (Cunningham, A.1871: 69). outside influence the Indian artists had in executing the pillar The excavation conducted at Lauriya-Nandangarh in 1904-05 15 Œ‡Ê ∑§Ë ¬˝ÊøËŸ ä Ê⁄UÊ„U⁄UÊ¥ ∑§Ê π¥Á«Uà „UÊŸ ‚ ’øÊÿ¥ ∞fl¥ ‚¥⁄UÁˇÊà ∑§⁄‘¥U– KALASH has proved that two out of the four mounds were pagan burials, objects of worship and rock art right from the Upper funerary burials and only later on they were converted into as Palaeolithic period and perhaps the desire to mark their this not same whether these are Brahminical, Buddhist, habitational areas or sacred places could have also emerged Muslim and Jaina affinity. The most important find in support and a long pillar like pole with totem symbols could have of this claim were gold images of nude female deity. (Bloch, helped them to identify and remember their places. This T.1909: 19-26.). The Sathapatha Brahmana (part, IX, 4) also primitive belief system or the practical need to identify their shows that (i.e. circa. 8th century B.C.) the burials of the kings places or their particular achievements might have continued were four cornered or circular in shape. (John Irwin.1973: into the historical period and it assumed different forms to 718). So now the question arises as to what is the significance meet the need of those times. of these pillars attached with Now a question which would arise naturally in our mind is the king's burial. From this it why the artisan or the patron have selected to erect a pillar can be seen that dvaja worship made from a single stone and not multiple stones as the latter has been closely linked with would make their effort easier? The answer to this can be fortunes of the kingdom and so assumed that just as we find imitations of timber architecture they were associated with the in many of the earlier rock-cut cave temples and structural king's burial, which is again a temples, here also the artisan attempted to imitate the wooden sacred spot for the people as pillar, which normally used to be a long pole and thus kings were regarded as divine continued the tradition of erecting pillar made of single stone. incarnated. So it should not be Development: surprising to find that, such pillars were erected along with The monolithic pillar which had its origin from the the stupas as well and it also wooden counterpart has a long tradition of development and became a object of veneration witnessed changed purpose, contextual and artistic features. as can be seen from the bas- The earliest extant example of a Monolithic pillar comes from the time of Asoka (273-236 B.C.) as revealed by the relief panels of the railing at Fig.2 Bodhgaya (Fig.2) and Sanchi inscriptions engraved on them and they were erected to stupa which portrays several examples of worship of pillar propagate the code of laws (Dhamma) in such sites sacred to sometimes individually and in cases in front of the Chaityas. the Buddhist creed. However as discussed above it is proved (John Irwin. 1973: 715-716). D.D. Kosambi opines that beyond doubt that even prior to Asoka there was the tradition “before cities existed in northern India, crossroads were of erecting monolithic pillars and we find Asoka himself synonymous with caityas or 'sacred spots', and also with the instructing that his edicts be engraved on pillars already sites of festivals, because prior to urbanization, crossroads existing as well. Further evidence from literature shows that were places where people met and had their markets and this practise prevailed in India from the Vedic times celebrations”. (Kosambi, D.D.1960: 17-31 and 135-44.). (circa.1500 B.C.) and as they were made of wood they got This hypothesis can be proved by noting the distribution of the perished due to the vagaries of nature. We have a sole example Asokan pillars, in a line north-west from the Ganges through of wooden pillar from Kirari having an Vaisali, Lauriya-Areraj, Lauriya-Nandangarh, Rampurva, inscription datable to circa 200 A.D. Rummindei and Sravasti. These places were situated along the Next to the Mauryan period we find the great northern trade route which, at least from the 6th century pillar erected by Heliodorous, a Greek ambassador at Besnagar, Vidisha district, B.C.E, linked the eastern Ganges basin with the Achaemenid nd empire of Persia and other civilizations of the ancient Near Madhya Pradesh datable to circa 2 century East. (John Irwin.1973: 717). B.C., and the inscriptional evidence refers it There could be various reasons for the beginning in the as garudadvaja erected in honour of God tradition of erecting pillar like: Vishnu (Sircar, D.C. 1991: 88). Many of the depictions on the relief panels of the railings - Memorial for the dead. at Bharahut and Sanchi belonging to the - Pillar marking the sacred spot or place or event. Sunga period (2nd century B.C. to 1st century - Pillar erected in honour of God. A.D.) and from the toranas at Sanchi of the nd - Pillar representing the royal staff crowned with their insignia Satavahana period (circa 2 century B.C. to or totem like the dvajastambha and kirtistambha. 2nd century A.D.) shows that the pillars were Of these reasons listed above it is difficult to say which one of held in veneration and became objects of worship. Near the entrance into the Chaitya them is the earliest. A glance into the history of development of st human society shows that belief in supernatural or ancestor griha at Karle of circa 1 century A.D. worship and life after death or fear of death has developed (Fig.3) is a rock-cut pillar, which belongs to much earlier. We find evidence for this in the form of human a class of sculptural art where both the entire structure including the sculptures in Fig.3 16 Œ‡Ê ∑§Ë ¬˝ÊøËŸ ä Ê⁄UÊ„U⁄UÊ¥ ∑§Ê π¥Á«Uà „UÊŸ ‚ ’øÊÿ¥ ∞fl¥ ‚¥⁄UÁˇÊà ∑§⁄‘¥U– dy’k

them was carved out of the rock insitu. Perhaps the only other Pradesh of 11th century A.D. (Fig-5-a), Pakari pillar of 11th-12th example of this kind of pillar is within the precincts of Kailash century A.D. (Azamgarh district, Uttar Pradesh) (Fig-5-b), cave temple at Ellora executed under the Patronage of th Belkhara pillar of Lal Khan Deval of Kannauj (dated 1196 Rashtrakuta king Krishna I in 8 century A.D. A.D.) (Fig-6) in Mirzapur district, Uttar Pradesh), etc. Apart During the time of the Kushans (circa 1st to 3rd century A.D.), from these we also have other examples where the pillars were so far we could not find much evidence of a erected either as dvajastambha or dipastambha in front of the monolithic pillar except a pair of monolithic temples like – Chennakesava temple at Belur of 12th century sacrificing pillar (Fig.4), which was A.D., belonging to the time Hoyasala in Karnataka (Fig-5-c), discovered by Rai Bahadur Pandit Rahda the Aruna stambha (Originally erected in front of the Sun Krishna in 1910 from the bed of river temple at Konark,datable to 13th century A.D.) and Garuda Yamuna near village of Ishapur opposite Stambh in Jagannath temple at Puri of mid 12th century A.D., Vishrant Ghat, Uttar Pradesh now displayed the Subhastambha at Jajpur dated by James Fergusson to 10th- in Mathura state museum. The inscription 11th century A.D. both in Odisha, etc. on the base of the yupa gives the date as year Another unique example though slightly of a different context, 24 i.e. 102 AD of the Kushan emperor is a 12 meter commemorative pillar bears a long Persian Vashishka. On the basis of the inscription it inscription recording the erection of mosque in 1376 A.D. by is known that the yupa was erected by a Ibrahim Naib Barbak of Sarquis dynasty in Jaunpur Fort in Brahmana at the end of the Dwadasa-sattra Uttar Pradesh (Fig.7). A mention has to be made of the unique sacrifice (a Vedic ritual lasting for 12 days inscription which declares the fort as a place for "Hindus to symbolising the yearly course of the Sun) read the Gita and Muslims to read the Koran and Christians to (Agrawala, V. S., 1939: 25-26). Probably read the Bible", reflecting the religious tolerance of those the reason for the rare availability of such times. pillars in this period is they were foreigners and they have their own unique tradition of Decline : erecting portrait images of the kings in Before discussing on this topic, the authors like to repeat that specially built temples (devakula). Thus only the art of creating pillars from a single stone has declined these images served the purpose of and the tradition of erecting the pillars as such has continued memorials and as the Kushans believed in even into the modern times. The following could be the Fig.4 the divine origin of their kingship, they various points that led to the decline of erecting monolithic probably worshipped them. pillars. But no conclusion can be made and the reasons can be The Gupta period (circa 3rd to 6th century A.D.) known as the interrelated as well. age of Brahmanical revivalism witnessed a profuse in the As seen above till the period of Gupta Empire there was tradition of erecting free standing monolithic pillars. They profusion in the creation of free standing monolithic pillars. were found in different places in northern India like Bhitari After the fall of the Gupta Empire there was an overall (Ghazipur dist. Uttar Pradesh), Bihar Sharif (Patna, Bihar), disintegration and lack of strong centralized power. Many Sanchi (Raisen dist. Madhya Pradesh), Kahaum (Deoria dist. small independent kingdoms ruled by feudal lords and Uttar Pradesh), Supia (Madhya Pradesh), Rajghat (Bihar-Now chieftains have sprung up and as a result constant wars for in Bharat Kala Bhavan, Varanasi), Eran (Sagar dist. Uttar territorial expansion and monetary gains has become the rule Pradesh), Lathiya (Ghazipur dist. Uttar Pradesh), Prahaladpur of the day Thus under such an inharmonious environment it is (Varanasi dist. Uttar Pradesh), Udayagiri (Raisen dist. Madhya difficult to imagine that art and culture would have flourished. Pradesh), Umrao Dullah's garden (Bhopal, Madhya Pradesh) Especially the work of making such a huge monolithic pillar and Santipur Fort (Rajasthan). A solitary example of an Iron and transporting them from the place of quarry to the place of pillar dated to Gupta period is found from Meharauli (Qutub erection requires cooperation among the people of various Complex, Delhi). villages. Indeed recent fieldwork done by the author Dr. A study of these pillars shows that they were erected mainly for Sachin Kr.Tiwary around the ancient quarry site of Chunar three purposes: to get religious merit for oneself or to their kin revealed that huge stone objects like sugarcane crushers were or to their preceptor; to proclaim their victory and to transported with active cooperation among the neighbouring commemorate some person or event. Most of these pillars are villagers (Tiwary, Sachin Kr. and S. Krishnamurthy, 2014: found in a context associated with a religious structure/ a 28). So if the same was the case with the monolithic pillars sacred place/ place having political significance for the erecter also, then in an environment torn by war and strife it is difficult of the pillar (Tiwary, Sachin Kr. and S. Krishnamurthy, 2012: to imagine how they could be transported. So due to lack of 357-363). transportation facility the artisans might have switched over to the use of multiple stones instead of a single stone. Coming to the post-Gupta period we find stray evidences of monolithic free standing pillar like the Mandsor pillar of Economical constraints could be also another cause. Carrying th a big and challenging task like carving out a long pillar out of a Yasovarman, Bhagalpur lat in Uttar Pradesh of circa 11 single stone requires lot of skilled labour and even a slightest century A.D., Pillar near Teli Jina temple in Gwalior, Madhya 17 „U⁄U ŸÊªÁ⁄U∑§ ∑§Ê ¬„U‹Ê ∑§Ã¸√ÿ „ÒU Á∑§ Œ‡Ê ∑§Ë ¬˝ÊøËŸ ä Ê⁄UÊ„U⁄UÊ¥ ∑§Ë ‚È⁄UˇÊÊ ∑§⁄‘¥U– KALASH mistake might make the entire work useless. So in order to various occasions (Fig.9). The best example for this practice maintain such a skilled labour and to give them patronage can be seen in the Buddhist monastery at Leh in the Himalayan might be too expensive for the petty chieftains and small region. Similar posts were also erected in front of the various kingdoms. Adding to the political disunity, the foreign Islamic religious edifices on different occasions. One such invasions also lead to economic bankruptcy. flag is known as the Black Flag (al-raya), which traces its From the artistic and architectural point of view we see that roots to the very beginning of Islam. It was the battle (jihad) from the Gupta period there was a steady increase in the flag of the Prophet Muhammad, carried into battle by many of construction of stone and brick temples and so more artisans his companions, including his nephew 'Ali ibn Abi Talib. The th gradually got concentrated in the art of constructing temples flag regained prominence in the 8 century A.D. with its use by and carving of sculptures to decorate the temples. Further the the leader of the Abbasid revolution, Abu Muslim, who led a temples and its associated sculptures gave the artisans more revolt against the Umayyad clan and its' Caliphate. In Shiite space to exhibit their skills of imagination and carving and belief, the black flag also evokes expectations about the thus the technique of carving a monolithic pillar could have afterlife. In the contemporary Islamist movement, the black faded from the memory of the artisans. flag is used to symbolize both offensive jihad and the E Continuity of the tradition sans the monolithic form: proponents of re-establishing the Islamic Caliphate . In Hinduism the erection of pillar or flag in the form of wooden We all know that traditions die hard and there are many such post or bamboo or some time metal pipe is still a continued practises which continue to thrive even in the present modern tradition and they were erected in front of the modern temple. world, just for the sake of tradition without giving any scope Even the same tradition is continued at such places other than for a rational insight into it. In the medieval period or late- temples such as ceremonial grounds used for various medieval period and even in the modern times the concept of occasions such as festivals (Fig.11-a). erecting pillars continued but the form of such pillars and the technique employed in its making has changed. The pillars The Manastambha erected in front of Jina temples (Fig.10-b) were no longer made of a single stone and they were actually is another example to show the continuity of the practice, this constructed by riveting together various pieces of stone or was also in historical times, as we have the evidence of Jain simply built in masonry style. The best example being the Kirti Stambha (Fig.10-a,b) 75ft high seven storied pillar in Vijay Stambha, erected by Rana Kumbha between 1458 and 12th century AD and dedicated to Shri Adinathji, 1468 A.D. to commemorate his victory over Mahmud Shah I Chittaurgarh, Rajasthan. We find such a tradition of erecting Khalji, the Sultan of Malwa (Fig.8). similar pillars even in the Gupta period (Kahaum, Deoria Another example is the minars like Chand Minar in district, Uttar Pradesh). The flag posts in front of Gurudvars Daulatabad fort, district Aurangabad, Maharashtra and Qutub (Fig.11) can also be regarded as a continuity of the pillar Minar in Delhi. The Chand Minar according to one account tradition, though in different material and context. In many of was constructed in commemoration of the first conquest of the place by Alauddin Khilji, who conquered the fort in the year the South Indian temples the pillars known as dvajastambha 1294 A.D. when the Yadavas king Ramchandra was the king of erected in front of the temples were actually made of wood and Daulatabad or Devgiri. This can be regarded as variety of they were covered with the metal sheets externally, which structural Kirti Stambha. (Qureshi, 2004: 57-60) The purpose were mostly bronze. They were mainly used to hoist the flag of of building the beautiful monument of Qutub Minar of Delhi the deity or to raise the cloths donated by the devotees in the has been speculated upon, apart from the usual role of a form of flag, marking the beginning of the temple festival minaret—that of calling people for prayer in a mosque—in known as Brahmotsavam. this case the Quwwat-ul-Islam mosque to the northeast of minar in AD 1198. It is the earliest extant mosque built by the Another example of continuity of this tradition, though of Delhi Sultans. Other reasons ascribed to its construction are: a recent origin is the pillar known by the term as Jaithkhamb . tower of victory; a monument signifying the might of Islam or This highlights the fact that the erection and construction of a watch tower for defence. Controversy also surrounds the free standing pillars on the side of roadways and on the cross origins for the name of the tower. Many historians believe that road of the main city or village still continues, and is practiced the Qutub Minar was named after the first Turkish sultan, by the newly formed community known as Satnami. On the Qutub-ud-din Aibak but others contend that it was named in occasion of the anniversary of the birth of Guru Ghasidas, the honour of Khwaja Qutub-ud-din Bakhtiar Kaki of Ush, a saint Satnami community perform their traditional dance Panthi from Baghdad who came to live in India, who was greatly around a Jaitkhamb set up for the occasion,made of cement to venerated by Iltutmish, the successor of Qutub-ud-din-Aibak. songs eulogizing their spiritual head. The songs reflect a view The erection of pillar cover with cloth is still continuing even of nirvana, conveying the spirit of their guru's renunciation in the Islamic living monument. The best example is from and the teachings of saint poets like Kabir, Ramdas and Dadu.F Makka, Saudi Arabia (Fig. 11-b). Even in world context we see the continuity of the The Buddhists also continue the practice of erecting pillars in practise of erecting Obelisk, though they were no longer the form of wooden posts decorated with Buddhist symbols on monolithic and were made of several stonesG.

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References : Culture- Latest Researches, in honour of Late Shri Jagat Pati Joshi, Vol. II. Delhi: Bharat Kala Prakashan. Agrawal, V. S., 1939, Handbook of the sculpture in the Curzon museum of Archaeology Muttra. Allahabad: Department of Printing and Stationary. Tiwary, Sachin Kumar and S. Krishnamurthy, 2014, Monolithic Pillars of the Gupta Period, New Delhi: B. R. Publishing Corporation. Baker, Rosalie F.; Charles Baker, 2001, Ancient Egyptians: People of the Pyramids. Oxford University Press. p. 69, Retrieved 10 March 2014. Sen, Chitrabhanu, 1976, A Dictionary of the Vedic rituals based on the Srauta and Grhya Sutras. New Delhi: Concept Publishing Company. Bloch, T., 1909, “Excavations at Lauriya”, in Archaeological Survey of India- Annual Report, 1906-07. Calcutta. Sircar, D.C., 1991, Select Inscriptions, Vol. I. Delhi, V.R. Publishing House. Cunningham, A., 1966 (reprint), Archaeological Survey of India-Reports for Susan L. Huntington, 1993, Ancient Indian Art: Buddhist, Hindu, Jain. the year 1871-72, Vol. III, Varanasi: Indological Book House. Newyork Weatherhill. John Irwin, 1973, “Asokan Pillars: A Reassessment of the Evidence”, in The Webliography:- Burlington Magazine, Vol. 115, No. 848 (Nov., 1973), Published by: The A. http://en.wikipedia.org/wiki/Obelisk , 04.06.14 Burlington Magazine Publications, Ltd. B. http://www.gnosis.us.com/category/art/artifacts/artifacts-by- John Irwin, 1974, “Asokan Pillars: A Reassessment of the Evidence-II: civilization/african-artifacts/top-ten-axumite-artifacts/, 04.06.14 Structure”, in The Burlington Magazine, Vol. 116, No. 861 (Dec., 1974), The C. http://en.wikipedia.org/wiki/Pompey%27s_Pillar_(column) , 06.04.14 Burlington Magazine Publications, Ltd. D. http://www.abovetopsecret.com/forum/thread582318/pg1 , 06.04.14 Kosambi, D. D., 1960, “At the crossroads: Mother Goddess cult sites in E. http://ctc.usma.edu/imagery/imagery_warfare.asp , 06.06.14 Ancient India”, in Journal of Asiatic Society, London. F.http://en.wikipedia.org/wiki/Chhattisgarh#cite_note-42 , 06.06.14 Qureshi, Dulari, 2014, Fort of Daulatabad, Bharatiya Kala Prakashan, pp.57- 60 G.http://en.wikipedia.org/wiki/Obelisk#mediaviewer/File:The_Obelsik_ma Tiwary, Sachin Kumar and S. Krishnamurthy, 2012, “Notes on the Monolithic rking_the_Durbar_of_King_George_V_at_Coronation_Park,_Delhi.2JPG.j Pillars of the Gupta Period”, in Pura-Jagat: Indian Archaeology, History and pg , 04.06.14

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¬˝∑§Ê‡ÊŸPublished by Superintending Archaeologist •ä ÊˡÊá Ê ¬È⁄UÊÃà flÁflŒ˜ Archaeological Survey of India ÷Ê⁄UÃËÿ ¬È⁄UÊÃà fl ‚fl¸ˇÊáÊ, ◊¥ÁŒ⁄U ‚fl¸ˇÊáÊ ¬Á⁄UÿÊ¡ŸÊ (©Uû Ê⁄UË ˇÊò Ê)Temple Survey Project (N.R.) zw-∞, ∑§ˇÊ ∑˝§. xvw, ‚Ë.¡Ë.•Ê. ∑§ÊÚꬋÄ ‚, ÁŸ◊ʸáÊ ‚ŒŸ, •⁄‘U⁄UÊ Á„UÀ‚, 52-A, Room No-312, CGO Complex, Nirman Sadan, ÷Ê¬Ê‹ (◊.¬˝.) »§ÊŸ — Æ|zz-wzz|xzy, »§ÒÄ ‚ - Æ|zz-wzz|x{ÆArera Hills, Bhopal (M.P.) Ph.: 0755-2557354, Fax : 0755-2557360 E-mail : [email protected] Website : www.asitspnr.nic.in E-mail : [email protected] Website : www.asitspnr.nic.in ISSN : 2348-3458/Jan.-June, 2015