Bairat

Bairat or ancient Viratnagar, is said to have been founded by king Virat, in whose kingdom the five Pandavas spent the thirteenth year of exile in disguise.  Viratnagar was the capital of the ancient Mahajanapada of Machcha or Matsya, and was later part of the Mauryan Empire.

The place is well-known for two Asokan inscriptions and important ancient Buddhist relics found here. Excavations carried out on the different terraces of this hill known as Bijak-ki-Pahari (Inscription Hill) have yielded remains of a Mauryan circular stupa-shrine (chaityagriha/cetiyagaha) made of lime-plastered panels of brickwork alternating with twenty-six octagonal pillars of wood, preceded by monastic remains with a double row of cells arranged around an open square courtyard. It is supposed to be the earliest shrine in India excavated so far. The western or the upper platform is 30 feet higher than the eastern or the lower one. On all four sides there are ruins of brick walls which once formed the chambers of the resident monks of this large monastery.

The earliest historical record of Bairat is that of Chinese pilgrim Xuanzang in 634 AD. According to him the capital of the kingdom of Po-li-ye-to-lo (Paryatra), was situated at 500 li to the west of Mathura and 800 li to the south-west of the kingdom of She-to-tu-lo (Shatadru). The capital was 14 or 15 li in circuit. The people were brave and bold, and their king, who was of the race of Fei-she, was famous for his courage and skill in war. The place still possessed eight Buddhist monasteries (sangharamas), but they were much ruined, and the number of monks was small who studied the Little Vehicle. The Brahmans of different sects, about 1000 in number, possessed ten temples, but their followers were numerous, as the bulk of population was described as heretical.

Calcutta Bairat Rock Inscription

प्रियदसि लाजा मागधे संघं अभिवादेतूनं आहा अपाबाधतं च फासु विहालतं चा. (1)

विदिते वे भंते आवतके हमा बुधसि धंमसि संघसी ति गालवे चं प्रसादे च.
ए केचि भंते (2) भगवता बुधेन भासिते सर्वे से सुभासिते वा.
ए चु खो भंते हमियाये दिसेया हेवं सधंमे (3) चिलठितीके होसती ति अलहामि हकं तं वातवे.
इमानि भंते धंमपलियायानि विनयसमुकसे (4) अलियवसाणि अनागतभयानि मुनिगाथा मोनेयसूते उपतिसपसिने इ चा लाघुलो- (5) -वादे मुसावादं अधिगिच्य भगवता बुधेन भासिते एतानि भंते धंमपलियायानि इछामि (6) किंति बहुके भिखुपाये चा भिखुनिये चा अभिखिनं सुनेयु चा उपधालयेयू चा. (7)
हेवंमेवा उपासका चा उपासिका चा.
एतेनि भंते इमं लिखापयामि अभिप्रेतं मे जानंतू ति. (8)

 

The Magadha King Priyadasi, having saluted the Sangha, hopes they are both well and comfortable.

(lit. pronounce both being in good health and being of pleasant life)

It is known to you, Sirs, how great is my reverence and faith in the Buddha, the Dhamma, the Sangha.

Whatsoever, Sirs, has been spoken by the blessed Buddha, all that is quite well spoken.

But, Sirs, what would indeed appear to me, "thus the true Dhamma will be of long duration", that I feel bound to declare.

(diseya is optative of dissati)

The following expositions of the Dhamma, Sirs, Vinaya-samukasa, Aliyavasas, Anagata-bhayas, Munigathas, Moneyasuta, Upatisa-pasina, and Laghulovada which was spoken by the Blessed Buddha concerning falsehood,-- I desire, Sirs, that many groups of monks and nunsmay repeatedly listen to these expositions of the Dhamma, and may reflect.

(Vinaya-samukasa - Buddha's first sermon; Aliyavasas and Anagata-bhayas are in Anguttara Nikaya; Munigathas, Moneyasuta and Upatisa-pasina are in Sutta-nipata; Laghulovada is in Majjhima-nikaya)

In the same way both laymen and laywomen.

For the following, Sirs, am I causing this to be written, in order that they may know my intention.

Ramnagar Fort

Old Palace - Built by Raja Suchet Singh, the Purana Mahal consists of a complex of rooms rising to three storeys having high walls with watchtowers at regular intervals. The walls of the rooms are decorated with stucco work and painted with floral designs. The wooden members of the ceiling are also profusely decorated. The corners of the roofs have projections in the shape of lotus flowers.

New Palace - It was built by Raja Ram Singh, son of Raja Ranbir Singh. The complex has opened courtyards surrounded by rooms with two entrances facing each other in opposite wings. The outer walls are high and are duly supported by buttresses. The rooms have false wooden ceiling and the interior walls are decorated with floral designs.

Sheesh Mahal - Built during the reign of Raja Ram Singh, it comprises two forecourts having burjis at the corners. Behind these are the halls and the rooms flanked on the either side of the central passage. To the right of the entrance is Diwan-e-am with the rooms at its back. To the left of the entrance are Darbar Hall, Sheesh Mahal and Rang Mahal respectively. All the rooms have paintings and Darbar Hall has murals showing influence of Pahari school. Themes from Ramayana, Bhagawata and other Puranans, court and battle scenes connected with Raja Suchet Singh are also depicted in the paintings besides some lithographs of later period. The walls of Sheesh Mahal are decorated with mirrors and mural paintings of Nayikas, Raginis etc. Adjoining the Sheesh Mahal, walls of Rang Mahal panels depicting hunting, court scenes and Krishna-Lila scenes etc.

Fort - The ancient fort is a square on plan with polygonal bastions to support its four corners. The fortification walls and the bastions are high and rise to three storeys crowned with battlements and merlons. Around the central courtyard inside, there are cells and vaulted chambers where cannon balls are stored. There are images of Ganesha, Durga and Hanuman in the gateway. The fort is surmounted by the moat externally and access to it is gained through a narrow bridge across the moat on the southeastern side.

Samadhi of Queen of Raja Suchet Singh - The Samadhi was built by Raja Ranbir Singh on the spot where Rani performed sati after the death of Raja Suchet Singh in 1844. The structure is erected on a raised platform enclosed with ambulatory passage, the roof of which is dominal in shape. The inner walls of the samadhi are decorated with paintings. On either side of the entrance there are rooms. The façade is decorated with ornamental plaster whereas the interior of the walls of the rooms are plain.

Group of Temples, Kiramchi

Kiramchi is a small village in Udhampur district. It lies at a distance of 12 kms north of Udhampur on Udampur-Lander road and 67 kms from Jammu, datable perhaps to circa 8th and 9th century AD. The complex consists of five temples and two small shrines. This valley midst green mountains is located at an elevation of 730 m above the sea level. Two rivulets namely Birunala and Kiramchi are draining this area.

Local Tradition and Historical Background:

The local tradition says that in the past it was a halting place on Jammu - Kashmir trade route through Banihal. According to the legendary accounts, Raja Kichak, a contemporary of Pandavas of Mahabharata was responsible for laying the foundation of this place. Another tradition, says that Kiramchi was capital of Bhuti, which has been one of the principalities of Jammu region under the successors of Daya Karan, a ruler of Kashmir. According to Diwan Narsingh Dass Nargis the descendents of Daya Karan ruled for many centuries and their dynasty is known as Bhutials.As per tradition the last ruler of this dynasty named 'Himmat Singh' and ultimately Bhuti was given to Raja Gulab Singh. Thus Bhuti was added to Jammu region in 1834 AD.

Architecture:
the group of temples at Kiramchi has been built over an elevated terrace of Birunala. The temple no. 1, 2, 3, 6 & 7 are built on the common raised platform whereas the temple no. 4 is built on a still higher platform and temple no. 5 is built on a lower level as compared to other temples.

The temples on plan are consisting of a garbhagriha with curvilinear shikhara and an elongated antarala with a sukhanasika, decorated with kutashikhara and kalasha. Some of the temples have a pillared mandapa in front of the antarala, which appears to have been added later on while the temple no. 2 has an intact mandapa. All the other temples are survived with the remnants of mandapa. Garbhagriha of the temples are built either triratha or pancharatha on plan externally and square internally. The shikhara is surmounted by a big amalaka and kalasha. Generally the pillars are fluted and decorated with purnaghata pot and foliage design.

Chronologically, the temple no. 3 marks the beginning of the architectural activity at Kiramchi. It seems to be the oldest and the smallest structure, consisists of square, but externally triratha on plan. Its garbhagriha has a pyramidal roof and antarala with a wagon vaulted roof internally. It is followed by a temple no. 2, more elaborated on plan and higher in elevation. Its mandapa is entered through trefoil arch an impact of Kashmir temple architecture. It is presumed that it has a pyramidal roof.

The temple no. 6 and 7 are survived with only plinth. The temple no. 4 marked the developed stage of the temple at Kiramchi as it shows niches for the parsavadevatatas and door designs on the antarala. A chance discovery has revealed that temple no. 4 stands on an earlier brick structure datable to post-Gupta period. The pillars of the temple no. 5 shows remnant of sculptures most probably representing river goddesses. The temple no. 1 is most developed and elaborately ornamented. It depicts large size mouldings, niches for astha-dikpalas and saptamatrikas in addition to parsavadevatas.

Architecturally these temples belong to Nagara north Indian style of architecture. In addition, the larger regional Himalayan influence and a little Kashmiri temple architectural element is also noticed here.

At present there is no sculpture of gods and goddesses enshrined in these temples. During the course of trial excavation carried out by ASI a number of terracotta figurines, copper coins, iron arrow-heads, beads of semi-precious stones, pestles, querns and earthen pots were found. Beside a hearth, brick platform datable to late-Gupta period was also noticed.

Pari Mahal, Srinagar

Pari Mahal is a structure of six terraces built by Dara Shikoh (1615-1659) on the top of Zabarwan mountain range for his Sufi teacher, Mulla Shah. The place was a Buddh Math, later converted into school of Astrology by Dara Shikoh. In the uppermost terrace, there are ruins of the two structures resembling a baradari and reservoir. In the middle of the second terrace there is a large tank. The façade of the retaining wall is ornamented with series of twenty-one arches built in descending order. The third terrace has the main entrance. On either side of it, there are series of spacious rooms. The fourth terrace has the remains of tank. The fifth terrace has an arcaded retaining wall with pigeon holes. The sixth terrace has a rectangular tank in the middle and octagonal bastions. Fractions of earthen water pipes are still to be seen in the structure. The monument is famous for its garden.

Tomb of Zain-ul-Abidin's Mother, Zaina Kadal, Srinagar

The Tomb was built by Sultan Zain-ul-Abidin (1418–1419 & 1420–1470 AD)
. Its superstructure comprises of a main central dome with four smaller domes in the corners. It is embellished with glazed blue tiles. Another enclosure with gateway to the north of the tomb contains a number of tombs one of which is said to be of the king himself.


The design of this tomb is said to be modeled on Timur's mausoleum, Gur-e-Amir in Samarkand. The building is earliest existing brick masonry structure in the region. The design with its central circular dome is a marked departure from the traditional wooden architecture of the region, and shows close affinity with the Persian-Central Asian tomb models.


The entrance is in the form of horseshoe. The building is a single chamber with a domed ceiling with a height of two storeys. The room has a central semi-circular dome, and a series of four smaller domes, covered by a decorative brick frieze of blind semicircular arches. An interesting feature of this building is the use of moulded blue bricks, studded at intervals on the external façade.

Avantiswami Temple, Awantipora

Built by King Avantivarman (855 - 883 AD) before becoming the King. It has been reclaimed by the removal of an enormous mass of silt and debris which during a thousand years of neglect (for the temple had already silted up when it suffered from the iconoclasts) had accumulated to a height of about 15 feet and buried the whole structure except the upper part of the walls of the gateway and a shapeless heap of stones in the centre.  This Vaishnava temple is constructed on two-tiered base in the centre of the paved courtyard enclosed by the colonnaded peristyle. The entrance loacted in the middle of the west wall is approached by the flight of steps. The walsl of the entrance are ornamented with sculptured reliefs both internally and externally. The pilasters of the stairs of the main shrine are also ornamented with sculptured reliefs. the courtyard has subsidiary shrines at the four corners. The famous Vaikuntha Vishnu is said to be found in this temple.

A large assortment of antiquities has been unearthed during the excavation of this temple. The most valuable are a series of sculptures which have been placed in the Srinagar Museum. The large jars arranged in a row on the lawn above the excavations were, doubtless, used for the storage of grain and foodstuffs. Among those that have been brought to the Museum is onewhich bears an inscription mentioning the name of Avantivarman. This record is of interest as being the only independent evidence of the correct identification of the site.
Kalhana states that the Avantisvami temple was occasionally subjected to sacrilegious treatment even in Hindu times. The tyrannical Kalasa (A.D. 1081-1089) confiscated the villages which formed its endowments. Its military possibilities do not seem to have escaped the notice of the ancients, for " its courtyard served as a fortification when, shortly after the accession of King Jayasimha (A.D. 1128), Bhasa, a commander of the royal troops, was besieged at Avantipur by the rebel Damaras of the Holada (Vular) district." In the fourteenth century Sikandar But-shikan completed the destruction which had already begun in the troublous times which followed the reign of Avantivarman.

Pathar Masjid, Zaina Kadal, Srinagar

شکر حق از دعای اهل یقین
باز آباد گشت خانه دین
گرد سردار خطه میر هزار
مسجد نو بپا به بصد  تزمین 
اختر دولتش فروزان باد
تا بود بر فلک مه و پروین
اینچنین مسجد از بلندی قدر
آسمانی بود بروے زمین
عاقبت رو سیاه و ملعون شد
هر که او غله می نهاد ورین
صدر از هاتفی بپر سیدم
تا کند سال این مرا تلقین
هاتفی گفت عهد میر هزار
نو شد آباد مسجد سنگین


The mosque is said to have been built in 1623 by Empress Nur Jahan. Its façade consists of nine cusped arches including an arched portion in the centre. Its roof consists of twenty seven domes which are partly ribbed and partly vaulted. The prayer hall has eighteen massive square columns. The plinth is surrounded by lotus-leaf coping.


Chinar trees are planted in the courtyard and building material used is polished limestone. Pathar Masjid is the largest surviving example of Mughal architecture in Kashmir. It's area is 180 x 51 feet.


The frieze between the projecting cornices and the caves is decorated with a series of large lotus leaves carved in relief. A flight of steps within the door jamb of the entrance gives access to the roof which is, as usual in Kashmir, sloping except in the centre, where there was originally a dome, which was later dismantled by Sikhs. The roof consist of 27 domes, the central one of which is the largest. The domes are mostly ribbed inside, though there are some that are flat or wagon-vaulted.


Unlike other mosques in Kashmir, this building does not has a traditional pyramidal roof. The roof is supported by 18 extraordinarily massive columns, having projections on two sides. The lower portion of the columns are of stone and upper portions of brick, covered by a thick layer of buff-coloured lime plaster. The overall style lacks any kind of ornamentation.


The construction of the mosque was supervised by the well known historian and architect Malik Haider Chadoora. He was influential landlord and very close to Emperor Jahangir and Noor Jahan.

Mughal Arcade, Verinag

The construction of an octagonal tank with arcade which now surrounds the natural spring was commenced by the Emperor Jahangir (1605-27) in 1620 and completed by Shah Jahan (1628-58). Jahangir wished to be buried here.
The brick facing of the majority of the arches, as well as ruins of the walls of the second storey over the entrance chamber, belong to the repairs done by Wazir Punnu in the reign of the late Maharaja Ranbir Singhji

The spring is reputed to be the source of the River Jehlum: "Lord Shiva struck the ground with his trident. Thus, from this spot emerged the goddess Parvati in the form of river Vitasta. The land is protected by Nila (Shiva), the lord of Nagas. Gauri, though she has assumed the form of Vitasta came out from Nilakunda."

پادشاه هفت کشور شهنشاه عدالت گستر

ابو المظفر نور الدین جهانگیر بادشاه ابن اکبر بادشاه غازی

بتاریخ سنه ۱۵ جلوس در این چشمه فیض آمین ناز الاجلال

فرمودند این عمارت بحکم حضرت صورت امام یافت از جهانگیر شاه اکبر شاه

این بنا سر کشیده بر افلاک

بانی عقل یافت تاریخش

قصرآباد و چشمه ویرناگ

1029AH

حیدر بحکم شاه جهان پادشاه دهر

شکر خدا که ساخت چنین آبشار جوی

این جوی داده است, ز جوی بهست یاد

زین آبشار یافته کشمیر آبروے

تاریخ جوی بگفتا سروش غیب

ز چشمه بهشت برون آمدست جوی   

   1036AH

Khanqah of Shah Hamadan, Srinagar

It is a square edifice which is mostly built of wood with spaces filled by dressed bricks. It is embellished with wooden mouldings and beautiful carvings over doors and windows. The roof is crowned by steeple shaped pinnacle. It was constructed by Sultan Sikandar in 1395. This is one of the architectural landmarks of Kashmir.


The main building is in plan a square, 70 x 70 feet and is two storeys tall. The pyramidal roof projecting over the whole structure is three tiered, surmounted by an open pavilion for teh muezzin, over which rises the steeple with its final 125 feet from the ground.
Khanqah was twice destroyed by fire, in 1479 and 1731. The present mosque was rebuilt by Abul Barkat Khan in 1732.

In 1372 AD Hamadani migrated to Kashmir. He descended where the Masjid now stands, and told the Hindu fakir to depart. He refused, upon which Shah Hamadan said that if he would bring him news from heaven, he would then believe that he was a great man. The fakir, who had the care of numerous images, immediately despatched one of them to heaven, upon which Shah Hamadan kicked his slipper after it with such force that the image fell to the ground. He then asked the fakir how he became so great a man; he replied, by doing charitable actions; upon which Shah Hamadan thought him worthy of being made a convert to Islam; and in a few days so many more followed his example that five maunds of Juneos, or sacred strings worn by the Brahmans, were delivered up by the Hindu proselytes. The converted fakir himself was called Shaikh Baba Wali. Whatever the religious value of this story, it is certain that the Sayyid must have been a personage of great importance, inasmuch as a number of shrines throughout the valley have been dedicated to his memory.

Hamadani went to Mecca, and returned to Kashmir in 1379, stayed for two and a half years, and then went to Central Asia by way of Ladakh. He returned to Kashmir for a third time in 1383 and left because of ill health. Hamadani is regarded as having brought various crafts and industries from Iran into Kashmir; it is said that he brought with him 700 followers, including some weavers of carpets and shawls, who taught the craft of pashmina textile and carpet-making to the local population

Ancient Temple of Martand

Description: Dedicated to Martanda (the Sun god), the sun temple was built by Lalitaditya Muktapida (724 -760 AD). The represents the apogee of Kashmir temple architecture and is unique for its dimensions and grandeur. It consists of courtyard with the principle shrine in the middle which stands on double base. The main temple is enclosed by 220 x 142 feet colonnaded peristyle. The peristyle contains 84 fluted columns. The entrance in the middle of western side of quadrangle faces in the sanctum. It has human figures, floral scrolls, pairs of geese and figures of Ganga, Yamuna and Vishnu. The walls are profusely decorated with pedimented niches. The main shrine has three distinct chambers and some of its walls are carved with images. It consists of an oblong, garbha graha (sanctum), antrāla and spacious mandapa. Two double chambered sideways flanking the mandapa are novel and special feature of the temple. The images carved on the sidewalls of antrāla and mandapa are of Ganga, Yamuna, Vishnu and other deities. There are also six subsidiary shrines in the courtyard. Fine dressed devri stone has been used in the construction of the temple. The large earthen jars within the compound, some of which are still in situ were unearthed during excavations. A beautiful garden has been developed.

Mythology:  The worship of Sun god is famous from the Rigvedic era. We find it's importance in Martanda Brahman and Somāvalopanishad. Gāyatri Mantra is also a mystical worship of Bhargaswarūpa Martanda.

भास्वत्पुञजकरं प्रसन्न वदनं पीतम्बरालिकृतं । पद्मेचाभय पुस्तके जपवदी हस्तेदधानं विभुभ् ॥
सवर्ताग्निसमानकान्तिममंल नेववयोद्भासितं । देविभि परिवारिन्त च वरदे मार्तण्डनाथस्नमः ॥

During Satya Yuga, thirteenth Surya Martanda was born in the house of Kashyapa and Aditi with the blessings of Lord Vishnu. In the previous birth he was the son of Vikarna Muni and because of the curse he had to live in Satisar, the unfathomable water body. When Kashyapa, with the help of Vishnu converted Satisar into the captivating region called 'Kashmir', they found a radiant oval pinda (ball) with the inspiration of Parvati. This pinda was bore by Aditi, that she threw in the Satisar. Then Lord Vishnu with his chakra divided this into two part, from which comes a light-mass that became famous with the name of Martanda.
                                               मृताद् अण्डात् आगतः इति  मार्तण्डंः
The two parts of this oval pinda and famous as the ponds of 'Vimala' and 'Kamala' and are present still today. And the stream that came out of them became famous and Chakrasuta (Chāka) 

How I reached there: I hired a taxi from Srinagar. As the temple is on the hill, the taxi driver asked for some extra money at the last moment...