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The creators of Khajuraho claimed descent from the moon. The legend that describes the origin of this great dynasty is a fascinating one: Hemavati, the beautiful young daughter of a Brahmin priest was seduced by the moon god while bathing in the Rati one evening. The child born of this union between a mortal and a god was a son, Chandravarman. Harassed by society, the unwed mother sought refuge in the dense forest of Central India where she was both mother and guru to her young son. The boy grew up to found the great Chandela dynasty. When he was established as a ruler, he had a dream-visitation from his mother, who implored him to build temples that would reveal human passions, and in doing so bring about a realization of the emptiness of human desire. Chandravarman began the construction of the first of the temples, successive rulers added to the fast growing complex. THE TEMPLES The architectural style of the Khajuraho temples is very different from the temple prototype of that period. Each stands, instead of within the customary enclosure, on a high masonry platform. Combined with the upward direction of the structure, which is further accentuated by vertical projections, the total effect is one of grace and lightness, reminiscent of the Himalayan peaks. Each of the chief compartments has its own roof, grouped in such a way that the highest is in the centre, the lowest over the portico, a triumph of skill and imagination in recreating the rising peaks of a range.

The temples of Khajuraho are divided into three geographical groups: Western, Eastern and Southern.

The Western group is certainly the best known, because it is to this group that the largest and most typical Khajuraho temple belongs: The Kandariya Mahadev. Perfectly symmetrical, it soars 31 km high. Though the four temples that stand at the corners of the main shrine are now in ruins, the main shrine has an exquisitely carved entrance arch with a multitude of themes. Celestial beings, lovers serenading musicians... movements captured in stone, frozen in time, yet retaining a quality of warm, pulsating life. The very stone seems to have taken on the living, breathing quality of the carved figures.

Beyond the archway of the Kandariya Mahadev, lie the six interior compartments; the portico, main hall, transept, vestibule, sanctum and ambulatory. The ceilings are particularly noteworthy and the pillars supporting them have intricately carved capitals. The transept's outer walls have three horizontal panels showing deities of the Hindu pantheon, and groups of lovers, a pageant of sensuousness, vibrantly alive.

Also in the western group is the Chaunsat Yogini, the only granite temple in the Khajuraho group. Dedicated to Kali, it is also unique in being quadrangular in plan. Only 35 of the original 65 cells remain and no image of Kali has survived: not surprisingly, since this is the earliest surviving shrine of the group dated to 900 AD.

Another Kali Temple (originally dedicated to Vishnu) is the Devi Jagadambe Temple.

North of it facing eastward to the rising sun, is the Chitragupta temple, dedicated to the sun-god, Surya. The image of this powerful deity in the inner sanctum is particularly imposing: 5ft high, and driving a seven-horsed chariot. The group scenes depicted are equally spectacular: royal processions, elephant-fights, hunting scenes, group dances. The lavish lifestyle of the Chandela kings and their court is here in all its pomp and glory.

Similar in plan to the Kandariya Mahadev is the Vishwanath Temple. Lions flank the northern steps and elephants the southern, leading up to the temple. Within, there is an impressive three headed image of Brahma. The exteriors are profusely carved.

Facing the shrine is a Nandi Temple with a massive, 6 ft high Nandi bull.

Since the first few Chandela rulers were devotees of Vishnu, there are some important Vaishnavite temples in the Khajuraho group, the finest of which is the Lakshmana Temple. The lintel over the entrance shows the trinity of Brahma, Vishnu and Shiva, with Lakshmi, Vishnu's consort. The sanctum is richly carved and has a three-headed idol of Vishnu's incarnations, Narsimha and Varaha.

The boar incarnation also appears in another Vaishnavite shrine, the Varaha Temple. The statue here is a mammoth 9 ft high one, its surface covered with figures from the Hindu Pantheon.

The Khajuraho temples are no longer living places of worship, with a few exceptions. The Matangeswara Temple for example is still a place of worship. Dedicated to Shiva it has an 8 ft high lingam. South of this temple is the open air Archaeological Museum, which has a beautiful displayed collection of statues and friezes collected from the area: the remains of long vanished temples.

Hindu and Jain temples make up the Eastern Group, which lies close to the Khajuraho village. The largest Jain temple, Parswanath, is in this group. Exquisite in detail, the sculptures on the northern outer wall make this temple perhaps the finest in the group. The themes of these carvings are the timeless ones of every day, mortal activity. A woman sits bent pensively on a letter, a lovely young girl removes a thorn from her foot, the master craftsmen of Khajuraho display here their deep understanding of the trifles that make up a human life. Within, the sanctum has a throne, which faces a bull : emblem of the first tirthankara, Adinath. The actual image of Parswanath from which the temple derives its name was installed as recently as 1860.

The other Jain temple in this group is the Ghantai Temple. Though almost in ruins now, it still bears evidence of its original splendour. Particularly, arresting is the frieze which depicts, in graphic detail, the 16 dreams of Mahavira's mother and a multi-armed Jain goddess riding on a winged Garuda. North of Parswanatha is the more modestly sized Adinatha Temple.

The three Hindu temples in the Eastern Group are the Brahma, Vamana and Javari Temples. A double row of apsaras, celestial nymphs, adorn the outer walls of the Vamana temple. A variety of sensuous attitudes: languid, provocative, mischievously inviting, give credibility to the theory that Khajuraho's erotica were meant to test the devotees who came to worship their gods at the temples.

5 km from the Khajuraho village, lies the Southern Group of temples. The fine Chaturbhuj Temple in this group has a massive intricately carved image of Vishnu in the sanctum. Duladeo Temple, another of the southern group, is a little away from the road to the Jain group of temples.

Though remains of temples belonging to the Khajuraho group have been discovered at Jatkari, 3 km away and even at Maribag in Rewa, it is at the 3 main groups that the imperishable glory of Khajuraho, the sensuous celebration of life, the aspiration towards the infinite, remains.

Ujjain Mahakal darshan, by Planet Dreamz

Ujjain is the modern name for Ujjayini. Legend has it that in the hoary past, the God like king Shiva of Avanti commemorated his victory over the demon-ruler of Tripura or Tripuri on the banks of the Narmada by changing the name of his capital, Avantipura to Ujjayini (one who conquers with pride). The magnificence and awesome spectacle of the bathing ritual at Simhastha defies description. Beginning on the full moon day in Chaitra (April), it continues into Vaishakha (May), until the next full moon day. Ujjain turns, amidst a riot of colours, into an India in miniature

The early history of Ujjain is lost in the midst of antiquity. As early as the time of the Aryan settlers, Ujjain seems to have acquired importance. By the 6th century B.C. Avanti with its capital at Ujjaini, is mentioned in Buddhist literature as one of the four great powers along with Vatsa, Kosala and Magadha.

Ujjain lay on the main trade route between North India and Deccan going from Mathura via Ujjain to Mahismati (Maheshwar) on the Narmada, and on to Paithan on the Godavari, western Asia and the West. The Northern black polished ware - the NBP as it is often called which is technically the finest pottery of the time, with a brilliantly burnished dressing almost of the quality of a glaze in colour from jet black to a deep grey or metallic blue and iron, found their way to the northern Deccan from the Gangetic plains through Ujjain. The articles of export to the western Asia such as precious stones and pearls, scents and spices, perfumes, silks and muslin, reached the port of Brighukachcha from the remote north through Ujjain. All this finds a detailed and interesting description in the Periplus of the Erythrean Sea, an account of an unknown Greek merchant who made a voyage to India in the second half of the first century AD. The Periplus talks of a city called Ozene to the east of Barygaza (Broach) which fed all commodities to trade like onyx, porcelain, fine muslin and quantities of ordinary cottons, spikenard , costus bodellium to this important port and to other parts of India.

The earliest known epigraphic record of the Paramaras, the Harsola Granth, issued at the beginning of the 10th century AD, maintains that the kings of the Paramara dynasty were born in the family of the Rastrakutas in the Deccan The early Paramara chiefs of Malwa were probably vassals of the Rastrakutas. The Udaypur Prasati, mentions Vakpati Vakpati I as the king of Avanti and it was probably in his region that the Rastrakuta Indra III halted at Ujjain while advancing with his army against the Pratihara Mahipala I. Malwa was lost in the time of Vakpati's successor, Vairisimha II, to the invading forces of Mahipala I who avenged his defeat at the hands of Indra III by invading the empire of Rastrakuta. Mahipala and his Kalachuri confederate Bhamanadeva are said to have conquered the territory up to the banks of the Narmada including Ujjain and Dhar. The Paramara sovereignty in the Malwa ceased until AD 946 when Vairsimha II became dominant in the area. It is in his son Siyaka II's reign that the independent Paramara rule in Malwa began. It is believed that it was this time that the capital was shifted to the area of the Mahakala Vana in Ujjain.

From the 9th to the 12th centuries, the Paramaras became so identified with Ujjain that subsequent tradition has converted Vikramaditya into a Paramara. The last Paramara ruler, Siladitya, was captured alive by the Sultans of Mandu, and Ujjain passed into the hands of the Muslims.

Thus began a long era of misfortune and decay and the ancient glory of Ujjayini was lost in a morass of repeated inroads of attacking hordes. The invasion of Ujjain by Iltutmish in 1234 triggered off a systematic desecration and despoiling of temples. This tide of destruction was stemmed only in the time of Baz Bahadur of Mandu. The Mughal rule heralded a new era in reconstruction.

Emperor Akbar put an end to Baz Bahadur's hegemony over Malwa and had a city wall constructed for the defense of Ujjain. The Nadi Darwaza, Kaliadeh Darwaza, Sati Darwaza, Dewas Darwaza and Indore Darwaza were the various entrances to the city.

In 1658 took place a battle near Ujjain in which Aurangzeb and Murad defeated Maharaj Jaswant Singh of Jodhpur, who was fighting on behalf of Prince Dara. The actual scene of the battle is Dharmatpura, renamed Fatehbad by Aurangzeb, after the victory. The cenotaph of Raja Rattan Singh of Ratlam, who fell in the battle, still stands at the site.

In the reign of Mahmud Shah, Maharaja Sawai Jai Singh was made the Governor of Malwa, a great scholar of astronomy, he had the observatory at Ujjain reconstructed and built several temples.

At the beginning of the 17th century, Ujjain and Malwa went through another period of seize and invasion at the hands of the Marathas, who gradually captured the entire region. The Maratha domination of Malwa gave impetus to a cultural renaissance in the region and modern Ujjain came into being. Most of the temples of Ujjain were constructed during this period.

It was during this time that Ujjain became the meeting ground of painters of the Poona and Kangra styles. The impact of the two different styles of painting is distinctive. The examples of Maratha style are found in the temples of Ram Janardan, Kal Bhairava, Kalpeshwar and Tilakeshwar while the traditional Malwa style can be seen in the Sandipani Ashram and in many large houses of the local seths.

In the Maratha period, the art of wood work also developed. Wood carvings were done on the galleries and balconies. But many excellent examples have either been sold as junk or destroyed.

Ujjain finally passed into the hands of the Scindias in 1750 and until 1810, when Daulat Rao Scindia founded his new capital at Gwalior, it was the chief town of his dominions.

The shifting of the capital to Gwalior led to a decline in the commercial importance of Ujjain. But the opening of Ujjain-Ratlam-Godhra branch of the Bombay-Baroda line corrected the balance. A considerable volume of trade mainly with Bombay, existed in cotton, grain and opium during the British Indian period.

There is much to demonstrate that in the perspective of India's long history, Ujjain enjoyed great importance in the battle for the empire and the constant struggle for supremacy. Political importance was compounded by the economic factor of Ujjain being situated on the main artery of trade between the North, the South and the West. This in turn contributed to Ujjain acquiring a cultural splendour of its own which is equaled by very few other cities in India.

Today, Ujjain abounds in temples, hoary old tradition attached to each of them. But though most of them have been built upon sites of antiquity, none of them has survived in the original splendour. Desecrated and despoiled time and time again, the structures that stand today are of more recent date, renovated or rebuilt over the years. And yet, the temples form an integral part of the city and contribute to the continuity of Ujjain's tradition of greatness.

Bade Ganeshji Ka Mandir This temple situated above the tank near the Mahakaleshwar temple, enshrines a huge artistic sculpture of Ganesh, the son of Shiva. An idol of this size and beauty is rarely to be found. The middle of the temple is adorned by an idol of the pancha-mukhi (five faced) Hanuman. There is provision for learning of Sanskrit and Astrology in the temple.

Chintaman Ganesh The temple is built across the Shipra on the Fatehabad railway line. The Ganesh idol enshrined here is supposed to be swayambhu - born of itself. The temple itself is believed to be of considerable antiquity. Riddhi and Siddhi, the consorts of Ganesha, are seated on either side of Ganesha. The artistically carved pillars in the assembly hall date back to the Paramara period. Worshippers throng to this temple because the deity here is traditionally known as Chintaharan Ganesh meaning "the assurer of freedom from worldly anxieties".

Pir Matsyendranath This is an extremely attractive spot on the banks of the Shipra quite close to the Bhartihari Caves and the Gadkalika Temple. It is dedicated to the memory of one of the great leaders of the Natha sect of Saivism-Matsyendranath. Since muslims as well as the followers of the Natha sect call their saints 'pir', the ancient site of Pir Matsyendranath is venerated by both. Excavations at this site have yielded some antiquities which date back to the 6th and 7th century BC.

Bhartrihari Caves These caves are situated just above the bank of the Shipra near the temple of Gadkalika. According to popular tradition, this is the spot where Bhartrihari, who is said to have been the step brother of Vikramaditya, lived and meditated after renouncing worldly life. He is believed to have been a great scholar and poet. His famous works, Shringarshatak, Vairagyashatak, and Nitishatak, are known for the exquisite use of the Sanskrit meter.

Kaliadeh Palace Situated on the banks of the Shipra, the island-like site immediately conjures up the natural beauty of ancient Ujjain which poets down the ages have waxed lyrical. The glorious landscape of the flowing river on both sides of the palace and the man-made tanks and channels, with water gurgling through them, provide a spectacular backdrop to the imposing building.

The central dome of the palace is a beautiful example of Persian architecture. Two Persian inscriptions found in one of the long corridors of the palace record the visits of Emperor Akbar and Jehangir to this palace.

The palace was broken down in the time of the Pindaris and was restored by Madhav Rao Scindia in 1920 to its present glory. The Sun Temple was also restored by the family.

Durgadas Ki Chhatri This distinctive monument glows like a small jewel in the surrounding lush landscape. Vir Durgadas earned a secure niche for himself in the history of Marwad by his undaunting, selfless service to the State. He fought for the independence of Jodhpur after the death of Maharaj Jaswant Singh and helped Ajit Singh to ascend the throne against the wishes of Aurangzeb.

Durgadas died at Rampura in 1718, and his funeral rites were performed according to his wishes on the banks of the Shipra. The rulers of Jodhpur had built the chhatri to consecrate his memory. This beautiful structure, built in the Rajpur style of architecture, houses a statue of Durgadas which crumbled down.

Harsiddhi Temple This temple occupies a special place in the galaxy of ancient sacred spots of Ujjain. Seated between the idols of Mahalaxmi and Mahasaraswati, the idol of Annapurna is painted in dark vermilion colour. The Sri Yantra, the symbol of power or shakti, is also enshrined in the temple.

According to the Shiva Purana, when Shiva carried away the burning body of Sati from the sacrificial fire, her elbow dropped at this place. There is an interesting legend in the Skanda Purana about the manner in which the Goddess Chandi acquired the epithet of Harsiddhi. Once when Shiva and Parvati were alone on Mount Kailash, two demons called Chand and Prachand tried to force their way in. Shiva called upon Chandi to destroy them which she did. Pleased, Shiva bestowed upon her the epithet of 'one who vanquishes all'.

The temple was reconstructed during the Maratha period and the two pillars adorned with lamps are special features of Maratha art. These lamps, lit during Navaratri, present a glorious spectacle. There is an ancient well on the premises, and an artistic pillar adorns the top of it.

Siddhavat This enormous banyan tree on the banks of the Shipra, has been vested with religious sanctity as the Akashyavat in Prayag and Gaya, Vanshivat of Vrindavan and the Panchavata of Nasik. Thousands of pilgrims take a dip in the Shipra from the bathing ghat built here. According to one tradition, Parvati is believed to have performed her penance here. It used to be a place of worship for the followers of Natha sect. One legend has it that some Mughal rulers had cut off the Banyan tree and covered the site with iron sheets to prevent its roots from growing. But the tree pierced the iron sheets and grew and flourished. The little village of Bhairogarh near Siddhavat is famous for its tie and dye painting for centuries. In ancient times when trade with other countries flourished, exquisitely printed cloth from Bhairogarh used to find its way to Rome and China.

Kal Bhairava The worship of the eight Bhairavas is a part of Saivite tradition and the chief among them is Kal Bhairava, believed to have been built by King Bhadresen, on the banks of the Shipra. There is mention of a Kal Bhairva temple in the Avanti Khanda of the Skanda Purana. Worship of Kal Bhairava is believed to have been a part of the Kapalika and Aghora sects. Ujjain was a prominent centre of these two sects. Even today, liquor is offered as a part of the ritual to Kal Bhairava Beautiful paintings in the Malwa style once decorated the temple walls, only traces of which are visible.

Sandipani Ashram The fact that ancient Ujjain apart from its political and religious importance, enjoyed the reputation of being a great seat of learning as early as the Mahabharata period is borne out by the fact that, Lord Krishna and Sudama received regular instruction in the ashram of Guru Sandipani. The area near the ashram is known as Ankapata, popularly believed to have been the place used by Lord Krishna for washing his writing tablet. The numerals 1 to 100 found on a stone are believed to have been engraved by Guru Sandipani.

The Gomti Kunda referred to in the Puranas was the source of water supply to the ashram in the olden days. An image of Nandi, belonging to the Shunga period, is to be found near the tank. The followers of Vallabha sect regard this place as the 73rd seat of the 84 seats of Vallabhacharya where he delivered his discourses throughout India.

Gadkalika Situated about 2 miles from the city of Ujjain, the deity in this temple is believed to have been worshipped by Kalidasa. The legend goes that he was an idiot and it is by his devotion to the goddess Kalika that he acquired great literary skills.

Emperor Harshavardhan had this temple renovated in the 7th century AD. There is further evidence of renovation during the Paramara period. The temple has been rebuilt in the modern times by the erstwhile Gwalior State.

Mangalnath This temple is situated away from the bustle of the city and can be reached through a winding road. The temple looks upon a vast expanse of the Shipra waters and fills the onlooker with an indescribable sense of peace.

Mangalnath is regarded as the birth place of Mars, according to the Matsya Purana. In ancient times, it was famous for a clear view of the planet and hence suitable for astronomical studies. Mahadev or Shiva is the deity which is worshipped in the temple of Mangalnath.

Gopal Mandir This huge temple is situated in the middle of the big market square. It was constructed by Bayajibai Shinde, the queen of Maharajah Daulat Rao Shinde in the 19th century. It is a beautiful example of Maratha architecture. The sanctum sanctorum is inlaid with marble and doors are silver plated. The door in the inner sanctum is said to have been carried to Ghazni from the Somnath temple and from thence by Mahmud Shah Abdali to Lahore. Mahadji Scindia recovered it and now it has been installed in this temple.

Navagraha Mandir (Triveni) Situated on the Triveni Ghat of the Shipra, the temple is located away from the old site of Ujjaini town. It is dedicated to the nine planets, attracts large crowds on new moon days falling on Saturdays. Its religious importance has increased in recent years though there is no known reference to it in the ancient texts.

As a great religious center, Ujjain ranks equal to Benaras, Gaya and Kanchi. Saivism, Vaishnavism and their various cults and sects, Jainism and Buddhism, have found a niche in this catholic city. The Avanti Khanda of the Skanda Purana mentions innumerable temples consecrated to Shakti and her various forms. The Siddha and the Natha cults which were offshoots of Tantricism, also flourished in Ujjain.

One of the 12 jyotirlingas in India, the lingam at the Mahakal is believed to be swayambhu (born of itself) deriving currents of power (shakti) from within itself as against the other images and lingams which are ritually established and invested with mantra-shakti. The idol of Mahakaleshwar is known to be dakshinamurti, facing the south. This is a unique feature upheld by tantric traditions to be found only in Mahakaleshwar among the 12 Jyotirlingas. The idol of Omkareshwar Shiva is consecrated in the sanctum above the Mahakal shrine. The images of Ganesh, Parvati and Karttikeya are installed in the west, north and east of the sanctum sanctorum. To the south is the image of Nandi. The idol of Nagchandreshwar on the third storey is open for darshan only on the day of Nagpanchmi.

On the day of Mahashivaratri, a huge fair is held near the temple and worship goes on through the night.

Panchakroshi Yatra Also known as the Pancheshani Yatra, it is a grand tour of Ujjain in which thousands of people join every year. Chardwar yatra, the ceremonial visits to the four gates is also associated with this yatra. The legend goes that when Lord Shiva founded Ujjain at Parvati's behest on the banks of the Shipra, four gates were established to guard the city from all four directions. Four guardian deities, Pingaleshwar (East), Kayavarohaneshwar (South), Dardureshwar (North), and Bilweshwar (West) were appointed with Mahakaleshwar at the centre of the town. The Panchakroshi Yatra takes place in the month of Vaishakha which is believed according to the Padma Purana, to be an auspicious month for Avantika. The great bathing festival of Simhastha is also held in the same month. Skanda Purana attaches great religious sanctity to a five day stay at Ujjain in the month of Vaishakha which is probably related to the five day Panchakroshi Yatra. Traditional costumes and folk ensembles make a colourful display and the old and the young join in with great gusto. The Panchakroshi Yatra reinforces the continuity and unshakable faith which have marked Indian religions and cultural traditions down the ages.

Mahakaleshwar The presiding deity of time, Shiva, in all his splendour reigns eternal in Ujjain.The temple of Mahakaleshwar, its shikhara soaring into the skies, evokes primordial awe and reverence with its majesty. The Mahakal dominates the life of the city and its people, even in the midst of the busy routine of modern preoccupations, and provides an unbreakable link with past traditions.

The Vedha Shala (Observatory) Ujjain enjoyed a position of considerable importance in the field of astronomy. Great works on astronomy such as the Surya Siddhanta and the Panch Siddhanta were written in Ujjain. According to Indian astronomers, the Tropic of Cancer is supposed to pass through Ujjain. It is also the fist meridian of longitude of the Hindu geographers. From about the 4th century BC, Ujjain enjoyed the reputation of being India's Greenwich. The observatory extant today was built by Raja Jai Singh (1686-1743), who was a great scholar. He translated the works of Ptolemy and Euclid into Sanskrit from Arabic. Of the many observatories built by him at Jaipur, Delhi, Varanasi, Mathura, and Ujjain, the one at Ujjain is still in use actively. Astronomical studies are conducted through the Department of Education and the ephemeris is published every year. There is a small planetarium and a telescope to observe the moon, Mars, Jupiter and their satellites. The observatory is also used for weather forecasts.

Vikram Kirti Mandir Established on the occasion of the second millennium of the Vikram era, as the cultural centre to perpetuate the memory of Vikramaditya, the Vikram Kirti Mandir houses the Scindia Oriental Research Institute, an archaeological museum, an art gallery and an auditorium. The Scindia Oriental Research Institute has an invaluable collection of 18,000 manuscripts on various subjects and runs a reference library of important oriental publications. Rare manuscripts in Prakrit, Arabic, Persian and other Indian languages cover a wide range of subjects from Vedic literature and philosophy to dance and music. Palm leaf and bark leaf (Bhurja Patra) manuscripts are also preserved in this institute. Apart from an illustrated manuscript of Shrimad Bhagavata in which actual gold and silver have been employed for the paintings, the Institute has a rich collection of old paintings in the Rajput and Mughal style. The museum also exhibits a rich array of images, inscriptions, copper plates and fossils discovered in the Narmada valley. A huge skull of a primitive elephant is of special interest.

Vikram University A famous centre of learning in the past, Ujjain continues to uphold that tradition. The establishment of the Vikram University in 1957 was an important landmark. Situated on the Dewas Road, this university plays a significant role in the literary and cultural activities of the city.

Kalidasa Academy This academy was set up in Ujjain by the Government of Madhya Pradesh to immortalize the memory of the great poet dramatist-Kalidasa, and to create a multi-disciplinary institution to project the genius of the entire classical tradition, with Kalidasa as the apex, enable research and study in Sanskrit classical and traditional performing arts, and facilitate its adaptation for contemporary stage in different cultural settings and language groups. The Academy complex consists of a theatre, museum, library, lecture and seminary halls, mini stage for rehearsals, research facilities for scholars, and a large open air theater.

Ram Janardhan Temple, Ram Ghat, Harihara Teertha, Mallikarjuna Teertha, Ganga Ghat, Bohron Ka Roja, Begum Ka Maqbara, Bina Neev Ki Masjid, Maulana Rumi Ka Maqbara, and Digambara Jain Museum are some of the other prominent places of interest in Ujjain.

Pachmarhi by Planet Dreamz

The year was 1857 when Captain James Forsyth of the Bengal Lancers was galloping hard up the Satpura ranges. He chanced upon this saucer -shaped valley and recommended its development as a sanatorium. Churches and cemetries bring back memories of the colonial past of Pachmarhi which has managed to escape reckless plunder suffered by other hill stations of India.

Priyadarshini (Forsyth Point) This vantage viewing point marks the place from where Pachmarhi was discovered by Captain Forsyth in 1857. The British developed Pachmarhi as a resort and their influence is embodied in its churches and colonial architecture.

Jamuna Prapat (Bee Fall) A spectacular fall in the stream which provides drinking water to Pachmarhi. The bathing pools above the fall are very popular.

Handi Khoh Pachmarhi's most impressive ravine has a 300 feet high precipice and dramatically steep sides.

Apsara Vihar (Fairy Pool) Easily accessible from Jai Stambh, this 'fairy pool' is an ideal picnic spot for families with small children, since the pool is shallow, deepening only towards the base of the fall.

Rajat Prapat (Big Fall) Those seeking adventure will find it in this ten-minute walk over rocks and boulders from Apsara Vihar to the top of Rajat Prapat, the 'big fall'.

Irene Pool This pool was discovered by Irene Bose, wife of Justice Vivian Bose, and named after her. The route upstream leads to a cave, through which the stream goes underground and then over a khud in a series of falls.

Jalawataran (Duchess Falls) The descent is steep and the trek strenuous for almost all of the 4 km to the base of the fall's first cascade.

Sunder Kund (Saunder's Pool) Crossing the stream below Duchess Fall and following a footpath about 2.5 km in a south- west direction, brings one to a huge rocky pool that is excellent for a refreshing swim.

Mahadeo Regarded as holy for countless of generations, Mahadeo hill has a shrine with an idol of Lord Shiva and an impressive Shivlinga. On the East side of the hill is an excellent cave shelter with beautiful cave paintings.

Chhota Mahadeo Revered as a sacred spot, this is a narrow point in the valley with rocks overhanging a stream and a spring from where water cascades down.

Chauragarh 4 kms from Mahadeo, it is one of Satpura's prominent land marks, the summit crowned with emblems of Mahadeo worship.

Jata Shankar A sacred cave under a mass of loose boulders in which the Jambu Dwip stream has its source. A rocky formation of this place resembles the matted locks of Lord Shiva, hence the name.

Dhoopgarh The highest point in the Satpura range, with a magnificent view of the surrounding ranges. A very popular spot for viewing sunsets.

Pandav Caves Five ancient dwellings excavated in the sandstone rock in a low hill. Pachmarhi derives its name from these caves which, as the legend goes, once provided sanctuary to the five Pandav brothers. These caves are now protected monuments.

Tridhara (Piccadily Circus) A popular picnic spot where two streams meet in a junction.

Vanshree Vihar (Pansy Pool) A beautiful spot on the Denwa stream, cool and shady among trees, ferns and semi-tropical vegetation.

Reechhgarh A wonderful natural amphitheater in the rock, approached through a cave-like entrance on the South-side.

Sangam (Fuller's Khud - Waters Meet) This is the lowest of the picnic spots on the Denwa and offers fairly good bathing pools both below and above the meeting of the waters.

Catholic Church Built in 1892 by the British, the Catholic Church is a blend of the French and Irish architecture. Its Belgium stained-glass windows add rare attraction and beauty to the building. The church has a cemetery attached to it and graves date from 1859, World War I & II.

Christ Church Built in 1875 by the British, this Church's architecture is fascinating; its 'sanctum-sanctorum' has a hemispherical dome on top with its ribs ending with faces of angels. The stained glass panes adorning the walls and rear of the altar were imported from Europe. They present a gorgeous view as the sun rays pass through them. The nave of the church does not contain even a single pillar for support. The baptismal font is a rare brass piece and the bell is as old as the church and its chimes can be heard from a long distance.

Satpura National Park Set up in 1981, Satpura National Park is 524 sq km in area. It spreads through dense forest of evergreen sal, teak and bamboo. The high peaks of Dhoopgarh and Mahadeo, Bori's legendary teak and bamboo forests, Pachmarhi's fascinating natural beauty of deep valleys, high mountains, rivulets, waterfalls and Tawa's vast reservoir combine to give this park unique beauty and a breathtaking variety of attractions. The park is home to the bison, tiger, Leopard, bear, four-horned deer, blue-bull and a rich variety of birds.

Bison Lodge Constructed in 1862, the Bison Lodge is the oldest house in Pachmarhi. It now houses a beautiful museum depicting the rich flora and fauna of Pachmarhi.

The Cave Shelters Some of the best cave shelters and groups of shelters around Pachmarhi are: Dhuandhar, approached from the footpath to Apsara Vihar, the paintings mostly in white include a group of archers with the typical Gond bun and hooped earrings. Bharat Neer (Dorothy Deep), has well executed animal paintings and when excavated in the 1930s yielded many pottery shards and microliths. Asthachal (Monte Rosa), there are four shelters with paintings, comparatively early linear drawings.

Along the northern side of Jambu Dwip valley are some six shelters with many paintings of animals and human figures, including a detailed battle scene.

Harper's Cave, so named because of one of its paintings - a man seated and playing a harp is close to the Jata Shankar Shrine. The Chieftain's Cave derives its name from a battle scene showing two chieftains on horses. A terrace that runs the length of the South, South East and East faces of Kites Crag has some fine cave paintings, the majority of which are in white or outlined in red.

Important Note: While visiting Pachmarhi's beautiful spots, please avoid littering. Carry back with you all empty plastic bags and other trash and leave every point as you found it, spotlessly clean.

Sanchi the Stupas by Planet Dreamz

A Chunar sandstone pillar fragment, shining with the proverbial Mauryan polish, lies near Stupa I and carries the famous edict of Ashoka warning against schism in the Buddhist community. Stupa 1 was found empty, while relics of the two disciples of Buddha enshrined in the adjacent Stupa 3 were carried away to England. The nearby modern temple has a reliquary containing the remains of a Buddhist teacher from another Stupa outside Sanchi. Sanchi is known for its Stupas, monasteries, temples and pillars dating from the 3rd century B.C. to the 12th century A.D. The most famous of these monuments, the Sanchi Stupa 1, was originally built by the Mauryan Emperor Ashoka, the then governor of Ujjayini, whose wife Devi was the daughter of a merchant from adjacent Vidisha. Their son Mahindra and daughter Sanghamitra were born in Ujjayini and sent to Sri Lanka, where they converted the King, the Queen and their people to Buddhism.

The Sanchi hill goes up in shelves with Stupa 2 situated on a lower shelf, Stupa 1, Stupa 3, the 5th century Gupta Temple No.17 and the 7th century temple No. 18 are on the intermediate shelf and a later monastery is on the crowning shelf. The balustrade surrounding Stupa 2, carved with aniconic representations of the Buddha, was added in the late 2nd century BC under the Satavahanas.

The adjacent Gupta temple no.17 was hailed by Sir John Marshall as one of the most rationally organized structures in Indian architecture. Though small, it was a herald of all the principles which went into the engineering of an Indian temple in the early medieval period. The Buddhas in the perambulatory surrounding Stupa 1 are not contemporary with the Stupa but belong to the Gupta period in the mid 5th century AD. The monastery and the temple with the tall pillars adjacent to Stupa 1 and the temple near the monastery on the crowning shelf illustrate the evolution of the architectural form after the 5th century Gupta temple.

Below the hill, the Archaeological Survey of India Museum houses some of the earliest known stone sculptures in Indian art from the 3rd to the 1st century BC.

Great Stupa No. 1 The oldest stone structure in India. 36.5 mt in diameter and 16.4 mt high, with a massive hemispherical dome, the stupa stands in eternal majesty, the paved procession path around it worn smooth by centuries of pilgrims.

The Eastern Gateway Depicts the young prince, Gautama leaving his father's palace on his journey towards enlightenment and the dream his mother had before his birth.

The Western Gateway Depicts the seven incarnations of the Buddha.

The Northern Gateway Crowned by a wheel-of-law, this depicts the miracles associated with the Buddha as told in the jatakas.

The Southern Gateway The birth of Gautama is revealed in a series of dramatically rich carvings.

Stupa No. 2 The stupa stands at the very edge of the hill and its most striking feature is the stone balustrade that rings it.

Stupa No. 3 Situated close to the great stupa. The hemispherical dome is crowned, as a mark of its special religious significance, with an umbrella of polished stone. The relics of Sariputta and Mahamogallena, two of the Buddha's earliest disciples, were found in its inmost chamber.

The Ashoka Pillar Lies close to the Southern gateway of the Great Stupa, and is one of the finest examples of the Ashokan pillar and is known for its aesthetic proportions and exquisite structural balance.

The Buddhist Vihara The sacred relics of the Satdhara Stupa, a few km away from Sanchi, have been enshrined in a glass casket on a platform in the inner sanctum of his modern monastery.

The Great Bowl Carved out of one block of stone, this mammoth bowl contained the food that was distributed among the monks of Sanchi.

The Gupta Temple In ruins now, this 5th century AD temple is one of the earliest known examples of temple architecture in India.

The Museum The Archaeological Survey of India maintains a site museum at Sanchi. Noteworthy antiquities on display include the lion capital of the Ashokan pillar and metal objects used by the monks, discovered during excavations at Sanchi.

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