History,You Should Know

History of Prambanan Temple
Prambanan Temple is one of the largest and most magnificent Hindu monuments in the world. Known as a symbol of the glory of architecture and cultural arts from the past, Prambanan Temple has a rich and deep history that is reflected in every stone and relief.

History
Prambanan Temple is the largest Hindu temple in Indonesia. Until now it is not certain when this temple was built and on whose orders, but it is strongly suspected that Prambanan Temple was built around the middle of the 9th century by a king from the Sanjaya Dynasty, namely King Balitung Maha Sambu. This assumption is based on the contents of the Syiwagrha Inscription found around Prambanan and is currently stored in the National Museum in Jakarta. The inscription dated 778 Saka (856 AD) was written during the reign of Rakai Pikatan.

The original layout of Prambanan Temple was rectangular, consisting of an outer courtyard and three courtyards, namely Jaba (outer courtyard), Tengahan (middle courtyard) and Njeron (inner courtyard). The outer courtyard is an open area that surrounds the outer courtyard. The outer courtyard is rectangular with an area of ​​390 m2. This courtyard was once surrounded by a stone fence that is now in ruins. The outer courtyard is currently just an empty courtyard. It is not known whether there were originally buildings or other decorations in this courtyard.

In the middle of the outer courtyard, there is a second courtyard, namely the central courtyard which is rectangular in shape with an area of ​​222 m2. The central courtyard was also surrounded by a stone fence which has now also collapsed. This courtyard consists of four terraces, the deeper it goes the higher it gets. On the first terrace, which is the lowest terrace, there are 68 small temples lined up around it, divided into four rows by connecting paths between the courtyard doors. On the second terrace there are 60 temples, on the third terrace there are 52 temples, and on the fourth terrace, or the top terrace, there are 44 temples. All the temples in this central courtyard have the same shape and size, namely a basic floor plan area of ​​6 m2 and a height of 14 m. Almost all the temples in the central courtyard are currently in ruins. All that remains are the ruins.

The inner courtyard is the highest courtyard and is considered the most sacred place. This courtyard has a rectangular plan of 110 m2, with a height of about 1,5 m from the surface of the top terrace of the central courtyard. This courtyard is surrounded by retaining walls and stone fences. On all four sides there are gates in the form of paduraksa gates. Currently only the gate on the south side is still intact. In front of each gate of the upper courtyard there are a pair of small temples, with a square base plan of 1 m5 with a height of 2 m.

In the inner courtyard there are 2 rows of temples that stretch north-south. In the western row there are 3 temples facing east. The temple that is located the most north is the Vishnu Temple, in the middle is the Shiva Temple, and in the south is the Brahma Temple. In the eastern row there are also 3 temples facing west. These three temples are called wahana temples (wahana = vehicle), because each temple is named after the animal that is the mount of the god whose temple is located in front of it.

The temple facing Vishnu Temple is Garuda Temple, facing Shiva Temple is Nandi (ox) Temple, and facing Brahma Temple is Swan Temple. Thus, these six temples face each other forming a corridor. Vishnu, Brahma, Swan, Garuda and Nandi Temples have the same shape and size, namely a square base of 15 m2 with a height of 25 m. At the north and south ends of each corridor there is a small temple facing each other, called Apit Temple.

The story of Ramayana

Opener
Prabu Janaka, the King of the Mantili kingdom had a daughter named Dewi Shinta. A competition was held by the king to find a husband for Dewi Shinta. The prince of the Ayodya kingdom, Raden Rama Wijaya, won the competition. Meanwhile, Prabu Rahwana, the leader of the Alengka kingdom also wanted to marry Dewi Shinta. Rahwana believed that Shinta was the reincarnation of Widowati, someone he had long desired.

Dandaka Forest
Rama and Shinta accompanied by Lakshmana were walking in the Dandaka forest. There Rahwana secretly observed Shinta and wanted to get her. Rahwana ordered one of his followers to become a Kijang Kencana to attract Shinta's attention. Shinta who was interested in Kijang Kencana then asked Rama to catch the deer. Rama then left Lakshmana and Shinta to hunt for Kijang Kencana. After a long time without returning, Shinta was worried and sent Lakshmana to catch up with Rama. Lakshmana then drew a magic circle around Shinta to protect her. Rahwana then tried to kidnap Shinta after she was left alone, but failed because of the magic circle. Rahwana then turned into an old beggar, Shinta who felt sorry came out of the circle to help the beggar. After Shinta came out of the circle, Rahwana then kidnapped Shinta and took her to Alengka.

Catching the Golden Deer
Rama shoots the deer with his magic arrow, but the deer turns into a Giant (Ma**ca). A fight occurs between Rama and Ma**ca, Rama defeats Ma**ca with an arrow shot. After that Lakshmana then asks Rama to return to Shinta's place.

The Kidnapping of Shinta
On his way to Alengka, Rahwana meets a bird named Jatayu. Jatayu recognizes Shinta as the daughter of Prabu Janaka and tries to free her, but he is defeated by Rahwana. Meanwhile, Rama, who has just realized that Shinta is missing, meets an injured Jatayu. An angry Rama thinks that Jatayu kidnapped Shinta and tries to kill him, but is prevented by Lakshmana. Jatayu then explains what really happened and dies. A few moments later, a white monkey named Hanuman arrives. Hanuman was sent by his uncle Sugriwa to seek help to kill Subali. Subali is the one who kidnapped Dewi Tara, Sugriwa's favorite woman. Rama then decides to help Hanuman fight Subali.

Kiskendo Cave
Sugriwa arrived at Kiskendo Cave with Rama's help. Sugriwa then defeated Subali and saved Dewi Tara. As a thank you, Sugriwa helped Rama to find Sita by sending Hanuman as an envoy to the kingdom of Alengka.

Argasoka Park
Rahwana's niece, Trijata, is tasked with accompanying and calming Shinta in the garden. Rahwana asks Shinta to be his wife, but Shinta always refuses. Rahwana is angry to the point of wanting to kill Shinta, but he is always prevented by Trijata. Shinta then hears a song coming from Hanuman. Hanuman tells Shinta that he was sent by Rama to help her. Hanuman then destroys the Alengka garden. Indrajid, Rahawana's son, captures Hanuman. Kumbakarna, who tries to help Hanuman, is instead thrown out of the kingdom. Hanuman, who was sentenced to be burned alive, then burns the Alengka palace with his burning body.

Rama Bridge
After sending Hanuman, Rama and his monkey army built a bridge to Alengka. After the bridge was built, Hanuman returned and gave news of the strength of the Alengka army. Rama then gave orders to Hanuman, Hanggada, Hanila, and Jambawan to attack Alengka.

The Great War
The Great War took place between the giant Alengka army and the Rama monkey army. In this fight, Indrajid was killed by Lakshmana, Kumbakarna, Ravana's younger brother was also killed. Ravana was then killed by Rama's arrow and Mount Sumawana which was thrown by Hanuman.

The Meeting of Rama and Shinta
After Rahwana's defeat, Shinta finally meets Rama again. However, Rama refuses Shinta's return because he is worried that she is no longer pure. To prove her purity, Shinta burns herself. With the help of the fire god, Shinta survives the burns. Shinta's proof makes Rama happy and accepts Shinta back

बुद्ध दर्शन के मुख्‍य तत्व : चार आर्य सत्य, आष्टांगिक मार्ग, प्रतीत्यसमुत्पाद, अव्याकृत प्रश्नों पर बुद्ध का मौन, बुद्ध कथाएँ, अनात्मवाद और निर्वाण। बुद्ध ने अपने उपदेश पालि भाषा में दिए, जो त्रिपिटकों में संकलित हैं।

बुद्ध के गुरु : गुरु विश्वामित्र, अलारा, कलम, उद्दाका रामापुत्त आदि।

बुद्ध के प्रमुख दस शिष्य : आनंद, अनिरुद्ध (अनुरुद्धा), महाकश्यप, रानी खेमा (महिला), महाप्रजापति (महिला), भद्रिका, भृगु, किम्बाल, देवदत्त, और उपाली (नाई) आदि।

धर्म के प्रमुख प्रचारक : अँगुलिमाल, मिलिंद (यूनानी सम्राट), सम्राट अशोक, ह्वेन त्सांग, फा श्येन, ई जिंग, हे चो आदि।

प्रसिद्ध बौद्ध भिक्षु :
भरतीय : विमल मित्र, बोधिसत्व, वैंदा (स्त्री), उपगुप्त (अशोक के गुरु), वज्रबोधि, अश्वघोष, नागार्जुन, चंद्रकीर्ति, मैत्रेयनाथ, आर्य असंग, वसुबंधु, स्थिरमति, दिग्नाग, धर्मकीर्ति, शांतरक्षित, कमलशील, सौत्रांत्रिक, आम्रपाली, संघमित्रा आदि।

विदेशी : चीनी भिक्षु व्हेन सांग (ह्वेन त्सांग), फा श्येन, ई जिंग, कोरियायी भिक्षु हे चो आदि।

महापरिनिर्वाण : वैशाखी पूर्णिमा के दिन (जन्म और बोधी प्राप्ति वाले दिन ही) ईसा से 483 वर्ष पहले भगवान बुद्ध ने महापरिनिर्वाण प्राप्त किया। अर्थात देह छोड़ दी। देह छोड़ने के पूर्व उनके अंतिम वचन थे 'अप्प दिपो भव:...सम्मासती। अपने दीये खुद बनो...स्मरण करो कि तुम भी एक बुद्ध हो।

The Buddha Preaching
The Buddha is symbolized by an empty throne.
Sanchi stupa art, ~3rd century BCE.

Is this an imaginary painting on paper?

No....our ancestors originally sculpted on basalt rock ( one of the hardest rock on earth )

Amazing Vedic architecture!
Around 850 years old, but still standing with all its glory.
Zoom in to see details.😊🙏

Kopeshwar Temple, Khidrapur, Kolhapur district, Maharashtra.
Dedicated to The Supreme Guru Prabhu Shiva.

a disappearing heritage: the at bhopal state museum


Nestled deep in the heart of India, on the banks of the seasonal Baghani river in Madhya Pradesh, are a series of nine rock-cut Buddhist temples covered with jewel-like murals. Known as the Bagh Caves, they date back to the 4th to 6th Centuries AD. According to legend they were built by a Buddhist monk called Dataka.

Contemporaries of the better-known Ajanta Caves in Maharashtra, only five survive of its original nine. Very few even know of these five. I for one, did not. Did you?
In Bagh, as in Ajanta, the appendage “cave” is a bit of a misnomer. These temples are not natural caves but rock-cut structures excavated from the perpendicular sandstone faces of the Vindhya mountain range, 150 feet above the river bed. Quadrangular in plan, they are lined with cells surrounding a courtyard and have a stupa-filled chaitya or prayer hall at the back. A colonnaded portico fronts each cave. 1,500 years ago, all nine caves in Bagh were used as viharas or resting places by Buddhist monks.

What makes these caves a masterpiece in India’s ensemble of art and heritage is, however, not their architecture but their tempera murals. Decorated with portraits of bodhisattvas and secular life during the Classical Gupta Period (319 – 605 AD), the powerful line-work bathed with mineral colours are a visual treat, deceptively modern in style and substance.

There are scenes illustrating the lives of the inmates of the monasteries and of the kings and generals who patronized their art. The paintings also had a religious function which explains the air of solemnity and quiet dignity which cloaks them. Fragments of these compositions still exist on the cave walls and ceilings. The most magnificent is in Cave 4, aptly christened Rang Mahal or Palace of Colours.

Time has not been too kind to the Bagh Caves, though. Compounded with the vagaries of weather, the murals, which were once-upon-a-time as exhilarating a sight as those in Ajanta, are dying a slow death. An inspiration to the birth and growth of Modern Indian Art and its masters such as Amrita Sher-Gil and Nandalal Bose, the paintings are now a sorry remnant of their original glory.

But before its downfall could catch up speed, a group of artists and conservationists in the turn of the 20th Century decided to make copies of these artworks for posterity. These watercolour copies are all the more significant because they are painted by 20th Century artists, no different in their love for art from their 5th Century counterparts.

The task of making the copies was initiated in 1920—a task that found completion under the guidance of Captain Gladstone Solomon, principal of Sir JJ School of Art (1918 – 36) in Bombay. Solomon delegated the exercise to two of his students—Bhonsle and Apte—assisted by Bhand, an art student in Gwalior. And hence, three young men were able to give the 1,500-year-old tempera compositions embellishing the Bagh Caves a fresh lease of life, albeit this time in another medium.

These watercolour paintings are today housed in the Bagh Cave Paintings Gallery at the State Museum in Bhopal [also called the State Archaeological Museum]. One hour of revelling in the beauty of these paintings justifies an art-lover’s travels to Bhopal. Mine were. Maybe yours will be too. ❤

Hallis Lasya [folk dance]: One of the two large-sized reproductions in the gallery, the painting comprises of groups of musicians and dancers, and offers a wonderful glimpse of secular life in 5th Century AD.

A Bodhisattva. Bodhisattvas are enlightened beings who have put off achieving nirvana in order to help others attain enlightenment.

Preaching Buddha with a monk seated by his feet.

Another Bodhisattva. Bodhisattvas, motivated by great compassion for others, formed an important theme in Buddhist art and literature.

Bodhisattva Padmapani. This painting in the Bagh Caves is considered to be the prototype of the celebrated Padmapani figure at Ajanta.

The rock-cut Bagh Cave temples served as monasteries for Buddhist monks who spent the monsoon months in meditation. Whilst the secular paintings depicted the life of their patrons, paintings such as the above portrayed the spiritual side of the monks’ lives.

A veena player. The original Bagh Cave paintings were made in tempera using mineral colours from ochre, clay, chalk, kaolin line, lamp-black, gypsum green glauconite, and lapis lazuli.

If colour gave life to the Bagh Cave paintings, the fluid vibrant lines gave them vigour. These two key elements of 5th Century Gupta art have been effectively reproduced by Bhonsle, Apte, and Bhand in their 20th Century watercolour copies, ensuring 21st Century audiences also enjoy them. For not all of us can travel to the Bagh Caves and none of us were around in the 1920s. 🙂

मध्य प्रदेश के सतना जिले में भरहुत नामक स्थान स्थित है। इसकी दूरी सतना से 9 मील दक्षिण की दिशा में है। यहाँ मौर्य सम्राट अशोक ने एक स्तूप का निर्माण करवाया था। यह ईटों का बना था। शुंगकाल में उनका विस्तार किया गया तथा उसके चारों ओर पाषाण की वेष्टिनी निर्मित कर दी गयी। वेष्टिनी के ऊपर ‘सुगनंरजे….’ उत्कीर्ण है जिससे पता चलता है कि इसका निर्माण शुंगों के राज्यकाल में किया गया था। वेष्टिनी के चारों ओर एक-2 तोरणद्वार बना था। स्तूप तथा वेष्टिनी के मध्य प्रदक्षिणापथ था। वेष्टिनी में कुल 80 स्तम्भ लगाये गये थे। वेष्टिनी, स्तम्भ तथा तोरण पट्टों पर खुदी हुई मूर्तियाँ है तथा वे बुद्ध के जीवन की घटनाओं, जातक कथाओं तथा मनोरंजन दृश्यों से युक्त है। यक्ष, नाग, लक्ष्मी, राजा, सामान्य पुरूष, सैनिक,वृक्ष, बेल आदि उत्कीर्ण है। सबसे ऊपर की बड़ेरी पर धर्मचक्र स्थापित था जिसके दोनों ओर त्रिरत्न थे। तोरण वेष्टिनी के ऊपर कुछ ऐतिहासिक दृश्यों का भी अंकन है। एक स्थान पर कोशलराज प्रसेनजित तथा दूसरे पर मगधराज अज्ञातशत्रु को बुद्ध की वन्दना करते हुए प्रदर्शित किया गया है।

1873 ई. में कनिंघम महोदय ने भरहुत स्तूप का पता लगाया था। यह सम्प्रति अपने मूल स्थान से नष्ट हो गया है। इसके अवशेष कलकत्ता तथा प्रयाग के संग्रहालयों में सुरक्षित है। इन्हें देखने से लोक-जीवन के विविध अंगों की जानकारी मिलती है।

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