Konark, The Sun Temple

" Time runs like a horse with seven reins, Thousand-eyed, unageing, possessing much seed. Him the poets mount; His wheels are all beings. " The Artharva Veda

If you visit only one temple in Orissa, it should be KONARAK. Standing imperiously in its compound of lawns and casuarina trees, 35km north of Puri on the coast road, this majestic pile of oxidizing sandstone is considered to be the apogee of Orissan architecture and one of the finest religious buildings anywhere in the world.

The temple is all the more remarkable for having languished under a huge mound of sand since it fell into neglect three hundred or so years ago. Not until early in the twentieth century, when the dune and heaps of collapsed masonry were cleared away from the sides, did the full extent of its ambitious design become apparent. In 1924, the earl of Ronaldshay wrote of the newly revealed temple as "one of the most stupendous buildings in India which rears itself aloft, a pile of overwhelming grandeur even in its decay". A team of seven galloping horses and 24 exquisitely carved wheels found lining the flanks of a raised platform showed that the temple had been conceived in the form of a colossal chariot for the sun god Surya, its presiding deity. Equally sensational was the rediscovery among the ruins of some extraordinary erotic sculpture. Konarak, like Khajuraho, is plastered with loving couples locked in ingenious amatory postures drawn from the Kama Sutra - a feature that may well explain the comment made by one of Akbar's emissaries, Abul Fazl, in the sixteenth century: "Even those who are difficult to please," he enthused, "stand astonished at its sight."

Apart from the temple, a small museum and a fishing beach, Konarak village has little going for it. In recent years, a few cafés and hotels have mushroomed around its dusty bus stand to service the stream of bus parties that buzz in and out during the day. Sundays and public holidays are best avoided if you're hoping for some peace and quiet. Aim to be around at sunset after most of the tour groups have left, when the rich evening light works wonders on the natural colours in the khondalite sandstone.

Some history
Inscription plates attribute the founding of the temple to the thirteenth-century Ganga monarch Narasimhadeva, who may have built it to commemorate his military successes against the Muslim invaders. Local legend attributes its aura of power to the two very powerful magnets said to have been built into the tower, with the poles placed in such a way that the throne of the king was suspended in mid-air.

The temple's seventy-metre tower became a landmark for European mariners sailing off the shallow Orissan coast, who knew it as the "Black Pagoda", and the frequent incidence of shipping disasters along the coast was blamed on the effect of the aforesaid magnets on the tidal pattern. The tower also proved to be an obvious target for raids on the region. In the fifteenth century, Konarak was sacked by the Yavana army; though unable to raze the temple or destroy its deity, which had been smuggled away by the priests to Puri, the marauding Muslims nevertheless managed to damage it sufficiently to allow the elements to get a foothold. As the sea receded, sand slowly engulfed the building and salty breezes set to work on the spongy khondalite, eroding the exposed surfaces and weakening the superstructure. According to local legend, the removal of the magnets would cause the temple to crumble. Indeed, by the end of the nineteenth century, the tower had disintegrated completely, and the porch lay buried up to its waist, prompting one art historian of the day to describe it as "an enormous mass of stones studded with a few peepal trees here and there".

Restoration only really began in earnest at the start of the twentieth century. After putting an end to the activities of the local raja, who had been plundering the ruins for masonry and sculpture to use on his own temple, British archeologists set about unearthing the immaculately preserved hidden sections of the building and salvaging what they could from the rest of the rubble. Finally, trees were planted to shelter the compound from the corrosive winds, and a museum opened to house what sculpture was not shipped off to Delhi, Calcutta and London. Today, Konarak is one of India's most visited ancient monuments, and the flagship of Orissa Tourism's bid to promote the area as an alternative to the "golden triangle" of Delhi, Agra and Jaipur.

The Temple
The main entrance to the temple complex (daily 9am-6pm; Rs250 [Rs10]) on its eastern, sea-facing side brings you out directly in front of the bhoga-mandapa, or "hall of offerings". Ornate carvings of amorous couples, musicians and dancers decorating the sides of its platform and stocky pillars suggest that the now roofless pavilion, which was a later addition to the temple, must originally have been used for ritual dance performances.

To get a sense of the overall scale and design, stroll along the low wall that bounds the south side of the enclosure before you tackle the ruins proper. As a giant model of Surya's war chariot, the temple was intended both as an offering to the Vedic sun god and as a symbol for the passage of time itself - believed to lie in his control. The seven horses straining to haul the sun eastwards in the direction of the dawn (only one is still intact) represent the days of the week. The wheels ranged along the base stand for the twelve months, each with eight spokes detailed with pictures of the eight ideal stages of a woman's day. Originally, a stone pillar crowned with an image of Aruna, Surya's charioteer, also stood in front of the main door, though this has since been moved to the eastern gateway of the Jagannath temple in Puri.

With the once-lofty sanctuary tower now reduced to little more than a clutter of sandstone slabs tumbling from the western wing, the porch, or jagamohana, has become Konarak's real centrepiece. Its impressive pyramidal roof, rising to a height of 38m, is divided into three tiers by rows of uncannily lifelike statues - mostly musicians and dancers serenading the sun god on his passage through the heavens. Among the figures on the bottom platform are a four-headed, six-armed Shiva as Nataraja, garlanded with severed heads and performing the dance of death. Though now blocked up, the huge cubic interior of the porch was a marvel of medieval architecture. The original builders ran into problems installing its heavy ornamental ceiling, and had to forge ten-metre iron beams as support - a considerable engineering feat for the time. Amazingly elaborate sculpture embellishes the temple's exterior with a profusion of deities, animals, floral patterns, bejewelled couples, voluptuous maidens, mythical beasts and aquatic monsters. Some of Konarak's most beautiful erotica is to be found in the niches halfway up the walls of the porch, where a keen eye may be able to spot the telltale pointed beards of sadhus, clearly making the most of a lapse in their vows of chastity. Bawdier scenes also appear in miniature along the sides of the platform and around the two remaining intricate doorframes on the main building - just look for the groups of tittering teenagers. Many theories have been advanced over the years to explain the phenomenon. In Konarak's case, it seems likely that the erotic art was meant as a kind of metaphor for the ecstatic bliss experienced by the soul when it fuses with the divine cosmos - a notion central to Tantra and the related worship of the female principle, shakti, which were prevalent throughout medieval Orissa.

Moving clockwise around the temple from the south side of the main staircase, you pass the intricately carved wheels and extraordinary friezes that run in narrow bands above and below them. These depict military processions (inspired by King Narasimhadeva's tussles with the Muslims) and hunting scenes, and feature literally thousands of rampaging elephants. In the top frieze along the south side of the platform, the appearance of a giraffe is proof that trade with Africa took place during the thirteenth century. Beyond the porch, a double staircase leads up to a shrine containing a statue of Surya. Carved out of top-quality green chlorite stone, this serene image - one of three around the base of the ruined sanctuary tower - is considered one of Konarak's masterpieces. Notice his characteristic tall riding boots and the little figure of Aruna, the charioteer, holding the reins of the seven horses at his feet. The other two statues in the series are also worth a look, if only to compare their facial expressions which, following the progress of the sun around the temple, change from wakefulness in the morning (south) to heavy-eyed weariness at the end of the day (north). Before working your way around the far side of the porch, you can also climb down into the remains of the sanctum sanctorum where the deity was once enshrined. At the foot of the western wall there's an altar-like platform covered with carving: the kneeling figure in its central panel is thought to be King Narasimhadeva, the donor of the temple.

In early December, the temple hosts one of India's premier dance festivals, drawing an impressive cast of both classical and folk dance groups from all over the country. For the exact dates, line-up and advance bookings, contact OTDC in Bhubaneswar (0674/243 1299) or Delhi (011/2336 4580).

The Village and Around
Some way outside the compound, near the Yatri Niwas hotel (see "Practicalities"), the archeological museum (daily 9am-5pm; Rs5) has lost most of its best pieces to Delhi, but has retained fragments of sculpture, much of it erotic. Outside, a small shed in the northeast corner of the enclosure houses a stone architrave bearing images of nine planet deities, the Navagrahas, which originally sat above one of the temple's ornamental doorways and is now kept as a living shrine.

Konarak's own beach, 3km down the Puri road, was once picturesque but remains thoroughly windswept and forlorn following the impact of the 1999 cyclone in October. Although far from ideal for swimming or sunbathing, it's still a good place to wander in the evening or watch the local fishing fleet at work.

Practicalities
The easiest way to get to Konarak from Puri, 33km down the coast, is by bus or Jeep. There are regular services in both directions and the journey only takes an hour or so, which makes it possible to do the round trip in a day - the last bus back to Puri leaves at 6.30pm. If you've got a bit more cash to spend, an auto-rickshaw will do the return journey for Rs250-300 including waiting time. Buses from Bhubaneswar are much less frequent and take between two and four hours to cover the 65km (with a change at Pipli), depending on whether you catch the one direct express "tourist" bus, which leaves from the town stand at 10am. Alternatively, you could join one of OTDC's tours which leave from the Panthaniwas in Bhubaneswar (Tues-Sun 6.30am-6.30pm; Rs130, a/c Rs160), with stops at Konarak, Bhubaneswar and Dhauli. The OTDC tourist office in Konarak is in the Yatri Niwas hotel (06758/236821; Mon-Sat 10am-5pm); staff can help with information on local festivals and tour.

With Puri only an hour down the road, few people end up staying in Konarak. There is, however, some accommodation here, convenient if you want to spend the night somewhere a little more peaceful, or enjoy the temple at a more leisurely pace. Not far from the main entrance to the monuments, the OTDC Panthaniwas (06758/236831; Rs150–500) offers dark but clean and reasonably priced rooms with a/c and hot water. They also run the reasonable Travellers' Lodge (06758/236820; Rs150–500), tucked behind the pleasant OTDC Yatri Niwas (06758/236820; Rs150–500), which has mosquito nets (essential), a restaurant and coloured fountains in the gardens. The manager here boasts an impressive knowledge of local history and the temple itself. The Labanya Lodge (06758/236824, labanyalodge1@rediffmail.com; Below Rs150), a little out of the village on the beach road, is the most backpacker-friendly place, with a small garden and Internet access.

For food you have a choice between the row of thali and tea stalls opposite the temple or a more substantial meal in one of the hotel restaurants. The Panthaniwas' very popular and inexpensive Geetanjali café serves the usual range of veg and rice dishes. The Yatri Niwas is also open to non-residents and is likely to be packed out at lunchtime with tour parties, all tucking into a good Orissan thali. The Sun Temple Hotel is the best of the dhabas.

If you are planning to visit Bhubaneswar you can refer the Bhubaneswar Accomodation Guide . If you have any other queries reagarding Konark you can ask the Bhubaneswar City Expert.

Durga Puja in Kolkata

The azure sky with fleecy white clouds and the nip in the air marks the advent of autumn – the season for Bengal’s most popular festival, Durga Puja or the worship of Goddess Durga. Durga Puja is celebrated with customary pomp and fanfare twice a year – once in the month of March or April (basant) and again in the month of September or October (ashwin), during the moonlit fortnight. On both the occasions, the puja is a nine-day affair with the last day coinciding with Ram Navmi and Dussehra respectively. The Mother Goddess is venerated in one form or the other all over India, though her popularity is at its peak with the Bengalis. The familiar sound of Dhak, Dhunuchi nachh, the mild fragrance of Shiuli, gives a familiar tug at every Bangali heart......

In preparation for the festivals, artisans in the Kumartuli area mould images of voluptuous women from straw, papier-maché, and pith (the marrow of the banana tree) and then clothe and decorate them into lavish images of the goddesses; these are then carried in noisy procession to makeshift altars called pandals. Supported by donations from businesses and local residents, with popular music blaring distortedly through loudspeakers, pandals often block off small streets on their way to immerse the images in the river after puja. The colourful scene of the immersion is best viewed via one of the boat cruises offered by the West Bengal tourist office; they also offer bus tours that take in the best pandals. more traditional form of Durga Puja takes place in purpose-built halls known as thakur dalan within North Kolkata's old manor houses; the best of these is held at the Than Thani Rajbari, a fabulous mansion off College Street at 1 Bechu Chatterjee Street.

Goddess Durga Worship
The right time for the worship of Goddess Durga being in spring, the prayers of Lord Rama are also known as akal bodhan (untimely worship). Nowadays, Ram Navmi is celebrated during spring and Durga Puja or Dussehra is celebrated during autumn. Prevalent in Bengal is the tale of the defeat of the demon, Mahishasura at the hands of Goddess Durga, the incarnation of Shakti, or Power. This demon was almost invincible because of a boon granted by Lord Shiva (the Destroyer in the Hindu Holy Trinity of Creator-Preserver-Destroyer) whereby no male could defeat him. But the gods found a novel solution to the daunting problem. The amalgamation of the might of all the gods resulted in the birth of Shakti in the form of Goddess Durga, who wielded an assortment of weapons in her 10 hands and rode a lion. Predictably enough, she was able to slay the demon, thus ending his reign of terror. Therefore, Durga is also called Mahishasuramardini (the slayer of Mahishasura). This holy battle has come to symbolise the triumph of Good over Evil.

About Goddess Durga
Durga, in Sanskrit means "She who is incomprehensible or difficult to reach." Goddess Durga is a form of Sakti worshiped for her gracious as well as terrifying aspect. Mother of the Universe, she represents the infinite power of the universe and is a symbol of a female dynamism. The manifestation of Goddess Durga is said to emerge from Her formless essence and the two are inseparable. She is also called by many other names, such as Parvati, Ambika, and Kali. In the form of Parvati, She is known as the divine spouse of Lord Shiva and is the mother of Her two sons, Ganesha and Karttikeya, and daughter Jyoti. Destroyer of demons, she is worshiped during an annual festival called Durga puja, especially popular among Bengalis.

• Her Appearance - There are endless aspects of Durga described in the Puranas and Agamas and the iconography is consequently very varied. She is usually pictured as having ten arms holding Sword, Conch, Discus, Rosary, Bell, Winecup, Shielf, Bow, Arrow, and Spear. She is most often shown riding a lion from which comes Her august name, Simhavahini, "She who stands astride the king of beasts". She is gorgeously dressed in royal red cloth and has several ornaments decorating Her personage. Her hair is dressed up in a crown (karandamukuta) which then flows out in long luxuriant tresses that are darkly luminous and soothing to the eye. The various tools reflects the eminent supremacy that helps in controling the universe and obey Her will.
• Weilding Energy - Goddess Durga exists eternally, always abiding in her own sweet nature and inhabits the hearts and minds of her ecstatic devotees. As Shakti power, she shapes, nurtures, and dissolves names and forms, while as subtle spiritual energy called Kundalini, She lights the lotuses fo the seven centres of awareness in the sacred human body. Goddess Durga killed the powerful demon Mahish and all his great commanders. When demonic forces create imbalance all god unite becoming one divine force called Shakti or Durga.
• Revered Mother - She has been worshiped from about 400 AD, but probably earlier, to the present. Her literary references are chiefly the Ramayana and Mahabharata, epic and Puranic texts, and she is mentioned by name in Vedic literature. In general, Durga is regarded in northern India as the gentle bride epitomizing family unity while in southern India she is revered more in her warrior aspect.

Mythological Tales Associated With Durga Puja
The festival of Durga puja comes with its own retinue of mythological stories. The most prevalent among them is the one involving Lord Rama, the hero of the Hindu epic, Ramayana. When Ravana (the 10-headed demon king of Lanka, now Ceylon) abducted Lord Rama’s wife Sita, and held her hostage in Lanka, a fierce battle ensued. Although there were huge casualties on both sides, Ravana could not be defeated. So Rama decided to seek the blessings of Shakti or Goddess Durga in order to defeat the 10-headed demon. But here comes the twist in the tale. 108 black lotuses were needed for the worship of the Divine Mother and Rama had managed to procure only 107. He was on the verge of laying one of his eyes that was lotus-shaped and black in colour at the Goddess’s feet when Shakti, satisfied with the measure of his devotion, granted her blessings. and the righteous eventually triumphed.

Flashes of the Past
However, according to another legend about Durga, she was a manifestation of Parvati, Shiva’s consort. It seems that while Parvati existed only for Shiva, Durga was the form of Parvati’s shakti (power) that was created solely for destroying demoniac forces. Close to the heart of almost every Bengali is the image of Durga as the daughter who visits her parents annually. Her children Lakshmi (Goddess of Wealth), Saraswati (Goddess of Knowledge), Ganesha (God of Prosperity) and Kartikeya accompany her on this visit. Each year, there is great rejoicing at the time of her homecoming, but the air is tinged with sadness on the day one bids adieu to the deity. Perhaps people identify more intimately with the human face of the omnipotent Goddess.


The Fiesta Starts
Durga Puja commences on the day after mahalaya, usually on the last day of the waning or new moon, sometime in September or October. On mahalaya, melodious strains of agomoni (welcoming) and chandi path (readings from chandi, a religious Hindu text) exude from radios and television sets. The countdown to the final days of the Puja itself begins from the day of mahalaya. This is around the period when people indulge in last minute shopping sprees. So if you don’t like crowds, this is not the time to visit markets, especially in Bengal.


The Grand Celebration
Durga Puja is celebrated on a mass scale with puja pandals (marquees) dotting nearly every nook and corner of West Bengal. Thanks to a migrant Bengali population, the past few years have seen a rise in the number of Durga Pujas in other parts of the country and abroad as well. Preparations for the Puja begin long before the actual day arrives. If you are looking for bargains, you won’t find a better time. Publishing houses come out with puja editions of magazines, and craftsmen and artisans do brisk business at this time of the year. During the four days of Durga Puja, Bengalis really let their hair down. Beside the actual Puja, most pandals organise different kinds of competition to regale the local people. It’s party time for both children and adults alike as they participate wholeheartedly in the fun and frolic. Local talent gets a chance to share the stage (a makeshift one more often than not) with more illustrious artists. The festivities begin from maha shashthi (the sixth day from the day after mahalaya) when the priest unveils the deity during a puja known as bodhan. On this day the women of the house fast for the well-being of the family. The fast is broken in the evening with fruits and luchis (a kind of bread made of flour), usually eaten with sabzi (vegetables). It is normal for the whole family to participate in these rituals, especially when it comes to partaking of the yummy luchis and sabzi. A trip to the local pandal is also a must.

The morning of maha saptami (seventh day) is taken up with the worship of the deity, followed by anjali when a devotee offers prayers and flowers on an empty stomach, amidst the chanting of mantras to the Goddess. Only then can one make a beeline for the prasad (sweetmeat offered to the deity). Bhog (meal provided to all and sundry after the Goddess has partaken of it) at lunchtime is a welcome break for those who gather in the pandals. But come evening, and the pandal becomes a dazzling array of new clothes, shiny faces of children running helter-skelter and a spectacular display of lights. The rhythmic beat of the dhak (drums) adds to the mood of Bengal’s most popular festival. The maha ashtami (eighth day) is an especially significant day. The priest breathes life into the idol of Durga as he performs the sandhi puja (worship in the evening) to the chanting of shlokas (religious couplets). The reflection of the idol has to be observed in a bowl of water as this gives an impression of movement. This part of the puja is known as pranpratishtha (breathing life into the idol). Kumari puja (worship of young girls) is an old custom still carried out in certain temples. All these special ceremonies are interspersed with the usual rounds of anjali, prasad and bhog. Merry-making reaches fever pitch by the evening on this day. of course, amongst the highlights of the evenings are the gastronomical treats that can be bought from the stalls abounding in the pandals. Pandal-hopping is also a favourite pastime.

One cannot talk about maha navmi (ninth day), without laying emphasis on the fact that meat is served in many pandals as part of the bhog, but never in the temples. This being the penultimate day of the Puja, one can feel that it is soon going to be over.


Bijoya Dashami
Coinciding with Dussehra is bijoya dashami, the last day of the Pujas. Married women bid farewell to the Mother Goddess through various rituals, entreating her to come back every year. The playful ritual called sindoor khela during which women smear each other’s hair, faces and bangles with vermilion powder, breaks the solemnity of the occasion. Later, all the idols are taken to nearby rivers or ponds to be immersed. To an outsider, this might seem like a colossal waste, but don’t forget, this also ensures idol makers never go out of business.

Festivals in India are occasions to catch up with friends and relatives, and this festival is no different. The evening of bijoya dashami is reserved for spending time with friends and family, with youngsters touching the feet of the elders as a mark of respect. A description of bijoya dashami is incomplete without mentioning the mouth-watering delicacies like sweets and nimkis (a crispy treat made of flour) that are prepared by the women of the house.

Different kinds of Durga Puja all over India
Durgapuja, over the years, has outgrown its religious connotations to a large extent as people all over the India celebrate it with a gusto. There are various ways in which Ma Durga is worshiped. The rituals and customs vary due to vast difference in the culture of Indian States. But, all these follow the century old tradition and practice that intermingle with historical ethos.

• Maharashtra - In Maharashtra, Durga Puja is a fun occasion. Puja is performed each day and devotees don't remove the flower garland that is put each day on the idol or image of the deity. After nine days all nine are removed together. Young girls who have not attained maturity are invited to eat, play games, dance and sing. An elephant is drawn with rangoli and the girls play guessing games. Then they are fed a meal of their choice.
  

• West Bengal - In West Bengal, Durga Puja is five days of festivity. It hinges around Mahalaya day, a week before the actual celebrations begin. It was on this day that Durga was assigned the task of eliminating evil. So the familiar pose of Durga unleashing her wrath on an out powered assura (demon). Legend goes that Ram wanted to invoke the blessings of Durga before his great war with Ravan. He performed the Durga Puja despite the time of year not being right. That is why the puja is also known as Akal Bodhon, or untimely invocation.
  

• Punjab - People of Punjab strictly observes Navratri. Some Punjabus have only milk for seven days before breaking the fast on ashtami or navami. They worship Durga Ma and do the aarti at home. Some of them have fruit or a complete meal once a day and intoxicating drinks or meat and other form of entertainment is completely avoided. At the end of the fast devotees feed beggars or worship little girls who spell the Shakti of the Mother Goddess.
  

• Gujarat - Navratri is devoted to Amba mataji. In some homes, images of mataji are worshiped in accordance with accepted practice. This is also true of the temples, which usually have a constant stream of visitors from morning to night. The most common form of public celebration is the performance of garba or dandia-ras, Gujarat's popular folk-dance, late throughout the nights of these nine days in public squares, open grounds and streets.
  

• Kerala - In Kerala, Durga Puja signifies the beginning of formal education for every child aged 3-5 years. While puja goes on in the temple for all ten days, it is only the concluding three days which are really important. Ashtami is the day of Ayudya Puja, when all the tools at home are worshiped. Custom dictates that no tools be used on this day. On navami, day, Goddess Saraswati is honored by worshiping the books and records at home. Thousands throng the Saraswati temple at Kottayam during this period to take a dip in the mysterious holy pond whose source is yet unknown. Large gatherings are also seen at the famous temples at Thekkegram (Palghat), in which there are no idols -- only huge mirrors. A devotee finds himself bowing before his own reflection which indicates that God is within us.
  

• Kashmir - Hindus are a minority in Jammu and Kashmir but they celebrate their festivals with pomp and show. These days, festivities are subdued, though. The favorite deities of Kashmir are Lord Shiva and Serawali Ma Durga, the one who rides the tiger. Pundits and Muslims alike vouch that Navratri is important. No big pandals here, each Hindi house-hold does the pooja at home. All the adult members of the household fast on water. In the evenings, fruit may be taken. As elsewhere, Kashmiris grow barley in earthen pots. They believe that if the growth in this pot is good, there is prosperity all year. The most important ritual for Kashmiri Pandits is to visit the temple of guardian goddess Kheer Bhawani on all nine days. On the last day of Navratri, an aarti is held at the temple after which people break their fast. On Dussehra day, Ravana's effigy is burnt. Devotees also visit the Hari Parbat temple.

The sprawling sea of humanity that lines the banks of the Ganges at India's eastern edge, the City of Kolkata, sparkles in strings of electric lights of every color under the black velvet of a clear night. Unnumbered "mics"--metallic speakers driven to a seizure of clipping, force out an endless droning melange of film music swimming in an acoustic jungle of traffic noise, drumming and announcements. The streets are alive with people, drummers from the hinterland villages, expatriots visiting family and friends, people off to visit a neighborhood pandal; a glittering but temporary temple which serves as the focal point of the celebration. The shops are busy, and new clothes and new shoes are everywhere in evidence.

It was Durga who vanquished the buffalo-demon Mahish. Ironically perhaps, Mahish may have founded the Durga Puja when upon learning of his impending demise at the hands of the goddess he said:

"Durga, I have dreamed of you and in the dream I worshipped you. I will be glad to die in your hands. I only ask that you ensure that along with you I am worshipped by all."

Durga replied,

"In three of my forms you will forever be at my feet and worshipped by the gods, by humanity, and by demons."

Durga Puja is one of the much awaited festivals of mine. Me as a bengali, from childhood every year I have been waiting for Durga Puja. But after the festival ends eyes wait for the next Year.

"Asche Bochor Abar Hobe"

If you are planning to visit Kolkata Reserve you can refer the Kolkata Accomodation Guide.

Pollution Threatening The Taj Mahal

I decided to write on some hot topics on travel which will give a different taste to the visitors who are getting bored by my daily travel destination posts. In this post I tried to draw attention to the plights of one of the best world heritage structures.
Yup ! I am talking of the TAJ MAHAL, the symbol of love.

Although the Taj Mahal may appear to the untrained eye almost as perfect as the day it was completed, the marble is undeniably sullen and yellow in parts, and empty casings here and there betray lost precious stones. These are the early effects of the threat posed by pollution from traffic and industry, and the millions of tourists who visit the tomb year-round. While marble is all but impervious to the onslaught of wind and rain that erodes softer sandstone, it has no natural defence against the sulphur dioxide that lingers in a dusty haze and shrouds the monument; sometimes the smog is so dense that the tomb cannot be seen from the fort. Sulphur dioxide mixes with atmospheric moisture and settles as sulphuric acid on the surface of the tomb, making the smooth white marble yellow and flaky, and forming a subtle fungus that experts have named "marble cancer".

The main sources of pollution are the continuous flow of vehicles along the national highways that skirt the city, and the 1700 factories in and around Agra - chemical effluents belched out from their chimneys are well beyond safety limits laid down by environmental committees. Despite laws demanding the installation of pollution-control devices, the imposition of a ban on all petrol- and diesel-fuelled traffic within 500m of the Taj Mahal, and an exclusion zone marking 10,400 square kilometres around the complex that should be free of any new industrial plants, pollutants in the atmosphere have continued to rise (many blame the diesel generators of nearby hotels), and new factories have been set up illegally. In 1993, the Supreme Court finally took action and ordered nearly three hundred plants to shut down until emissions fell to legal limits. Cleaning work on the Taj Mahal rectifies the problem to some extent, but the chemicals used will themselves eventually affect the marble, while the doubtful methods of the Archeological Survey of India, such as scrubbing with toothbrushes, may prove disastrous in the long term. Attendants already shine their torches on repaired sections of marble to demonstrate how they've lost their translucency. Hopes for proper care of the Taj Mahal have been raised since the government turned its attention to the plight of India's greatest monument, while entry fees for foreign visitors have been increased, supposedly to regulate the flow of tourists and generate much needed income. However, the UP government have more than just the threat of pollution damage to worry about. In early 2005, they launched an investigation into claims that decreased water levels in the Yamuna have led to dangerous tilts in the Taj's minarets, and fears that unless something is done to restore the Yamuna to previous levels, the entire building could collapse.

Mark Twain once remarked the world is divided between two types of people: those who have seen the Taj Mahal and those who have not. The Taj is one of the most recognizable landmarks in the world and the image most associated with India.

India has experienced exponential industrial growth in recent years. Increasingly, people have left villages for urban centers in order to try and find work. The result of this industrialization has often been overcrowded cities and dense pollution. Agra is no exception. It has been identified as a "pollution intensive zone" by the World Health Organization (WHO). It is estimated that the area around the Taj contains five times the amount of suspended particles (such as sulfur dioxide) that the Taj Mahal could handle without sustaining everlasting damage. India has been involved in a "greening" campaign particularly in regards to its national monuments.

More recently, India has begun to try and attract more tourists: this has created a dilemma how to market its best Tourist attraction without causing significant damage to it in the process.

Legal Standing
India is a signatory to the United Nations Educational, Scientific and Cultural Organization's (UNESCO) World Heritage Convention adopted in 1972. The main goal of the World Heritage Convention is to identify and protect monuments of great cultural and natural heritage throughout the world. In signing the Convention, a country pledges to conserve the World Heritage sites located in its own territory and protect its national heritage. The application for a site to be accepted as the World must come from the country itself. The application process includes submission of a plan detailing how the site is managed and the measures assuring its continued protection. In some cases, UNESCO identifies conditions to a country before accepting a site as a world heritage monument.

For example, at the time Delphi was nominated by Greece, a plan was in the works to build an aluminum plant nearby. The Greek government was asked to find an alternative location for the plant, did so, and Delphi was accepted onto the World Heritage List. In other cases, such as the Giza Pyramids, UNESCO asks the country for remediation of potential threats. In 1995, the Pyramids were threatened by a highway project near Cairo which would have seriously damaged the monument. Negotiations with the Egyptian government resulted in a number of alternative solutions which replaced the disputed project. Ultimately, the treaty is not binding by the force of an ultra-national body but rather left to the discretion of the country.

The Agra area currently has three world heritage sites: the Taj Mahal, Agra Fort and Fatehpur Sikri. The Constitution of India gives the Supreme Court extensive powers. In the Constitution, the Courts were envisioned as a watchdog, independent of the executive. They were entrusted with the task of ensuring that all institutions function in accordance with the Constitution under the rule of law. The Supreme Court was assigned the power not only to set aside Executive acts of Government, but also to strike down laws made by Parliament and the State Legislatures. Throughout its history, the Court has further expanded its own powers by creative interpretations of the Constitution, in particular Article 21 which guarantees the right to life. This right to life has been interpreted by the Court to include the right to a healthy environment. Citing their status as world heritage monuments and the health of the citizens around the monuments, the Court mandated environmental measures in order to protect the Taj Mahal and other nearby world heritage monuments: Agra Fort and Fatehpur Sikri. One of these measures include what has come to be known as the Taj Trapezium Zone (TTZ), a 10,400 sq. km area around the monument were industrial business is limited. The first court challenge was made in 1984 before the Supreme Court of India. In 1996 that the Supreme Court ruled that the industries in the area were actively contributing to air pollution and ordered major industrial units to install pollution control devices. The court also ordered 292 coal-based industries to switch to natural gas or else to relocate outside the protected zone by April 30, 1997.

Factories that opted for relocation were obliged to re-employ workers under similar conditions and to provide a one-year bonus. The court also order that if a worker's plant were to close down, they would be entitled to six years' worth of wages in compensation. The cost of bringing the industries up to standard for the business owners were prohibitive. Hundreds of coal-burning factories have closed or converted to cleaner fuels, however many industries still skirt the Court's order. Thus there have been subsequent court challenges in order to bring about compliance with the court's previous mandates. Additionally, conventional cars and automobiles are banned within a 500-meter radius of the monument. A further complication is that the state of Uttar Pradesh, where Agra and the Taj are located, have near daily electricity blackouts. This has had a negative effect on the functioning of the sensitive pollution monitoring system of the Taj. In April 2002, the Supreme Court ordered the Agra Heritage Fund to set up a solar power plant to meet the energy needs of the Taj Mahal and the surrounding area.

Direct v. Indirect Impacts
The price for Admission to the Taj Mahal is based on a two tier system: there is one set price for Indians and another set price for Non-Indians. The Archaeological Survey of India (ASI) has introduced measures it claims are aimed at protecting the monument from over exposure to tourists as well as raise revenues for the State. In 2000, ASI raised prices for foreigners from 15 rupees to 960 rupees. (Exchange is approximately $1 US to 48 rupees). Prices for Indians remained a modest 4 rupees. ASI claims the measures are aimed at controlling the number of tourists and thus environmental harm caused to the monument by tourists. The extra money will go towards maintaining the Taj as well as the other monuments under ASI's protection. The admittance fee is charged before one enters the Taj Mahal complex.

If in the future, tourism was covered under as a services agreement under WTO rules, it is possible that other countries could charge that India's two tiered pricing system is a barrier to trade. The matter could come up in a dispute between two other countries and none the less effect India. However India would be able to argue that it is implementing measures for environmental protection.

The Guardian reported ("Monumental Expense" August 18, 2001) that at one stage, "guides outside the Taj Mahal reported up to 100 foreign students a day turning back in disappointment when they discovered the cost". Many backpackers able to get by on the low cost on living in India had not budgeted for the increased cost of the Taj. Three tourists, from Sweden, France and South Korea, in January 2001 were arrested after climbing over the Taj Mahal's perimeter wall.

Relation of Trade Measure to Environmental Impact
In June 2001, the government of India announced that it had reached a deal with the Tata group, who own the India Hotel Co. better known as the Taj hotel group. Under the deal, Tata would take over the management of the actual Taj Mahal and develop a number of state-of-the-art tourist facilities in the area. The plan met with significant disapproval from conservationists upset at the commercialization of the monument, the idea of surrounding the monument with computerized ticketing, cyber cafes and shopping malls.

The Taj hotel group has converted a number of heritage buildings into resort hotels, including the Lake Palace in Udaipur. The move was controversial as no public hearing or input was solicited in the decision. Tata has agreed to pay for maintenance a commitment of somewhere between $383,000 and $750,000. It is estimated that the Taj Mahal currently takes in about $2 million at the gate each month. Tata also receives a tax exemption for its spending on preservation and scores a public relations coup for its brand: the Taj Mahal hotel chain.

The first stage of Tata's commitment has been focussed on urgent restoration including conservation of the damaged stones and restructuring the existing museum. The project will also look at the development of recently discovered Mughal Garden. Mehtab Garden, the moonlit pleasure park, will be resurrected as will fountains which adorned the are in the seventeenth century.

The restaurants and shopping mall will form part of the $3.3 million second phase which will include ATMs, modern restrooms and waiting areas. Conservationists fear that boosting tourism would further contribute to the deterioration of the Taj. Some claim that massive crowds pose as much a danger to the monument as industrial pollution. Hands leave acid residues that corrode the marble and occasionally vandals try to chip off semiprecious stones or carve their initials on the walls.

The website http://www.taj-mahal.net allows visitors to to take a panoramic tour of the Taj Mahal complex. For an additional two dollar "donation" to the ASI one can gain access to mausoleum itself.

One of the environmental measures proposed for the protection of the Taj Mahal is the reinvention and reintroduction of the cycle rickshaw. The cycle rickshaw has been around since the 1940s and has served as a low cost/ low pollution form of transportation. However the cycle rickshaw has suffered from an image problem. Rickshaw walas often are subjected to harsh work conditions for minimal financial gain. ITDP estimates on average the rickshaw wala earns $1.30 per day, $0.30 of that goes to the owner of the cycle rickshaw. This puts the cycle rickshaw wala at the global poverty line established by the World Bank ($1 a day or less). The rickshaw has been decried by progressive politicians as exploitative to drivers and unsafe to the roads. The vehicles were also blamed for traffic congestion. The cycle rickshaw was banned in New Delhi more than ten years ago and faces the prospect of similar bans in other Indian cities. Many Indians and tourists alike were uncomfortable with the idea of riding in a vehicle of questionable safety and comfort and one in which the driver has to physically struggle to walk the bicycle up hills or embankments, as is the case in Agra, at the Taj Mahal.

In 1994, the Supreme Court of India ordered that motorized vehicles be restricted in the 4 square kilometers immediately surrounding the Taj. Additionally the neighborhood around the Taj is composed of many narrow alleys and streets which make large scale automobile and bus traffic impassable. This opened up an opportunity for alternate forms of transportation which included electronic powered transportation, animal transportation; some tourists would hire out camel walas to make the short trek form the hotels to the Taj Mahal, and the cycle rickshaw.

The Institute for Transportation and Development Policy (ITDP), a New York based organization that stresses non-motorized environmentally sound transportation, initiated what has come to be known as The Taj Mahal Cycle Taxi Improvement Project at the request of the Municipality of Agra, the Indian Government, the U.S. Agency for International Development's Energy, Environment, and Enterprise Program, and the US Environmental Protection Agency. The project sought to redesign the rickshaw to create a safer, more comfortable ride which is easier on the driver as well.

The project sought not to import the import the bikes into Agra but rather to enable the local community to manufacture and produce the bikes with technical assistance. This policy lead to higher end production jobs in Agra. The new cycle rickshaw is the multi-speed gear system which reduces strain on the rickshaw-wallah. The weight of the vehicle is lighter evenly distribution and makes it easier to pedal and steer and the long chassis offers stability and prevents toppling. For the passenger, there are comfortable seats and backrests which absorb shocks and offer more comfortable rides. In addition, the permanent hood offers protection against sun and rain, and here is plenty of luggage space under the seats.

Economic Data
According to the Press Information Bureau of the Government of India, 2,350,0000 visited the country in the year 2000 accounting for 12753.56 crores rupees (1 crore = 10 million) contribution to the foreign exchange reserves on the country. It is estimated that the Taj Mahal itself takes in 1,400,000 tourists a year. Tourism is the third largest contributor to foreign exchange following Information Technology and Textile. Still despite its favorable exchange rate and historic monuments, India is actually a net exporter of tourism and many of the tourists are either expatriate Indians returning home to see family or backpackers on limited budgets.

Industry Sector
In 1995, according to the World Tourism Organization WTO), India ranked 44th among the world's top 60 tourist destinations in terms of numbers of tourists and 52nd among the world's top 60 tourist destinations in terms of tourist spending.

Indian Government has recently liberalized its tourism market in an effort to unleash the potential currently latent in the industry. The World Travel & Tourism Council (WTTC) states India's travel and tourism industry was expected to be worth US$27.4 billion in GDP for the year 2001 and was set for real growth of 10 percent before September 11, 2001 when travel and tourism demand dropped dramatically across the world. The industry was expected to employ 25 million people in 2001 (six percent of India's total workforce).

Although the Taj and Agra fort are major tourist destinations, a survey by Lucknow University showed that thousand of visitors leave Agra without even a hotel stay. Agra is close enough to both Delhi and Jaipur to visit only a stopover. Thus a great deal of potential income is lost.

India saw tourism drop by almost a quarter in the wake of September 11th as did many other countries. Additionally, increasing tension in disputes with Pakistan led Indian aurthorities to consider a plan to cover the Taj Mahal with a gaint tarp to camoflauge it from Pakistani warplanes. The plan would no doubt have an adverse effect on tourism however it was not enacted. Indian Government has also taken significent measures to increase security as to deal with possible terrorist threats to the Taj Mahal.


It would seem that for the moment, the Fate of the Taj Mahal hangs in the balance.

If you are planning to visit Taj Mahal Agra Reserve you can refer the Agra Accomodation Guide

Khajuraho Temples

Khajuraho has one of the exotic temples and sculptures to see and discover. I went a year back to Khajuraho and was taken aback by the perfection and beauty. I was accompanied with one friend Ashley, he works for ASI (Archeology Survey Of India). He gave me every detail of the temples and and I wrote this article last year and was thinking to post and at last its on my blog. Thanks to Ashley for his great contributions, this is for you Ash !

The resplendent Hindu temples of KHAJURAHO, immaculately restored after almost a millennium of abandonment and neglect, are among the most essential stops on any itinerary of India's historic monuments. Famed above all for the delicate sensuality - and forthright eroticism - of their sculpture, they were built between the tenth and twelfth centuries AD as the greatest architectural achievement of the Chandella dynasty. Mysteriously, the Chandellas appear to have forgotten about the temples soon afterwards, and it took "rediscovery" by the British before these masterpieces were fully appreciated in India, let alone internationally. Excavations are ongoing. Some 400km southeast of Agra and the same distance west of Varanasi, Khajuraho might look central on maps of the subcontinent, but remains as remote from the Indian mainstream as it was when the temples were built - which is presumably what spared them the depredations of the marauders, invaders and zealots who devastated so many early Hindu sites. No train routes cross this extended flood plain, set against the backdrop of the jagged Dantla hills, and visitors who don't fly straight here are faced with a long bus journey from either of the nearest railheads.

The exquisite intricacy of the temples themselves - of which the most spectacular are Kandariya Mahadeva, Vishvanatha and Lakshmana, all in the conglomeration known as the Western Group - was made possible by the soft buff-coloured sandstone used in their construction. Considering the propensity of such stone to crumble, they have withstood the ravages of time remarkably well. Much of the ornate sculpture that adorns their walls is in such high relief as to be virtually three-dimensional, with strains of pink in the stone helping to imbue the figures with gentle flesh-like tones. The incredible skill of the artisans is evident throughout, with friezes as little as 10cm wide crammed with naturalistic details of ornaments, jewellery, hairstyles and even manicured nails. A huge congregation of gods and goddesses are everywhere in attendance. To add to the beauty of the whole ensemble, the temples subtly change hue as the day progresses, passing from a warm pink at sunrise, to white under the midday sun, and back to warm pink at sunset. Dramatic floodlights pick them out in the evening, and they glow white when the moon is out. The sheer splendour of the temples rather overshadows Khajuraho village, where most local people live and which is increasing in hotels and trinket shops fed by the daily tourist invasion. However, if you stay around a night or two, you'll discover a relaxed pace of life that exists apart from the temple scene, especially in the evening when the local market and open-air restaurants create a very social atmosphere.

The Western Group
Stranded like a fleet of stone ships amid pristine lawns and flowerbeds fringed with bougainvillea, Khajuraho's Western Group of temples (daily sunrise-6.45pm; Rs250 [Rs10]) seem oddly divorced from their past. With the exception of Matangesvara, just outside the main complex, all are now virtually devoid of religious significance, and only spring back to life during Shivratri. Visitors must remove their shoes before entering individual temples. MPSTDC offers informative Walkman tours of the Western Group (around 45min; Rs50 plus Rs500 deposit), which are available from any of their hotels, the tourist offices or at the temple booking office. An excellent son-et-lumière show in the grounds of the Western group uses Indian classical music and impressive technicolour floodlighting to give ambience to the history of the temples, as narrated by the "master sculptor" (nightly English show: March-Aug 7.30pm; Sept-Feb 6.30pm; 50min; Rs200).

• Varaha - Just inside the complex a small open mandapa pavilion, built between the tenth and eleventh centuries, houses a huge, highly polished sandstone image of Vishnu as the boar - Varaha. Carved in low relief on its body, 674 figures in neat rows represent the major gods and goddesses of the Hindu pantheon. Lord of the earth, water and heaven, the alert boar straddles Shesha the serpent, accompanied by what T.S. Burt conjectured must have been the most beautiful form of Prithvi, the earth goddess - all that remains are her feet, and a hand on the neck of the boar. Above the image the lotus ceiling stands out in relief.
• Lakshman - Beyond Varaha, adjacent to the Matangesvara temple across the boundary wall, the richly carved Lakshmana temple, dating from around 950 AD, is the oldest of the Western Group. It stands on a high plinth covered with processional friezes of horses, elephants and camels, as well as soldiers, domestic scenes, musicians and dancers. Among explicit sexual images is a man sodomizing a horse, flanked by shocked female onlookers. The sheer energy of the work gives the whole temple an astounding sense of movement and vitality. While the plinth depicts the human world, the temple itself, the adhisthana, brings one into contact with the celestial realm. Two tiers of carved panels decorate its exterior, with gods and goddesses attended by apsaras, "celestial nymphs", and figures in complicated sexual acts on the lower tier and in the recesses. Fine detail includes a magnificent dancing Ganesh on the south face, a master architect with his students on the east, and heavenly musicians and dancers. Successive pyramidal roofs over the mandapa and the porch rise to a clustered tower made of identical superimposed elements. Small porches with sloping eaves project from the mandapa and passageway, with exquisite columns, each with eight figures, at each corner of the platform supported by superb brackets in the form of apsaras. The inner sanctum, the garbha griha, is reached through a door whose lintel shows Vishnu's consort Lakshmi, accompanied by Brahma and Shiva; a frieze depicts the Navagraha, the nine planets. Inside, the main image is of Vishnu as the triple-headed, four-armed Vaikuntha, attended by his incarnations as boar and lion.
• Kandariya Mahadeva - Sharing a common platform with other temples in the western corner of the enclosure, the majestic Kandariya Mahadeva temple, built between 1025 and 1050 AD, is the largest and most imposing of the Western Group. A perfect consummation of the five-part design instigated in Lakshmana and Vishvanatha, this Shiva temple represents the pinnacle of Chandellan art, its ornate roofs soaring dramatically to culminate 31m above the base in a shikhara that consists of 84 smaller replicas. Kandariya Mahadeva is especially popular with visitors for the extraordinarily energetic and provocative erotica that ornaments its three tiers, covering almost every facet of the exterior. Admiring crowds can always be found in front of a particularly fine image of a couple locked in mithuna (sexual intercourse) with a maiden assisting on either side. One of Khajuraho's most familiar motifs, it seems to defy nature, with the male figure suspended upside down on his head; only when considered as if from above do the sinuous intertwined limbs begin to make sense. An elaborate garland at the entrance to the temple, carved from a single stone, acts as a torana, the ritual gateway of a marriage procession. Both inside and out, lavish and intricate images of gods, goddesses, musicians and nymphs celebrate the occasion; within the sanctuary a dark passage leads to the garbha griha and its central shivalingam. Niches along the exterior contain images of Ganesh, Virabhadra and the Sapta Matrikas, the Seven Mothers responsible for dressing the bridegroom, Shiva. Wrathful deities and fearsome protectors, the seven consist of Brahmi, a female counterpart of Shiva, seated on the swan of Brahma; a three-eyed Maheshvari on Shiva's bull Nandi; Kumari; Vaishnavi, seated on the bird Garuda; Varahi, the female form of Vishnu as the boar; Narasimhi, the female form of Vishnu as lion; and the terrifying Chamunda, the slayer of the asuras or "demons" Chanda and Munda, and the only one of the Sapta Matrikas who is not a female representation of a major male god.
• Devi Jagadambi - North of Kandariya Mahadeva along the platform, the earlier Devi Jagadambi temple is a simpler structure, whose outer walls lack projecting balconies. Originally dedicated to Vishnu, its prominent mandapa is capped by a massive pyramidal roof. Three bhandas (belts) bind the jangha (body), adorned with exquisite and sensuous carvings; the erotica on the third is arguably the finest in Khajuraho. Vishnu appears throughout the panels, all decorated with sinuous figures of nymphs, gods and goddesses, some in amorous embrace. Some consider the image in the temple sanctum to be a standing Parvati, others argue that it is the black goddess Kali, known here as Jagadambi. Between Kandariya Mahadeva and Jagadambi, the remains of Mahadeva temple shelter a metre-high lion accompanied by a figure of indeterminate sex. Recurring throughout Khajuraho, the highly stylized lion motif, seen here rearing itself over a kneeling warrior with drawn sword, may have been an emblem of the Chandellas.
• Chitragupta - Beyond the platform, and similar to its southern neighbour, Jagadambi, the heavily (and in places clumsily) restored Chitragupta temple is unusual in being dedicated to Surya, the sun god. Once again its design emphasizes the mandapa rather than the main temple. Ornate depictions of hunting scenes, nymphs and dancing girls accompany processional friezes, while on the southern aspect a particularly vigorous ten-headed Vishnu embodies all his ten incarnations. Within the inner chamber, the fiery Surya rides a chariot driven by seven horses. The small and relatively insignificant temple in front of Chitragupta, also heavily restored and now known as Parvati, may originally have been a Vishnu temple, but holds an interesting image of the goddess Ganga riding on a crocodile.
• Vishvanatha - Laid out along the same lines as Lakshmana, Vishvanatha, in the northeast corner of the enclosure - the third of the three main Western Group shrines - can be precisely dated to 1002 AD as the work of the ruler Dhangadeva. Unlike some other temples at Khajuraho, which may have changed their presiding deities, Vishvanatha is most definitely a Shiva temple, as confirmed by the open mandapa pavilion in front of the main temple, where a monolithic seated Nandi waits obediently. Large panels between the balconies once more show mithuna, with amorous couples embracing among the sensuous nymphs. Idealized representations of the female form include women in such poses as writing letters, playing music and fondling babies. Decorative elephant motifs appear to the south of Vishvanatha, and lions guard its northern aspect.
• Matangesvara - The simplicity of the Matangesvara temple, outside the complex gates, shows it to be one of Khajuraho's oldest structures, but although built early in the tenth century it remains in everyday use. Deep balconies project from the walls of its circular sanctuary, inside which a pillar-like shivalingam emerges from the pedestal yoni, the vulva - the recurring symbol of the union of Shiva. During the annual festival of Shivratri, the great wedding of Shiva and Parvati, the shrine becomes a hive of activity, drawing pilgrims for ceremonies that hark back to Khajuraho's distant past.
• Chausath Yogini - Southwest of Shiv Sagar lie the remains of the curious temple of Chausath Yogini - the "Sixty-Four Yoginis". Dating from the ninth century, it consists of 35 small granite shrines clustered around a quadrangle; there were originally 64 shrines, with the presiding goddess's temple at the centre. Only fourteen other temples, all in northern India, are known to have been dedicated to these wrathful and bloodthirsty female attendants of the goddess Kali; art historians surmise that the site was used by an esoteric Tantric group. Around 1km further west lie the ruins of Lalguan Mahadev, a small temple dedicated to Shiva.

The Eastern Group
The two separate networks of temples that make up Cunningham's Eastern Group (daily sunrise-sunset; free) are reached via the two forks of the road east of town. One is the tightly clustered Jain Group, while slightly north there are a number of shrines and two larger temples, Vamana and Javari. On the north side of Jain Temples Road a comparatively new temple holds a two-metre-high image of the monkey god Hanuman that may predate all of Khajuraho's temples and shrines. As the road forks left along the eastern shore of the murky Khajur Sagar lake, at the edge of Khajuraho village, it passes the remains of a single-room temple erroneously referred to as the Brahma temple. Often considered to be a Vishnu temple, it is in fact a shrine to Shiva, as demonstrated by its chaturmukha - "four-faced" - lingam. While the eastern and western faces carry benign expressions, and the north face bears the gentler aspect of Uma, the female manifestation of Shiva, the ferocious southern face is surrounded by images of death and destruction. Crowning the lingam is the rounded form of Sadashiva, Shiva the Infinite at the centre of the cosmos.The dirt road continues to the small Javari temple. Built late in the eleventh century, it may not have the exuberance seen elsewhere but nevertheless contains some fine sculpture, including nymphets in classic Khajuraho style. The largest of the Khajuraho village temples, Vamana, stands alone in a field 200m further north. Erected slightly earlier than Javari, in a fully evolved Chandella style, Vamana has a simple uncluttered shikhara that rises in bands covered with arch-like motifs. Figures including seductive celestial nymphs form two bands around the jangha, the body of the temple, while a superb doorway leads to the inner sanctum, which is dedicated to Vamana, an incarnation of Vishnu. On the way to the Jain Group, the road runs near what survives of a late-tenth-century temple, known as Ghantai for its fine columns sporting bells (ghantai), garlands and other motifs.

The temple of Parsvanath, dominating the walled enclosure of the Jain Group, is probably older than the main temples of Khajuraho, judging by its relatively simple ground plan. Its origins are a mystery; although officially classified as a Jain monument, and jointly administered by the Archeological Survey and the Jain community, it may have been a Hindu temple that was donated to the Jain community which settled here at a later date. Certainly, the animated sculpture of Khajuraho's other Hindu temples is well represented on the two horizontal bands around the walls, and the upper one is crowded with Hindu gods in intimate entanglements. Among Khajuraho's finest work, they include Brahma and his consort; a beautiful Vishnu; a rare image of the god of love, Kama, shown with his quiver of flower arrows embracing his consort Rati; and two graceful female figures, one applying kohl to her eyes and another removing a thorn from her foot. A narrow strip above the two main bands depicts celestial musicians (gandharvas) playing cymbals, drums, stringed instruments and flutes. Inside, beyond an ornate hall, a black monolithic stone is dedicated to the Jain lord Parsvanath, inaugurated as recently as 1860 to replace an image of another tirthankara, Adinath. Immediately north of Parsvanath, Adinath's own temple, similar but smaller, has undergone drastic renovation. Three tiers of sculpture surround its original structure, of which only the sanctum, shikhara and vestibule survive; the incongruous mandapa is a much later addition. Inside the garbha griha stands the black image of the tirthankara Adinath himself. The huge 4.5-metre-high statue of the sixteenth tirthankara, Shantinath, in his newer temple, is the most important image in this working Jain complex. With its slender beehive shikharas, the temple attracts pilgrims from all over India, including naked sadhus. Sculpture in the small circular Jain Museum, at the entrance to the Jain temples, includes representations of all twenty-four tirthankaras (Mon-Sat 7am-6pm; Rs5).

• Parsvanatha Temple - The largest Jain temple of the Eastern group, Parsvanath temple has intricate stone carvings, especially, the sculptures on the northern outer wall of the temple are certainly praiseworthy. It enshrines a throne facing the bull emblem that represents the the first tirthankara, Adinatha.
• Ghantai Temple - This Jain temple has remarkable frescos depicting the 16 dreams of the mother of Lord Mahavira at the time of his birth and a Jain goddess mounted on a winged Garuda.
• Adinatha Temple - This temple is richly ornamented with delicate and pretty scultures including those of yakshis. It is dedicated to the first Jain tirthankara (saint), Adinath.

The Southern Group

Khajuraho's Southern Group consists of three widely separated temples. The nearest to town, Duladeo, is down a dirt track south of the Jain Group, 1.5km from the main square. Built early in the twelfth century, Duladeo bears witness to the decline of temple architecture in the late Chandellan period, noticeable above all in its sculpture that lacks Khajuraho's hallmark fluidity. Nonetheless, its main hall does contain some exquisite carving, and the angular rippled exterior of the main temple is unique to Khajuraho. Across the Khodar stream and south along Airport Road, a small road leads left to the disproportionately tall, tapering Chaturbhuj - the shikhara is visible for miles above the trees. A forerunner to Duladeo, built around 1100 AD and bearing some resemblance to the Javari temple of the Eastern Group, Chaturbhuj is plainer than Duladeo and devoid of erotica. A remarkable 2.7-metre-high image of Vishnu graces its inner sanctum. To reach the third temple, Bija Math, return to the cluster of houses before Chaturbhuj and take a right along the dirt track through the hamlet. The structure lay below a suspiciously large mound of mud (tela) until 1998, when the ASI undertook an excavation project and discovered the delicately carved platform. Unfortunately, the temple itself has disintegrated into the debris of ornate sculpture lying strewn around the site. You can go and watch the archeologists at work, patiently brushing the mud away to reveal parading elephants, intertwined lovers and rearing horses.

• Duladeo Temple - This Shaiva temple is known for flaunting the striking images of the celestial maidens or apsaras and richly ornamented figures.
• Chaturbhuja Temple - It is the huge imposing intricately carved image of Lord Vishnu in the temple's sanctum, which is the chief attraction of the temple.

Arrival and information
The easiest way to get to Khajuraho is on flight from Delhi (via Agra), or Varanasi (4 weekly). The local airport is 5km south of the main square of Khajuraho village; the taxi ride in costs Rs100. The two nearest railheads are at Jhansi to the northwest, and Satna to the southeast; both are connected by bus. All buses terminate less than 1km southeast of the main square at the bus stand, within walking distance of most central hotels; a cycle rickshaw will set you back Rs10, an auto-rickshaw Rs15. The Government of India tourist office, on the main square, is efficient (Mon-Fri 9am-5.30pm, Sat 8am-noon;). The MP tourism office, in the Chandella Cultural Centre 2km northeast of the main square (Mon-Sat 10am-5pm; closed second and third Sat of the month), can book accommodation and car rental. Money can be changed at the efficient State Bank of India on the main square (Mon-Fri 10.30am-2.30pm & 3-5pm; Sat 10.30am-2.30pm); there's a post office near the bus stand. Internet facilities (Rs40/hr) are available near Raja Café and around the Jain Temples, but the connection is painfully slow and often unreliable.


Getting around
Khajuraho is no more than an overgrown cluster of tiny villages, with no public transport, and visitors are dependent on the various rented vehicles in competition with each other. Taxis and rental cars are available at the main square; through the nearby Gems & Handicrafts shops. Typical costs are Rs500 for half a day, and Rs600 plus Rs6 per km for longer journeys. Cycle rickshaw drivers ask around Rs30 per hour; trips to the Eastern or Southern groups from the main square are Rs40, and a tour of all the temples costs Rs100. Auto-rickshaws charge Rs150 for a half-day, or Rs250 for a full day of temple-spotting. With virtually empty roads, a bicycle is by far the most enjoyable way of getting around. Among recommended and highly experienced guides who can help you make sense of Khajuraho. Guide rates are set by the government at Rs375 for one to four people for a half-day, Rs500 for a full day; there's a Rs180 surcharge for tours in languages other than Hindi and English.


Accomodation
There's a hotel in Khajuraho to suit every budget, and not a single fleapit in sight. The exclusive, deluxe places are virtually identical and a bit secluded, whereas the mid-range and budget accommodation is around the village centre, near the Western Group. In the slow summer season, you can negotiate a good discount at all hotels.


The Village
Facilities for visitors are concentrated in the uncluttered avenues of the small village of Khajuraho; the gates of the Western Group of temples open immediately onto its main square, which is surrounded by budget hotels, cafés and curio shops where you should brace yourself for some hard selling. If you aren't up to the haggling, head instead for the Khandariya Art and Cultural Centre, 1km south of the centre, an upmarket emporium offering quality goods at fixed price; in the same complex, an auditorium hosts evening dance shows at (daily 7 & 8pm; Rs300). On the south side of the main square, the small Archeological Museum (daily except Fri 10am-5pm; Rs5) is principally noteworthy for a remarkable sculpture of a pot-bellied dancing Ganesh.

Khajuraho is transformed into a bustling epicentre during Phalguna (Feb/March), when the festival of Maha Shivratri draws pilgrims from all over the region to commemorate the marriage of Shiva. It also sees one of India's premier dance events, the Khajuraho Festival of Dance - a showcase for all forms of classical dance with some performances staged against the stunning backdrop of the Western Group (though most take place at the more prosaic Chandella Cultural Centre). Precise dates for the festival tend to be confirmed late, so check with Government of India tourist authorities, and book early. Tickets for specific events cost between Rs40 and Rs200. A season ticket costs Rs500.

Moving on from Khajuraho
The first daily express MPSTRC bus leaves at 9am for Jhansi (4hr 30min), 175km west, then moves directly on to Gwalior and Agra (8hr). Alternatively, the most comfortable bus leaves for Jhansi at 11.15am to connect with night trains north and express trains running to Delhi and Agra, or Bhopal and Mumbai. The super-fast a/c Shatabdi Express #2001 train via Gwalior and Agra to Delhi departs from Jhansi at 5.55pm. A number of private buses also run the Jhansi route, departing at 5.30am, 12.30pm, 3.15pm and 4.15pm and a MPSTRC bus leaves at 7pm daily for Bhopal. Agents and hotels all display bus timetables.

Between 7.30am and 3.30pm daily, six buses set out for Satna (4hr 30min), 125km east, which is served by trains on the Mumbai-Varanasi-Kolkata network, as well as to Gorakhpur, from where buses head for the Nepal border. If you're heading to Varanasi, 415km east, either take the 4.30pm overnight bus from Khajuraho, or expect a long wait in Satna: night trains (8hr) leave daily at 7.50pm, while the daily morning departure (7-8hr) leaves at 7.05am. The best train for Jabalpur is the Mahanagiri Express #1094, which leaves Satna daily at 5.55pm (3hr). An alternative route to Varanasi is to take one of the eleven daily buses north to Mahoba (first bus 6am, last 10.30pm; 3hr), from where the Bundelkhand Express #1107 train to Varanasi departs at 10.35pm (12hr).

There is an extremely efficient computerized train booking office at the bus stand (daily 8am-5pm). All train tickets can be reserved up to five days in advance, and it saves the long queues in Jhansi, Mahoba or Satna. There are fewer services in the monsoon season. Flights can be heavily booked, and note that with a late reservation you may be promised a confirmation, but can only be sure of a place on the flight at the airport, shortly before departure; allow a little leeway in case your flight is delayed, and be patient.

Khajuraho now has a good range of places to stay and eat. Some of the best and inexpensive places of accomodation are :-

• Casa Di William Hotel
• Chandela Hotel
• Clarks Hotel
• Gem Palace Hotel
• Holiday Inn Hotel
• Jain Hotel
• Jass Trident Hotel
• Jhankar Hotel
• Lakeside Hotel
• Payal Hotel
• Siddharth Hotel
• Surya Hotel
• Rahil Hotel
• Usha Bundela
• Zen Hotel

If you are planning to visit Khajuraho you can refer the Khajuraho Accomodation Guide.

Note : I think i have written a long post, but I couldnt help, There is so much to see and know in Khajuraho. Its a kingdom and to cover all I had to be lenghthy. Hope you find the information helpful.