Temples razed, faith erased - St. Xavier’s legacy is genocide. Yet India names schools after him. Goa & Kerala still carry scars of a heritage wiped out. #temple #faith #StXavier #Goa #Kerala #scrolllink

Dig Deep, Keep Digging #Narayan #hindu #temples #scrolllink #fact #Sanatan #Dharm

Dig Deep, Keep Digging and you will find the Truth #temples #hindu #scrolllink #truth

No architecture on earth matches the beauty of Hindu temples 🔥 #architecture #earth #scrolllink #hindu

In the heart of Chittorgarh, Rajasthan, the Samadhishvara Temple rises as a timeless symbol of faith and artistry. Dedicated to Lord Shiva, the sanctum enshrines a striking three-headed idol that reflects his many dimensions. Each face tells its own story – one fierce and commanding, another calm and serene, and the third carrying an enigmatic expression. Together, they embody the vastness of Shiva’s being. The temple’s origins trace back to the 11th century, when it is believed to have been commissioned by the Parmara king Bhoja. Some scholars suggest it may even predate him, but inscriptions from Chittor and beyond largely affirm that the shrine, originally known as Tri-Bhuvana, was established in this era. Over the following five centuries, it was restored and enriched multiple times, preserving its sacred legacy through the ages. #hindutemples #shivaform #rudra #templesofwonder #HindusOfTheWorld #hara #sadashiv #shivatemple #shivatemple🔱 #indiantemple #rajasthan #rajathantemple

Before the Temples: The Panjurli Daiva of Tulunadu "Paatri povonji, Daiva barpi. Mana povonji, miru barpi." (The oracle departs, the Daiva arrives. The human departs, the wild arrives.) In the heart of Tulunadu, where the padi (ancient sacred grove) breathes with the spirits of the land, the air does not ask for devotion. It demands it. It is thick with the scent of wet bolpu (laterite soil) and the promise of the Kar (monsoon). Here, Bhakti is not a gentle prayer, it is a trembling surrender to a force as raw as the first thunderclap. Here, Bhakti is for Panjurli. They do not believe in this Daiva (spirit deity). They know it. They feel it in the shiver that runs through the areca grove, in the fierce protectiveness that guards their threshold. Panjurli Daiva was not crafted by dreamers, but unleashed from the very sweat of the Divine, a primal roar given form. To offer Bhakti to Panjurli is to offer respect to the storm. The Murti (sacred mask/idol) is their focal point. It is not a face, but a convergence of power. Forged in silver and gold, its boar visage is a permanent challenge, the kodu (tusks) not mere metal but instruments of divine surgery, meant to gore out the infection of dosha (sin/impurity). When the devotees, the saris, gather, their gaze is not one of adoration, but of awe struck vigilance. When the drums (Dammamā) begin their frantic, heartbeat rhythm, it is not a call to prayer. It is a summons. The air thickens, heavy with the scent of crushed areca flowers and burning incense. The Paatri, the vessel, is no longer a man. He is a conduit. His body contorts, a puppet to a force that is anything but graceful. It is the brute, grounding shudder of the boar. His dance is not fluid, it is a powerful, stomping, a ritual of claiming territory, of shaking the very foundations of the human world to remind it of the wild one that lies beneath. Panjurli does not whisper sweet promises. It speaks in a voice that is a low, guttural grunt, a gravelly torrent of truth. It is the voice of the land itself, judge, jury, and protector. It roots out deceit, exposes hidden sins, and enforces the sacred codes of the community. Its justice is not nuanced, it is as direct and unforgiving as a charging boar. To stand before Panjurli is to stand naked before the raw conscience of nature, stripped of all pretense. This is not a god you love. This is a force you revere. A power you fear with a fear that is the beginning of wisdom. Panjurli is the spine chilling reminder that the land we build upon is alive, watching, and must be respected. It is the ancient, brute root that holds the community fast, lest it be washed away by the monsoon of its own transgressions. "Mana bhakti botji ayi. Mana baka didi ayi." (Our devotion is a raw offering. Our prayer is a naked truth.)" #pajurli #kantara #bhakti #scrolllink

Rani Ki Vav at Patan, Gujarat also known as Queen's Stepwell Rani Ki Vav, Patan Queen's Stepwell, A UNESCO World Heritage Site Patan is a district in the state of Gujarat, located at 125kms distance from Ahmedabad. Patan was once the capital of the state in historic times located on the banks of the (lost) Saraswati River. Nestled in the hustle and bustle of the city Patan, lies an “Architectural Wonder” – Rani Ki Vav. It is also known as “Rani Ni Vav” in Gujarati local dialect. This is a 7 storeyed Magnificent Stepwell, which is built using scientific principles for storing water. Back in 11th century, Udaymati, Queen of the King Bhimadev I from Solanki(Chalukya) Dynasty, expressed her desire to build a stepwell. This stepwell, she ordered to build is in the memory of her beloved husband. Rani ki Vav is one of the UNESCO World Heritage sites in India. The new ₹100 rupee currency note has a picture of this stepwell. Let’s have a visual tour of Stepwell As you walk towards this site, it doesn’t appeal very much. Just a compound wall and some—Well Kept—landscaping work is done around it. The more you approach it, the more it starts appealing. When you reach the main entrance, the Jaw-Dropping view absorbs you in it. Perspective steps going deep down towards the well-shaft are accompanied by intricately carved idols of gods and goddesses. Each idol is as magnificent as if they are living things. The far end is of this stepwell—which is a well-shaft—is not even clearly visible from the first step. Constructional Aspects Rani ki Vav was constructed as a religious as well as a functional structure. The expanse of this stepwell is roughly 1610 sq.m. and 70m length from the base of Toran—Sacred Gateway—to the inner edge of well-shaft. Its 23m in width and 28m in depth. Rani Ki Vav is constructed like an inverted temple highlighting the sanctity of water. It is built on the East-West axis, “Step-Corridor” being in the east and “Well” on the west. Ceremonial Entrance (Toran Dwaar) The first architectural object you see as you step down, is the remains of a pillar base. This evidently confirms the presence of Toran Dwaar – A Ceremonial Entrance. In 19th century, a survey was conducted for Rani Ki Vav. James Burgess and Henry Cousens were two archeologists who had mentioned about these pillars in the survey. The Toran was comprised of 2 freely standing pillars, which were connected by an ornate arch at their upper sections. Towards the west side from this entrance, downward leading steps make a way to the edge of the well. Ceremonial Entrance (Toran Dwaar)Ceremonial Entrance (Toran Dwaar) Architecture and Decorative Work Rani ki vav is a seven storeyed and inverted temple like structure. It has 4 pavilions downwards from east to west and then lastly a Well Shaft. Below is a picture taken from first pavellion. You can see other 3 Pavilions as well. Rani ki Vav is a Maru-Gurjara style architecture. A style of “temple architecure” which is originated from the Gujarat & Rajasthan in historic times. All the 7 levels were open for public and tourists were able to go down to the well. Then there was a powerful earthquake in Bhuj which rocked the state of Gujarat in 2001. After this earchquake, out of 7 levels, only 4 levels are left open for public to ensure the safety & security. There is a great diversity of themes: Divine Figures: Devi or Goddess, Brahma, Vishnu, Shiva, Ganesha in their respective incarnations and form Sacred & Mythical Representation Figures: Dikpalas, Sacred flora and fauna, Apsara, Nagkanya, Vasus and scenes from epics Reflection of Contemporary Society Buddha, Kalki and Mahishasurmardini sculptureFrom left Buddha, Kalki and Mahishasurmardini Sculpture Mahishasurmardini is one of the forms of a goddess “Durga” who is killing a demon called Mahishasur. MahishasurmardiniMahishasurmardini Sculptures in Rani ki Vav are displayed in a pattern, where main deities are displayed in niches. These main deities are flanked by semi divine figures like Apsaras, Nagkanya, Dikpalas and Yogini.& Sheshshayi Vishnu Sculpture During medieval times in Gujarat, there was a tradition of installing “A Sheshshayi Vishnu” sculpture inside the Stepwell, Kunda or Temples. Which you can see in Modhera Sun Temple as well. Sheshshayi Vishnu is represented in 3 successive niches in 3 levels on the rear wall of the Well Shaft. One between the first and second pavillion on the niche of the north wall. In addition to this, out of 24 forms of the lord Vishnu, following forms are present in Rani ki Vav: Keshava, Narayana, Govinda, Vishnu, Trivikrama, Vamana, Sridhara, Padmanabha, Damodar, Samkarsana, Aniruddha, Purusottama, Narsimha, Hari. Moreover 10 famous incarnations are also represented. But among those 10 incarnations; Varah, Narsimha, Vaman, Parshuram, Ram, Balram, Buddha and Kalki (future incarnation at the end of Kaliyug) are clearly identified in Rani ki Vav. Buddha is shown as an incarnation of the lord Vishnu here. A Bhairav—fierce form of the lord Shiv—is represented in a dancing pose here. If you take a closer look down on his right side, the dog is snatching a piece from the decapitated corpse. Licking the blood oozing from the freshly cut head that Bhairava is holding in his hand. Vishnu On Left and Bhairav on rightVishnu On the Left and Bhairav on the Right Brahma, Mahesh & Vishnu With Their Consort When you reach near the well (at 4th pavillion) you can see the panel of “Brahma, Mahesh & Vishnu with Their Consort”. The Top left side of front wall is decorated with the idols of Tridev(Ttriple deity of Supreme Divinity in Hinduism). Their Vahan is also present near each of them, Swan, Bull and Garuda respectively. Front wall sculptures from bottom levelFront wall sculptures at base level Brahma Mahesh and Vishnu with their consortsBrahma Mahesh & Vishnu With Their Consort On the Top-Right side of the front wall, you can see Ganesh with his Consort and then Maha-Lakshmi and Kuber idols are also present. These three are considered as Gods of Luck. Other Sculptures in Rani ki Vav Dikpals (Guardians of Eight Directions) also appear on the walls of Rani ki Vav. 8 Vasus are present on the walls with human body and Cow head in folded hands (Namaskar position). Nav graha are represented in a complete set, over Sheshshayi Vishnu on the Well Shaft. Sun (Surya), Moon (Chandra), Mercury (Budha also known as Grahpati), Venus (Shukra), Mars (Mangal), Jupiter (Brihaspati), Saturn (Shani), Rahu and Ketu constitute Nine Planets called Nav Graha. Dikpal - Guardian of directionDikpal – Guardian of A Direction A Marble sculpture of 48cm height was recovered while de-silting in 1987-88. This sculpture has an inscription in devnagari(indian script) “Maharajani Shri Udayamati”. Due to time constraints, we did not get a chance to see this sculpture. Hence, have no idea where it is kept (May be in museum). Rani Ki Vav is built using burnt bricks, lime mortar, and locally available “Dhrangadhra” stone. Larger blocks of stones were joined by Rosewood Dowels and placed on the ground, forming the floor of the steps and terraces. Interlocking system with woodInterlocking System With Wood A small glass plate was attached at several places where cracks are visible. These cracks were developed after Bhuj’s Earthquake. Upon asking about the purpose of these glass plates, our guide told us they are attached to keep the track of changes in such sections. When the stress on such sections will be increased, these glass plates will break and give an indication for safety. #thehinduheritage #CulturalHeritage #thehindugodsandgoddesses #scrolllink #bharat

Goddess Gayatri is worshipped throughout the Indian sub-continent as one of the main Deities. Especially Brahma Muhurta is related to Brahma Gayatri. But the Himalayan region was the main centre for Gayatri Sadhna and teachings. The Sharda Peeth and Kaulantak Peeth were the main centres of Gayatri Sadhna in the past. The whole world knows that because of the genocide of the Kashmiri Pundits and the jihadists destroyed the Sharda Peeth and many temples in Kashmir. And one of the centres of Gayatri Sadhna was also destroyed by the islamic extremists. Now one of the Himalayan Peeth, the Kaulantak Peeth is still practising and teaching the original form of Gayatri Sadhna along with all Her secret forms and traditions. Many of you are not aware that the Holy Hans Kund is related to Bhagwan Shri Brahma Ji and His Shakti Goddess Brahma Gayatri. The ancient tradition and history of Gayatri Sadhna and Brahma Sadhna are linked with the ‘Hans Kund Teertha Yatra’ (the holy pilgrimage) of Kaulantak Peeth. Therefore there is a long history of Kaulantak Peeth related to Gayatri Sadhna. Since the whole world is talking about the Kashmiri Pundits’ genocide these days, so Kaulantak Peeth dedicated the Gayatri Sadhna Camp to the great Kashmiri Pundits who were great Sadhaks themselves. We pray to revive the legacy of Acharyas like Mahasiddha Abhinav Gupta and we also demand justice for Kashmiri Pundits. International Kaulantak Siddha Vidya Peeth (IKSVP) presents you with the glimpses of the ‘Gayatri Sadhna Deeksha Camp’ that was held in collaboration with Kaulantak Peeth, on March 30th and March 31st, 2022 respectively, in West Bengal, India. This spiritual initiation camp was conducted under direct supervision of His Holiness, Kaulantak Nath, Mahasiddha Ishaputra. Highlights: Day 1 began with the guided visualisation session and the seekers prepared themselves to dive into the subtle and mystical world of Goddess Gayatri with the introductory class on Gayatri Devi and the Gayatri Mantra. The seekers prepared their body and mind to receive the knowledge from His Holiness through the Yoga session, and Banshira Yuddha Kala followed by the Kaulachar session with the IKSVP Acharyas. His Holiness, Kaulantak Nath blessed the seekers, who came from across the world, and gave Darshan on the early evening of March 30, 2022. His Holiness then explained the participants the mystical aspects of the most powerful mantra given by the Bhagwan Shri #Vashishth and Bhagwan Shri #Vishvamitra. On Day 2, the seekers were introduced to the Sacred Geometry Yantra of Goddess Gayatri and the ‘Awaran Poojan’ of the ‘Yantra Mandal’ was conducted by everyone under the grace of His Holiness, Mahasiddha Ishaputra. On the auspicious night of March 31st, many seekers transformed into the Sadhaks of the Goddess Gayatri when His Holiness, Kaulantak Nath, Mahasiddha Ishaputra spiritually initiated them through ‘Sparsh Deeksha’ (touching their forehead) into the Gayatri Sadhna. Few had tears of joy in their eyes while most were spell-bounded by the grace of the greatest living Mahayogi on the Planet. Om Shri Gurumandalay Namah. Om Shri MahaHimalayay Namah. Om Sam Siddhay Namah. Om Namo Bhagawati Kurukelle. Om Shri PadmaPriya Suramya Ramapati Ishaputraye Namah. Namo Adesh!!!! #GayatriSadhana #GayatriMantra #GayatriDeeksha #Ishaputra #MahasiddhaIshaputra #KaulantakPeeth #HimalayanSiddhas #MahayogiSatyendraNath #Kaulachara #DevParampara #Spirituality #India #SambhalaSamrajya #Kalki #Dharm #Hindu #Hindutva #Sanatan #Sanskriti #Parampara #Gurukul #GuruShishyaParampara #Gurumandal #Gurumandala #Himalaya #AbhinavGupt #JusticeForKashmiriPandits #Hanskund #TeerthYatra