Incredible India

Few countries in the world have a tradition, culture and variety as diverse as this multi-faceted land called India. Enriched by successive waves of migration and marauders from distant lands, every one of them left an indelible imprint, which was absorbed, into the Indian way of life. It is this variety, which provides a breathtaking ensemble for experiences that is uniquely Indian. Its physical, religious and racial variety is as varied as its linguistic diversity. Underneath this diversity lies the continuity of Indian civilization and social structure from the very earliest times until the present day. Modern day India represents the largest democracy in the world with a seamless picture of unity in diversity unparalleled anywhere else. Here we have attempted to catalogue everything Indian be it religions, festivals, rituals, artifacts, monuments, different attires, music and dance, language and literature. Come and let us help you discover a little more of fascinating India.

Arts: The story of Indian art reveals one of the oldest and most resilient cultures on earth. As time went by Indian art changed and evolved with the evolution of a civilization, which was full of remarkable innovations in all areas of artistic expression. It has also been influenced by social, political and religious upheavals. It is also viewed as the integration of native and outside influences. Yet it is unique and distinctive in its own way.
Indian art displays a flair for passion, colour, beauty and nature. Some features of Indian art wore spirals and curvaceous lines, vines and tendrils, round-figured goddesses, circular amulets, colored gemstones, arches & domes, haloed deities, crescent moons and the globe of the sun. The arts portray the diversity, spontaneity of the country and cover all aspects of the diverse Indian culture.

Paintings: Indian paintings have evolved right from the early days of evolution of our civilization till date. Indian art portrays virility and vivaciousness, which is refined and sophisticated, bold and robust. Indian paintings have evolved over the years to become a fusion of various traditions, which influenced them. Murals: The Ajanta Caves was the work of Buddhist monks, who came to the Western Ghats in the 4th century AD. It was the Golden Age of India under Mauryan Empire. The age was marked by opulence and splendour. It was during these prosperous times that the sculptormonks took on a novel exercise of painting large tempera murals on the walls of the caves. The walls and ceilings were in the form of frescoes in vibrant mineral colours. The quality of these paintings have remained unique and unsurpassed.
The theme of these paintings ranged widely. Some wall paintings depicted exciting tales from Buddhism, while others portrayed important human values and principles. Some of them showed animals and flowers. The most appealing attribute of this art is the versatility of line and form and the use of colours and compositions. The murals also formed the basis of an entire artistic tradition which later spread to other countries

Miniatures: Symbolism was at the heart of the Indian miniaturists' visual expressions, beyond just the primary function of lines and pigments, which is what caught their interest. These paintings expressed their relationship with nature in the form of symbols. The beauty of expression of these ideas inspire wonder, enchantment and pleasure. "The master painter

disposes", Buddha once remarked while alluding to the art of metaphysical teaching, "his colours for the sake of a picture that cannot be seen in the colours themselves." The subjects of these paintings varied from tales to myths. These ideas were expressed as an artistic expression. The expression revealed aspects of the existing human as well as supernatural divine subjects. The painters enjoyed unfolding the dimensions of the paintings, as they perceived them. The basic shift in emphasis was from the multiplicity of experiences of the 5 senses to unifying ideas, from the mutual aspect towards situations that always exist. The 'Miniature' paintings are small in size and scrupulous in detail and fine brushwork. The paintings are like seeing chamber music. According to the medieval Indian norms 'patra lekhana' was the name for the art of palm-leaf illuminations. Pata chitra was the name given to the paintings other than the wall paintings. Miniatures are an effective way of expression. The ragas of the classical Indian Music have been a great inspiration for the concepts behind miniatures. They provide the basis of Indian music and art forms. Painters of miniatures have discovered an unbound way of selfexpression in minatures. Narada Shiksha was an art that made music the subject of the art, through colour and mood. Though it was born in the 5th century it did not gain recognition for another 100 years. The pictures represent the charm of an era gone past. The architectural beauty, the features of women, the grandeur and splendour of those times and the pastoral scenes, are all depicted in these paintings. The thematic stance gives it a great level of uniformity. The gossamer-veiled women with pinched noses and doe-eyes and graceful stances cannot go unnoticed and unappreciated. Indian paintings have been greatly influenced by its different schools of learning. This is because of the difference in the schools of learning. Each school has its uniqueness. For example Udaipur and Jaipur show their deserts and landscapes in the paintings. Kumaon and Kangra are recognised for their fine drawings. Malwa and Bundelkhand have specialised in brushwork. The crowning glory of the miniature series in provincial Mughal works is attributed to the reign of emperors Akbar and Jehangir. The mythical sources of music are depicted in the Tanjore Paintings of the South.

Folk Painting: 'Folk' paintings are the traditional forms of Indian Paintings, which were not as famous as the other paintings in India. These paintings date back to an era referred to as 'timeless'. These paintings generally are inherently linked with the cultural settings, which they come from as well as the regional history. Contemporary Art: With the advent of the British, Indian art for a while lost its originality. A
painting known as Company style a genus of Indo-European paintings appeared. However this lasted for a short while and soon with political consciousness, Indian art stepped back in. The art during the rule of the British was influenced by the new emerging social consciousness. The famous personalities in Indian art during the 20th century were Amrita Shergil who was a woman trained in Paris and Rabindranath Tagore. It was when India was fighting for its Independence when the attitudes and the traditional mindsets of the people had to be reformed. Francis Newton Souza was the founder of a new school of art in Bombay as Independence set in. The school was called the progressive artist groups. The renowned artists of this group were

Francis Newton Souza and Maqbool Fida Husain. Paintings ranged from bold to the furious, soft to the magical. The contemporary art scene in India has acquired its own stature. The art of today shows the respect for traditional values of India as well as the capability to surpass it. The paintings show a closeness to humanity and contain an excellent usage of ideas and colours. Gulam Muhammed Sheikh, Bhupen Khakkar and Sundaram are some of the names in India's contemporary art scene.

Indian Sculptures: The Indus Valley civilization, which can be traced back to the 2nd and 3rd
millennium BC, was the birthplace of Indian art and sculpture. The sculptures and art of those times depict the enormous skill and talent achieved by people in those days. Sculptures of the Indus Valley - the excavated objects revealed carvings of peepal leaves, deities and animals. They were shapes of stones or seals, which were enshrined and worshipped. The tremendous sophistication and artistry is seen in the bust of a priest in limestone and a girl dancing made in bronze.

Buddhist Sculptures - Sarnath and Sanchi, Gandhara and Mathura

It was in the 3rd century BC, when the Mauryan Emperor Ashoka, adopted Buddhism. It was the golden era of Indian sculpture as 85,000 stupas and dome shaped monuments were constructed to preach teachings of Buddhism engraved on rocks and pillars. The inscriptions which served like edicts to spread the teachings of the faith as widely as possible are found in Gujarat, Bihar, Madhya Pradesh & Tamil Nadu. The famous Ashoka Pillar at Sarnath in Madhya Pradesh gleams in polished sandstone representing the hieratic art under the Mauryan Empire. The lion head of the pillar is now the official emblem of the Indian Republic and the sacred wheel of law or the dharmachakra is symbolic of the first sermon that Buddha delivered at Sarnath. The renowned Buddhist monument of the Great Stupa at Sanchi is perhaps the most exquisite of its kind depicting customs of the Mauryan empire. Buddhist tales and lifestyles are artistically engraved in its gateways. The Great Stupa standing 54 feet tall, surrounded by stone railings, elaborately carved gateways, serves as a retreat for the Buddhist monks. The foundation of the Stupa was laid by Ashoka. The legends of Buddha carved on these gateways, depict his life story from a prince to the moment of enlightenment, from his sermons to his worshippers. Then came the radical change in art and sculpture, during the 1st century AD, when the sculpture of Buddha and his representation were transformed from the human figure to symbols. Mathura and Gandhara schools of sculpture imported human form to the image of Buddha, emphasising his divine features like the halo around his head. The dharmachakra also was engraved on his palms and feet, with a lion throne, which represented his royal ancestry. The cult image of Buddha was thus formed for acts of worship, though the idea of idol worship was opposed by Buddha. The unique sensibility with human figures can be seen in the meditative, calm and unperturbed status of Buddha in the 5th century. The soft folds of the dress, the finely curved hands and the half closed eyes indicate the divinity of the image.

The images of Buddha are exquisite and awe-inspiring.

Hindu Art - the 4th, 5th, & 6th centuries AD were the ages when the statues found in temples indicated the various dimensions of early Hindu art and sculptures. The period marked by the emergence of innumerable images of Hindu Gods and Goddesses also saw a tremendous resurgence of Hinduism. Soon it became an official religion of the Guptas. Images of Vishnu, Shiva, Krishna, the Sun-God and Goddess Durga evolved during this period. The Udaigiri caves in Madhya Pradesh houses a colossal image of Vishnu. Here he is represented as the great saviour who rescued 'mother earth' from the depths of the ocean, in his incarnation as a varha (boar). The link between dance, drama, literature and art became crucial to aesthetic expression in centuries to come. This new era in art and sculpture witnessed a unique fusion, a synthesis embodied in the caves at Ajanta and Ellora and the temples of central and South India.

Ajanta Ellora: The birth of the Ajanta caves, which is located north east of Bombay, near Aurangabad, can be traced back to the 4th century AD. It was during this century that with an aim to create Buddhist monasteries and Prayer Halls, the work on Ajanta caves began. For centuries Buddhist monks and artisans came and excavated number of sculptures on the rock cliff at Ajanta. 29 caves adorned with magnificent sculptures and awe-inspiring paintings still stands through these centuries portraying the skill of the monks.
The sculptures are finely wrought images of animals, guards and deities while the paintings tell ancient tales of country life and depict hundreds of Buddhist legends. Amid the beautiful images and paintings are sculptures of Buddha, calm and serene in contemplation. The work of the Ellora caves inspired by Buddhism, Jainism and Hinduism were created from the 7th century AD onwards. The Buddhist and Jain caves are elaborately adorned yet serene and meditative, while Hindu caves are filled with divine energy and power. The most impressive and gigantic creation on the living rock of Ellora is the Kailasa Temple. It is a full-sized, freestanding temple flanked by elephants carved from solid rock. The representation of Shiva's Himalayan abode, made by pillars, podiums, spires and towers is breathtaking

Khajuraho: The temples of Khajuraho in the Central State of Madhya Pradesh are its most
famous attraction. The serene town of Khajuraho is world renowned for its erotic scultptures. The sculptures include statues of gods and goddesses, warriors, celestial dancers and animals, besides those of couples in erotic poses. The Hindu philosophy of Yoga and Bhoga (physical pleasure), the two paths leading to final liberation, seem to be the underlying theme of these sculptures. These temples celebrated a Hindu faith exuberant in its love for the divine. All life was seen as an expression of divinity, including human love. The union between man and woman was viewed as the culmination of devotion, symbolic of the union of the devotee with god and divinity. The other sculptures in these temples depict the daily lives of the people in the 10th and 11th centuries AD. The famous temples at Khajuraho include the Lakshmana Temple and the Kandariya Mahadeva temple. The latter is dedicated to Lord Shiva and has a shikhara or spire that is 38 metres high. Here we see an attempt to reconstruct the image of Shiva's home in Mount Kailasha.

Giant relief also portray various manifestations of Shiva, who is both a destroyer and a saviour. Of the many statues found in this temple, the most fascinating is that of an ascetic performing the shirshasan ( yogic posture where the yogi balances himself on his head). The temples of Khajuraho were created by the Chandelas. Though forgotten for centuries they were rediscovered in 1838. The temples amid green lawns and pink flowers, glow with the warmth of the sandstone and adorned with supple sculptures supreme in their beauty. Out of the 85 temples only 22 stand by to tell the tales of the past. The temples of Khajuraho are a treasure of sculptural beauty, reminding one of the splendour and opulence of the snow capped Himalayas as well as the earthly pleasures.

Elephanta Caves: Situated near Bombay these temples were built in the 6th century by India's
expert stone carvers. The most philosophical aspect of mighty Shiva is seen in the Shiva temple in Elephanta Cave. The central attraction here is a twenty-foot high bust of the deity in three-headed form. The Maheshamurti is built deep into a recess and looms up from the darkness to fill the full height of the cave. This image symbolizes the fierce, feminine and meditative aspects of the great ascetic and the three heads represent Shiva as Aghori, Ardhanarishvara and Mahayogi. Aghori is a terrifying form of Shiva where he is intent on destruction. Ardhanarishvara depicts Shiva as half-man/half-woman signifying the essential unity of the sexes. The Mahayogi posture symbolizes the meditative aspect of the God and here Shiva is shown in his most quiet and serene form. Other sculptures in these caves depict Shiva's cosmic dance of primordial creation and destruction and his marriage to Parvati. The Elephant sculptures meaningfully convey the oneness of the human form and the divine and the images transcend the scope of human imagination to achieve a grandeur that remains undiminished by time.

PULP ART: Miracle pulp that creates significant art

An art that appears to be simple but is not as easy as it seems. There are generally two approaches to the art of pulp making. The attributes of paper and pulp are often compared to clay, stone, brick, rock or metal. There has been a trend of pulp bricks that are made diligently from a mould. The mould leaves them open from three sides. They are so hollow that they precisely cannot bear the weight of the glass. Neither can they be treated as load-bearing structures. Where real bricks are heavy and brittle enough, they cannot replace pulp ones and vice-versa. This pulp can also be used to create rocky slabs, corals and remnants of sea creatures. It forms a fantastic substitute for the generally used non-flexible material. The pulp is a flexible and a compliant material. It can create wonders with less difficulty and the art works thus created are stunningly beautiful. Pulp has been conventionally used to craft masks across the country. The candid works of Laxman Goud and Sidhartha reflect these artistic traits of pulp. The traditional artwork like the Madhubani has been painted on pulp objects giving art a new dimension altogether, representing the contemporary art. The art though difficult is well challenging and calls for both skill and dedication. As of now, there are only two artists in this field and one of them excels in the art of wrapping wet pulp in hessian to create the most unusual forms and imprints.

Working with a material so delicate yet exquisite has an aura of its own. This ordinary and universal material needs to be diligently studied to understand its nature, beauty and utility. With arts like this, a new trend can be created - a powerful one.

THE GLORY OF KATCHCH CRAFTS

Katchch has this embedded quality of producing exquisite crafts and artifacts. The skillful artists are the generations of different tribes, specialising in this. Various villages in Katchch even today have continued to maintain the traditional art of block printing, weaving, embroidery, batik and other rare textile arts. These fabulous works cannot be found anywhere else in the world. There are workshops these days that teach you to create these wonderful works with ease and perfection. To begin with, you have a co-operative called as Kala-Raksha, situated in Sumrasar. This place is 20 kilometers to the north of Bhuj. The specialty of this workshop is stitching and embroidery. The artists here are the professional masters of mirror works. The villages of Ludia, Hudko and Dhordo are famous for their craftworks that include the mirror work and embroidery. 30 kilometers to the west of Sumrasar, you come across a place called Nirona. Here lies the dome of a talented individual who masters a technique, named the 'Rogan Art'. This person is believed to be the last one to possess the knowledge of this unusual art. The process is so unique in itself, it can hardly be imitated. The dyes used in the process are boiled into a thick oil paste and applied carefully to the fabrics. There should be no excess application. The cloth is painted in half, with the designs in vegetable colours. It is then folded in the wet condition itself. This helps the other unpainted side in automatically getting the impressions of the former. This creation is then dried in the sun. The workshop is the only one in that area, belonging to the talented individual. Nakhatrana, near Bhuj, 35 kilometers from Nirona is a place most renowned for the tie and dye art. Dhamadka is the only place where the process of tie and dye from natural pigments is carried out. A few families diligently involved in this ancient tradition do this. This land takes pride in presenting the rare Ajrakh resist printing technique. This unique technique has gained international fame. Among the famous names attached to this process are Khatri Mohammed Sidiqbhai and Khatri Tar Mohammed. Both the artists have won the Master Weaver awards and the Vishwakarma Exhibition Award in the year 1983. Banni is reputed in the world for the complicated and exquisite mirror work and embroidery. Colour-matching is best done in Namda. Here weaving of beautiful patterns is also done in an exquisite way. Various patterns of ethnic jewellery of all kinds is found here. The Katchchi craftsmen are famous for silver work. They master in the art of making furniture out of silver. Even the smaller items like vases, trays, jewellery boxes and ashtrays made here, are par excellence and are exquisite in their own way. The Meghvals, original migrants of Rajasthan, are talented craftsmen and achieve perfection in wood carving, colourful leather ware (especially 'mojadis' and 'jutees'). The Vadas are experts in the production of domestics like cradles, toys, lacquer work and daily-use utensils in exotic styles. The land is also famous for the knives, swords, and nut-crackers industries. Such is the excellence of the crafts in this region. If you are interested in anything ethnic and need a wide variety to choose from, you don't have to think twice. In fact, you can even learn these arts with just a little dedication and determination.

POTTERY: Fascinating work of art

From times immemorial, pottery has been regarded as a beautiful piece of art and has been cherished by not few but many, who are even interested in creating the art themselves, rather than just showcase them. Clay pots serve as utensils, show pieces, and above all, they possess a religious significance. Small bits and pieces of broken pots can help the archaeologists determine the possible origins and the precise time of creation of the pots. Indian ceremonies and traditional rituals just cannot do without them. Pottery came in trend because woven baskets could not be used for heating items. People needed something solid, that wouldn't melt or burn. The very fact that fire can harden clay, has made this art more useful to the housewives. These magnificent creations are generally very fragile and tend to break often. They can be effectively protected from thermal shock during sudden heating. Many times, ground-up fired shards are used as temper in the raw clay. One can also resort to using volcanic ash, termed 'sand', which proves as a resistant. Some primitive pots have texture marks on them. These marks denote that the pots must have been made in the baskets bearing the design. Surprisingly enough, wheels were not used to create pots, earlier. Instead, they were created using the drag and slow process of coiling and pinching. It often turned out painful. There are different styles and methods that apply in creating pots. Pots are smoothened to create burnished backgrounds, then painted with pigments. The pigments are made from residues of boiled plants or powder of metallic rocks. Chiselled twigs act as brushes and pots are then glazed with the help of these brushes. Pots can be created even with pastel shaded sigillatas. This is a very minute clay slip coating applied on the surface before the pots are dried. An unburnished look can also be given to the sigillatas by stonepolishing it. A post-smoking process also takes place with saw-dust, straw or leaves. Making normal pots of a standard shapes is nothing difficult, the real challenge lies in making pots of uneven shapes. Various styles are applied while making the openings. They could be low, flat, oval or sometimes there may be no openings at all. To give these pots a grand look, one can take the help of wicker, fiber and stone. An extensive use of other textures like woven reeds, leather, wood and stones is also made while creating the stuff. The heating process can at times be done using sheets of metal to cover the bier, so that smoky marks appear. The pots may or may not have a decorative look. Colours like dark brown can be naturally given by using red iron oxide. The kind of fire one uses to heat the clay makes a lot of difference and so does the material of the brush. Adding turquoise or coral can help mark the change of clay colour on a pot. To give the pots a shinier look, they can be coated with hot pitch after the firing. Learning the art is difficult nevertheless. And without proper know-how, you will have nothing but muddy hands and faces.

BASKETERY: The weave

This art has not been commercialised to a great extent as yet. It is an interesting art nevertheless. Various styles are associated with basketry. The coiled style is the most famous one. The wicker weaving technique comes next in terms of fame. Colours are rarely used in this art, yet if the item has to look impressive, bright colours are generally preferred. Colours

that are applied are most of the times, natural dyes. Designs reign supreme in this process. The colour and the weaving techniques vary. The designs are very intricate. The ancient patterns were generalised, now they tend to be more definitive. Different tools are used in weaving and they affect the final product to a large extent. The tools could be anything from stone knives, sharpened bones, etc. in different shapes and sizes. They are generally blunt and are shaped in a way so as to make the weaving process more easy. The basic weave types are plaited, wicker (vertical) and wefts (horizontal). A bundle of grass could form the material for weaving the basket. Few of the other known materials used in the weaving process are reeds and leaves that are generally dyed or bleached as per requirement before the final product is made ready. Basket weaving has gained fame in India due to the generations of various tribes, keeping this rich art alive.

WOOD WORK: Life in a wooden frame

The tree has always been considered as man's first and foremost friend. That is why both are inseparable. Most of the trees appear to be disappearing day by day and one can see more of the concrete jungle creeping up. The most beautiful purpose trees can serve is wooden carvings and decorations. Artists use their hands freely to shape and carve the wooden logs to create fascinating works of art. You come across various varieties of wood in India, each with a unique trait. Kashmir has the soft toned elegant walnut and the facile deodar wood. The lattice work called acche-dar and azli pinjra and the Khatamband are famous. The Gujarat architecture is lyrical and elaborate with its projected balconies, decorative windows and doors. The elegant tharavad homes of Kerala, corresponding to the havelis of Gujarat, are brilliant pieces of architecture in deep brown teakwood. The sandalwood of Karnataka is used for carving items like statues of gods and goddesses, utilitarian objects, and sandalwood boxes in jali (with patterns in high and low relief) work. Red sandalwood of Andhra Pradesh is used traditionally to carve figures of deities and dolls. There are hundreds of special occasions throughout the country when certain wooden figures are produced for rituals; famous among them is Puri Jagannath in Orissa. The magnificent wood sculptures of the Bhuta cult of ancestor-worship from coastal Karnataka are carved from solid blocks of wood obtained from the jackfruit tree. Wood carving in religious figures, whether it be in a temple or a Church, is common in India. Scenes from the epics, particularly those from the battlefield, forest and palace, in addition to figures of deities, are recurrent themes in the wood carvings. The artisans in Uttar Pradesh are famous for their Moghul designs such as fret work, jali and anguri. The wood carving of the north-eastern tribes are executed in a wood locally known as kumisyng. Among the carved objects, the huge log drum is particularly noteworthy. A partitioned stand with three legs, rice pounding tables, wooden cups and platters, smoking pipes and musical instruments are typical Naga woodwork. The wood carvings of the tribal areas of Madhya Pradesh, Bihar, Orissa and Rajasthan include doors, window frames, marriage-litters, wedding pillars, anthropomorphic sculptures, tobacco

cases and pipes. Wood lacquer work is popular in Karnataka and Maharashtra. The classical style of woodwork like painted cradles, boxes and ganjifa, the traditional set of playing cards are painted with religious and mythological figures. Wood inlay, which developed and flourished through Mughal influence involves the placing of small parts of ivory, plastic, horn, metal pieces or other types of wood into carved surfaces of wooden items. This is found in various parts of the country such as Gujarat, Rajasthan, Uttar Pradesh and Delhi. Today we are trying to preserve the wooden pieces of art as archeological monuments of the past but we are forgetting that to create an artefact from a wooden frame we also need to preserve the forests.

JEWELLERY: The world of design

Go to any part of the world and you are sure to find ornaments made up of various metals, stones, jewels of different colours. Women in India wear innumerable types of ornaments. Its difficult at times to even name them. In India, jewels supposedly possess qualities that elevate them from being mere adorning articles. Jewels are believed to contain traits that protect the wearer from evil spirits. By means of shaping, punching, engraving, enameling and inlaying techniques, beautiful ornaments are fashioned by gold and silversmiths in almost every corner of India. The earliest finds in jewellery are from Chalcolothic age. Highly-decked terracotta figures, copper rings, beads, bangles and hairpins found here are dated between 3500 B.C. and 2000 B.C. The jewellery belonging to the Harappa and Mohenjodaro cultures, reveals a high degree of skill and craftsmanship. The jewellery of the later period is reflected in the sculptures at Bharut, Sanchi, Amarnath and Orissa, and these have influenced the Indian jewellery both in design and craftsmanship. Under the Muslim sovereigns, gold and silver jewellery were more richly embroidered in precious stones and enameling. The Kundan work of Gujarat and Rajasthan has an impact of Mughal dynasty. Delhi and Jaipur are known for meenakari, the enamel work on gold. Theva of Rajasthan is an extremely fine work in gold leaf depicting scenes like rasalila. In Cuttack, Orissa, attardans or rosewater sprinklers, bowls and decorative animal and bird figures, especially those of the peacock, are some of the articles made in the filigree technique. Most jewellery of Ladakh consists of amber, coral, turquoise and tiny seed pearls made into necklaces and earrings. Shapes of the sun, moon, serpent and images of deities are predominant in the jewellery of the southern states. The thali, a major component of the marriage ceremony of many communities, is a gold necklace consisting of various signs of which the thali, usually a phallic symbol, finds a place in the centre. The folk and tribal jewellery of India varies in the materials used, which include lac, glass, shells and pearls. Kashmir, Himachal Pradesh, Gujarat, Rajasthan, and the tribal zones in central, eastern and southern India are renowned for ornaments in silver and a particular type of white metal, which is an alloy of copper or tin and pewter, that imitates silver. All forms of designs and old fashioned ornaments are in limelight even today. In fact we prefer going back to the past to seek the treasures that it has in store for us.

INDIAN CLOTHING
The people of India have colorful & different attires. The silk saris, brightly mirrored cholis, colourful lehangas and the traditional salwar- kameez have fascinated many travellers, over time. The best known Indian outfit is the 'Sari'. This graceful attire is a rectangular piece of cloth, normally 5 to 9 metres in length and over a metre in width. It is worn without any pins or buttons or fastenings. The tightly fitted short blouse worn under a sari is called a 'choli' and the final length of the 'sari' draped over the wearer's shoulder, is known as the pallav or palloo. The choli was evolved as a form of clothing in the 10th century AD and in the beginning cholis covered only the front, keeping the back bare. Bodices of this type are still common in the state of Rajasthan. The style, color and texture of a Sari varies from one to another and it may be made from cotton, silk or one of several man-made materials. Its ageless charm is provided from the fact that it is not cut or tailored for any particular size, and can fit any woman. If worn properly, a sari can accentuate or conceal. There are several ways to wear a sari and its manner of wearing as well as its colour and texture indicate the status, age, occupation, region and religion of a woman. Being made from one fabric, the sari must be the most versatile garment in existence. It is only one of the many traditional garments worn by women and yet it has somehow become the national dress of Indian women. Below the choli, women in India wear a form of pleated skirt known as the 'ghagra' or 'lehanga'. This skirt is secured at the waist and leaves the back and midriff bare. The heads are however covered by a length of fine cotton cloth known as 'odhni' or 'dupatta'. Another form of outfit supported by Indian women is known as the 'Salwar- kameez'. This dress originally evolved in Kashmir and Punjab, but is now immensely popular in all regions of India, as it is comfortable and respectable. A kameez is a long tunic worn over pyjama like trousers, drawn in at the waist and ankles, known as 'Salwar', or a tight fitting trouser known as 'churidar'. A collarless or mandarin collared kurta, can be worn over a churidar and is popular with both men and women . Although an overwhelming majority of Indian women wear traditional costumes, many urban Indian women are quite comfortable with Western attire also. Most men in India, unlike the women, wear conventional western clothing. This can be accessed from the fact that a large proportion of India's consumer advertising appears to be devoted to 'suiting & shirting'. However men in villages are still more comfortable in traditional attire like kurtas, lungis, dhotis and pyjamas. The collarless khadi (homespun cloth) jackets known as 'Nehru jackets' are popular with travellers and are best bought at the government khadi emporiums, found in all major cities of India. Another attire which is worn both by males and females is the 'Lungi', which has its origin in the South. It is short in length and worn like a sarong. It can be worn rolled up, but when sitting down or entering someone's home or a temple it should be lowered as a mark of respect. A dhoti is like a lungi but longer in length and the material is pulled up between the legs.

In Maharashtra, striped pyjama like trousers are worn by country folk which are known as lehenga.These striped pyjamas are very comfortable but are not sophisticated enough to be worn to a restaurant or somebody's home. Throughout the country there are many religious & national variations in costume, such as the brightly mirrored Rajasthani skirts and colorful tie-dye materials. In Ladakh the women wear superb Tibetan costumes with high 'top hats'. The men here wear long dressing gown like coats. The Muslim women wear the traditional all enveloping 'Burkha'. Indian dressing styles are thus marked by many variations -- both religious and regional and one is likely to witness an abundance of colours, textures and styles in garments here.

INDIA CUSINE
North India: The food from North India traces its descent from Persian ancestors who started
intruding into India from the 11th century AD onwards and then more definitely from the 16th century AD, when the Mughals came to power. The Mughals brought with them Persian and Afghan cooks who started North Indians on the rich and fragrant Persian rice dishes, such as pilafs and biryanis (meat-based pilafs). Garnished with pounded silver (vark), these dishes along with spicy kormas (braised meat in creamy sauces), koftas (grilled spicy meatballs) and kababs used to grace the tables of emperors.

Even today, these dishes are cooked and eaten all over north India. You can sample excellent Mughlai cuisine in New Delhi.

Western India: The original cuisine of western India is principally vegetarian. This is largely due
to the enterprising, but strictly vegetarian, Marwari community from Rajasthan, who have now spread all over the country. Wherever they went, so did their food of course. The Marwari cuisine is a good example of how the best was made of locally available stuff. It is spicy and extremely rich with almost everything being doused in ounces of ghee (clarified butter). This was to make up for the lack of variety in materials available in the spartan desert surroundings that they lived. Essentially, the cuisine is simple with dishes like alloo bhajis (spicy potatoes), karhi (chickpea dumplings in yogurt sauce), dal batti (lentil dumplings oozing with ghee dunked in dal) which are polished off with rice and pooris (puffed whole wheat fried breads).

Eastern India: Eastern India is close to the sea and gets plenty of rain. Hence rice and fish are staple all over here. Nothing in the east can be complete until the hilsa (a variety of fish) has been served and eaten be it birth, death, marriage or anything else. Fish is almost the mascot of the passionate people of the East and their macherjhol (fish curry) is legendary all over India. Curry is not the only thing with which fish is eaten; it is smoked, grilled, fried, made into pakoras (patties), stuffed into green coconuts and now into burgers too. The other good thing of the eastern cuisine is their delicate sweets.
The difference here is that the sweets of North India are based on khoya (milk which is thickened slowly until it forms a sweet dough), which is quite heavy. However, those of east India are based on chhena (light cottage cheese) and hence are much more lighter on the palate.

Southern India: Rice is served everywhere and always in South India and flour-based breads
are rare, if at all. Rice is used to polish off the very spicy curries of the south, which are in a more liquid form than those of the north. These curries are often pulse-based and if this

sounds restricting, you'll be surprised at what a few spices here and there can do to completely change the taste of things. The South Indians put chillies, mustard, coconut oil and various other spicy seeds to very effective use to conjure up mouthwatering dishes like dosas (rice pancakes stuffed with potatoes and vegetables), idlis (rice dumplings served with sambar), and so on. An interesting aside here is the Goan cuisine, which effectively mixes local Konkan and Portuguese (who ruled this area for two centuries) flavours. The Goan cuisine with its tonguecurling hot vindaloo curries and distinctive sweet and sour dishes is very popular all over the western ghat region. An amusing dish is the Bombay Duck which is neither from Bombay nor a duck, but a small sun-dried fish cut and sold in strips.

HERBS AND SPICES

A lot of care and thought goes into the preparation of every Indian dish. A study into their recipes reveals a lot of surprises. Every single ingredient of the dish is there with a purpose and compliments each other. In fact, the succession of dishes also keeps in mind the flavor and 'nature' of the spices, whether hot or cool. Spices and herbs used in Indian cooking are either fresh or dried in which case the flavour changes for each form. However, that is not all: the dried spices and herbs are used in various ways. They can be used whole or grounded (more often than not still pounded at home!) and they may be roasted, fried, deep-fried, half-done, well-done all according to the taste that the cook wants to give to the eventual dish. Some of the commonly used ingredients in Indian food are as follows: Basil, coriander (cilantro), mint and parsley:- These herbs are usually used fresh, in leaf form, in Indian cooking. They are usually used as cool-downs to balance other 'hot' ingredients in a dish. Dried versions of these herbs both grounded and whole are also used to give food completely different flavors.

Fenugreek:- Called methi, these seeds are square, flat and yellow in colour. They are used

sparingly and are never allowed to burn as they have a slightly bitter taste. Coconut:- Coconut is popularly used in South Indian and Goan cuisine. Freshly grated coconut, coconut milk, coconut cream, coconut oil, the clear liquid inside it almost all parts of it are used to give an interesting and unmistakable flavor in various dishes. You can't be indifferent to coconut, either you like it or lump it.

Garlic:- The distinctive pungent flavour of garlic flavours most of the Mughlai food. This is a
'hot' ingredient and is generally cooled down by other spices.

Ginger:- The flavour of ginger might be delicate but it manages to stand out in a crowd of
other ingredients in any dish. It is used widely in both vegetarian and meat-based dishes. Ginger tea is drunk all over India to cure sore throats.

The red chillies are usually dried, ground and then sprinkled into dishes as they are being prepared. The green chillies may accompany the food, as part of a salad, or can be dunked

Chilli :- The spicy curries of Indian cuisine are flavoured by hot fiery red and green chillies.

whole into curries, so as to flavour them without making them too spicy. Except when you mistakenly put them in your mouth, of course!

Saunf:- Another common spice, saunf, looks and tastes like anise seed, but is slightly
plumper. Apart from being part of a meal, they are also roasted and eaten after meals (usually with sugar) as a mouth freshener and digestive.

Garam Masala:- Hundreds of spice mixtures are used daily in kitchens all over India to give

surprisingly different flavours to food. The garam masala is one of the commonest. It gives a strong distinctive aroma and taste to the food. It combines cumin seeds, coriander seeds, black peppercorns, cloves, cardamom seeds, dried bay leaves, cinnamon stick and dried red chilli. Theres no fixed `recipe as such, which will tell you exactly how much of each you have to use; every house has its own mix. All the ingredients mentioned are, by the way, commonly used in Indian cooking.

Mustard Seeds:- These little reddish-brown seeds are used more often in the southern and
eastern Indian cooking. They give a nice perky flavor to even the blandest of things. They are usually popped in oil before use; except of course when they are used to flavour pickles, which they often are.

Tamarind:- Imli is used to give its characteristic sour flavor in many ways in Indian cooking.

As a sauce, it makes a chocolate-colored sweet-sour mixture which is poured over chaat (Indian snack), yogurt and so on to make quick nutritious and tasty snacks. On its own it is used to flavour sambars and rasams, to give lentil that sharp taste so associated with the food down south.

Saffron:- Kesar, zafraan saffron is known by many pretty names in India. And whatever the moniker, it is always expensive. Undeterred Indians use saffron very commonly in cooking what helps of course is that even a pinch of the spice goes a long way in flavouring and coloring dishes. The use of saffron became popular in India with the coming of Persian cooking, so it laces most Mughlai food like those dreamy pilafs, raans and kormas. These dishes are quite spicy and hot and saffron, known for its cooling properties, was probably added for balance. Saffron is also used commonly in north Indian sweets, like kheer (thickened milk with dried fruits, to which rice, semolina and so on are added).
extract is called gulkand and is very strongly recommended as a 'cooling' food in India. Laddoos (sweet balls) and paan (betel leaf) often contain gulkand. Few drops of the aromatic rose water are often used to flavour delicate sweets like rasgullas (light cottage cheese dumplings floating in syrup) and so on.

Rose water and extract:- The rose, by any name, is very popular in Indian desserts. Rose

RELIGION
India is probably the only country in the world where a large number of religions have not only evolved but flourished as the Indian state has grown from strength to strength. A secular state, where the constitution honors all religions equally, to understand India it is important to understand its religions, as religion casts its shadow on every Indian, right from their birth. Religions practiced here include: -

Hinduism: This is a religion which is followed by the majority in India. There is no single text which can sum up its philosophy. One can believe in either Shiva, Brahma, Vishnu or the Planets or the Rain God, or heroes based on the epics, all of them or none of them. Thus Hinduism is more of a way of life, rather than a religion. Its tolerance and flexibility has helped to preserve its sanctity under successive invasions and to embrace alien beliefs. The main divine principle of Hinduism is that God is one, but his avatars or incarnations are many.
Religious scripts which enlighten one about Hinduism are the Vedas, the Upanishads and the Puranas. The Vedas are hymns praising different Gods. While the Upanishads are discourses between a guru (spiritual guide) and a shishya (disciple), stressing upon the unity of the God, the concept of atma (soul), life after death and karma, emphasises on the fact that happiness in this life has been achieved due to good deeds performed in the previous one. The ultimate goal of every Hindu is to attain moksha which is deliverance from the cycle of birth & rebirth. This depends upon the law of karma. Hinduism also states that the three paths to self realization include knowledge, devotion (bhakti) and work (karma). In olden times Hindus were split into four castes - based on division of labour. They were the priests (Brahmins), soldiers (the Kshatriyas), traders (Vaishyas) & the unskilled labourers (Shudras). These however are not in practice in the modern age. Ideally a Hindu's life is split into four stages; first is a student and bachelor (brahmacharya), then is the householder (grihsthya), meditator in the forest (vanaprastha) & finally the sanyas i.e. the renunciation of material life for a spiritual one. Hinduism has generated a number of movements like Bhakti, it has created societies such as Keshab Chandra Sen's Brahmo Samaj, Swami Dayanand Saraswati's Arya Samaj, Ramakrishna Mission, etc. It had thinkers such as Kabir, Sankaracharya, Vidyasagar and had also contributed in reforming the society by abolishing sati, where, upon the death of a husband, the wife was supposed to immolate herself by throwing herself on her husband's corpse, and by encouraging widow remarriage. Buddhism, Jainism & Sikhism are all breakaways from Hinduism.

ISLAM: Islam was founded by the prophet Mohammed who was born in 570 A.D. at Mecca
(now in Saudi Arabia). He got his first revelation of 'Allah' (God) in 610 A.D. and all these revelations or visions are compiled in the 'Koran' - the Muslim holy book. Prophet Mohammed preached against idol worship and the Muslims believe that the search of God through images is a sin. Friday is the Muslim holy day and the main mosque in each town is known as Jamma Masjid. The aim of each Muslim is to make the pilgrimage to Mecca (the Hajj) and to become a Hajji. In India, conversions to Islam during 1200 to 1707 A.D. (Muslim domination) were of two types: - (i) those forced by foreign invaders and (ii) those that took place voluntarily by members of lower castes & other sections. A third category consists of foreigners who came here & settled down during invasions. The 1st clash between Hindus & Muslims came in the 12th century when Mahmud of Ghazni & Mohammed Ghori carried out a succession of raids. They constitute 10% of the country's populaon, and are India's largest minority community. The Hindus and Muslims were united

until Independence when there was an unhappy division of the nation into India & Pakistan The Hindu-Muslim interaction is now bitter but has produced a culture, extraordinarily rich in music, architecture, literature and cuisine.

CHRISTIANITY (Christianity & Judaism): There were 30,000 Jews in India at the time of
Independence. Though many have left, there are small Jewish communities in a number of cities, but the Jews of Kochi or Cochin in Kerala claim to have arrived here in 587 B.C.

Christians account as the 3rd largest community in India. And are settled primarily in the Southern states of Kerala, Karnataka, Tamil Nadu and Goa. In the 2 states of Mizoram and Nagaland, Christians form a majority population. Some say Christianity came to India with St. Bartholomeo, others insist it was St. James but it was St. Francis Xavier who spread Christian missionary activity in the country. He arrived in the 16th century and whose body still lies in a church in Goa. Their work in the fields of reform & education continues to be admired.

BUDDHISM: The Buddha or 'The Enlightened One' was born as Gautama or Siddhartha (566486 B.C), into a wealthy Kshatriya family, in Lumbini, at the foothills of Nepal. He found true wisdom under a pipal tree at Bodhgaya and founded the religion of Buddhism. In his first public address at Sarnath Deer park in Benares, Buddha spoke of the four noble truths which are, (i) the world is full of suffering (ii) suffering is caused by desire (iii) suffering can be removed (iv) in order to remove suffering one has to overcome desire. According to Buddha these noble truths can be achieved by following the 'eight fold path', comprising of 1. Right view 2. Right thought 3. Right speech 4. Right action 5. Right livelihood 6. Right effort 7. Right mindfulness 8. Right concentration. The main goal of Buddhism is to attain 'Nirvana', the spiritual liberation from the cycle of birth and rebirth. Buddhism does not believe in the existence of god and questions the Hindu practice of elaborate ceremonies, image worship, suppression of women and elevation of Brahmins. The main philosophy of Buddhism is that every one is equal and that nothing lasts forever and nothing happens by chance. Buddha's teachings were first compiled on the Pali script as the 'Tripitakas'. King Ashoka (25O B.C) was one of its chief believers and propagators. Buddhism is divided into 2, Huinayanas (travellers by a lesser vehicle) & Mahayanas (travellers by a greater vehicle). Huinayana Buddhism flourished in Sri Lanka, Burma and South East Asia, while Mahayana Buddhism flourished in India, China, Japan, Tibet & Central Asia. Buddha created monasteries for praying and preaching and till date the paintings of his life and stupas can be seen in the Ajanta & Ellora caves.

Schools of Nalanda and Vikramshila in Bihar and Valashi in Gujarat were famous institutes of learning and Ashwaghosha and Nagarjuna were responsible for the spread of Buddhism after Buddha's death.

JAINISM: Jainism was founded by Vardhamana Mahavira or 'The Great Hero' during (540-468
B.C). His father was a head of a famous Kshatriya clan & his mother was a Lichchavai princess. Mahavir became an ascetic at the age of 30 and attained 'Kaivalya' (perfect knowledge) by the age of 42. He was known as Jina by his conquerors and his followers called him Jain. He died at Pavapuri near Rajgir. The main philosophy of Jainism is total renunciation and the right faith, right knowledge, and right action are the three jewels of good living. The preachers of Jainism after the death of Mahavira are known as 'Tirthankaras'. Jainism is based on non-violence (ahimsa) therefore killing is strongly forbidden. Most Jains are vegetarians and cover their mouths to avoid accidental swallowing of germs & insects. Jainism also preaches self control and asceticism. The teachings of Jainism are recorded in the 'Angas' and were last edited in the fifth century A.D. Jains are broadly divided in two sects (i) Digambaras (sky clad) and the Shvetambaras (white-clad). Digambaras live in monasteries and do not wear clothes as they spurn material possessions. According to them there is no other god except Mahavira and do not accept the 12 'Angas' as authentic (ii) Shvetambaras are further subdivided into 2 subsects (i) Deravasi and (ii) Sthanavasi. Shwetambaras believe Mahavira to be a great man but do not worship him as god. Deravasis believe in idol worship and Sthanavasis do not believe in idol worship.

SIKHISM: Guru Nanak (1469-1539) founded Sikhism in India. Sikhism draws its elements from
both Hinduism & Islam. The followers of Guru Nanak came to be known as Sikhs. They worship at temples known as Gurudwaras, (abodes of the gurus), cremate their dead and baptize their children in a ceremony known as 'pahul'. Their holy book is the Granth Sahib which contains the works of the 10 sikh gurus together with Hindu & Muslim writings. The last guru died in 1708. Guru Nanak preached the importance of "Satnam & Waheguru" (true name or one god) and that for self realisation it is important to have a right guru. He did not believe in idol worship, casteism or asceticism and believed that moksha could be attained only through 'Karma'. Nanak Sahib introduced the concept of a common kitchen (the langar) to feed the poor. His followers Guru Angad popularised the Gurumukhi script. Guru Ram has found Amritsar, the Golden temple and Guru Arjun Dev made the Granth Sahib, their holy book. It was Guru Govind Singh, the tenth Guru who made Sikhs into a militant group in an attempt to halt persecution of Sikhs in the 16th century. A brotherhood known as Khalsa was formed. Guru Govind Singh introduced the 5 symbols or kakars of identification, which the Sikhs always carry. They are (i) Kesh - Long hair tied in a turban (ii) Kangha - (symbol of saintliness), the wooden or ivory comb - (symbol of cleanliness) (iii) Kuchha - shorts (symbol of alertness) (iv) Kara - the steel bracelet (symbol of determination) and (v) kripan - the sword (for the defence of the weak). It is due to their long hair that Sikh men wear their hair in a knot, hidden by a turban. They practice tolerance & love of others and support a get- on- with- it attitude to life.

ZOFOASTRIANISM: Prophet Zarathustra (Zoroaster) founded this religion in Persia during 6th
century B.C. He was born in Mazar-i-Sharif ( now in Afghanistan). At one time Zoroastrianism

was spread from the Mediterranean to India, but now is found only around Shiraz in Iran, Karachi in Pakistan, and Mumbai in India. The followers of Zoroastrianism are known as Parsis because they fled from Persia to escape persecution. It was this religion which first spread the belief that god is present everywhere and is invisible. 'Zend-Avesta' their holy scripture describes the conflict between good & evil forces. Their god is Ahura Mazda who is symbolized by fire. The philosophy of Zoroastrianism is that the good will wins over evil by following the principles of Humata (good thoughts), Harkta (good words) and Huvarshta (good deeds). Parsis worship fire in fire temples and wear a sadra or sacred shirt and a kasti or sacred thread because of their belief in the purity of elements. Parsis do not bury or cremate their dead but leave the bodies in 'towers of silence' where they are eaten by vultures. In order to be a true Parsi it is necessary that the father & mother should be Parsis as result their numbers are gradually declining.

INDIAN MUSIC
Indian Classical Music is based on the nava(nine) rasas vi., love, humour, pathos, anger, heroism, terror, disgust, wonder and serenity. According to Sage Bharata, every musical composition must revolve around these nine emotions. Classical music in India is revered by all and is worshiped too. The Raga and the Tala form the basis of the entire musical event. Raga is essentially an aesthetic rendering of the seven musical notes and each Raga is said to have specific flavour and mood. Tala is a fixed time cycle for each rendition and repeats itself after the completion of each cycle. Tala is what binds music together and makes possible a lot of improvisations between beats. Indian musicians evoke a variety of feelings with the help of Raga, Tala and the infinite Shrutis or microtones and create melodious songs. The two different styles of Indian classical music are Carnatic or South Indian music and the Hindustani or North Indian music. The two styles vary in the articulation of Ragas, otherwise sharing common features. The Northern school of Indian music can boast of names like Amir Khusro (13th century) and Miyan Tansen who lived in the court of the Mughal emperor Akbar in the 16th century. The great musicians of the Southern style include Venkatamakhi (17th century), Thyagaraja and Shyama Shastri. All Indian musicians belong to a particular gharana (house) or school. Each gharana has its own traditions and manner of rendition and these styles are fiercely guarded and maintained. Some of the well-known gharanas are those of Delhi, Agra, Gwalior and Jaipur. Today, there is a lot of interaction between music from the North and that from the South. Both styles are influencing each other and this can only lead to an enrichment of the great musical tradition of India. Some prominent contemporary musicians of India :-

Carnatic classical

M.S. Subbulakshmi Balamurali Krishna V. Doraiswamy Iyengar Sri Semmangudi R. Srinivasa Iyer T.H. Vinayakram T. V. Gopalakrishnan Dr. L Subramaniam

Hindustani classical

Pt. Ravi Shankar Ustad Bismillah Khan Pt. Shiv Kumar Sharma Ustad Ali Akbar Khan Kishori Amonkar Pandit Jasraj The Dagar Brothers Pt. Hari Prasad Chaurasia Pt. Bhimsen Joshi Ustad Zakir Hussain Ustad Amjad Ali Khan Gangubai Hangal Ustad Vilayat Khan Pt. Ram Narayan

DANCE
Classical Dances From India: The genesis of contemporary styles of classical dance can be
traced to the period between 1300-1400 A.D. India offers a number of classical dance forms where each dance form embodies the influences of the region from which it originates.

BHARATNATYAM TAMILNADU KATHAK UTTAR PRADESH KATHAKALI KERALA KUCHIPUDI ANDHRA PRADESH MANIPURI MANIPUR MOHINIATTAM KERALA ODISSI ORISSA

Besides these, there are several semi-classical dances that contribute to the plethora of the Indian dances. India is particularly rich in the folk idiom with specialised dances for occasions like marriage, seasons, rites, celebrations, etc. Folk dances vary geographically. Some of them are the Chauu dance of Bihar, Garba of Gujarat, Bhangra of Punjab and Banjara of Andhra Pradesh. Dance is a physical and visual art form which has an immediate and massive impact on the onlooker. The various Indian forms act like a window to India's rich culture. Dance is a form of art, where the body is used as a medium of communication. Indian dances have influenced several other realms of art like poetry, sculpture, architecture, literature, music and theatre. The earliest archaeological evidence is a beautiful statuette of a dancing girl dated around 6000 BC. Bharata's Natya Shastra (believed to have been penned between the 2nd

century B.C. and 2nd century A.D) is the earliest available treatise on dramaturgy. All forms of Indian classical dances owe allegiance to Natya Shastra, regarded as the fifth Veda. It is said that Brahma the Creator, developed Natya, taking literature from the Rig Veda, song from the Sama Veda, abhinaya or expression from the Yajur Veda and rasa or aesthetic experience from the Atharva Veda. It explains the intricacies of dance, emphasising on mudras or hand formations and their meanings, the kind of emotions and their categorisation, not to mention the kind of attire, the stage, the ornaments and even the audience. All the dance forms revolve around the nine rasas or emotions, Hasya (happiness), krodha (anger), bhibasta (disgust), bhaya (fear), shoka (sorrow), viram (courage), karuna (compassion), adbhuta (wonder) and shanta (serenity). All dance forms follow the same hand gestures or hasta mudras for each of these rasas. The dances differ where the local guru has adapted it to local demands and needs. Indian dance is a blend of nritta - the rhythmic elements, nritya - the combination of rhythm with expression and natya - the dramatic element. Nritya combined with nritta makes up the usual dance programmes. Nritya comprises, abhinaya, depicting rasa (sentiment) and bhava (mood). To appreciate Natya or dance drama, one has to understand and appreciate Indian legends. These dances are dominated by rich Indian mythology. They also depict the ethos and values of the Indians.

NATRAJA: Shiva, the King of Dances has an emphatic impact on the Indians. His cosmic
dance conglomerates creation, preservation and destruction, Nataraja's dance is a metaphorical representation of human life, wherein the good and the bad eventually get neutralised. Nataraja holds a small drum (damru) in his upper right hand. His lower right hand shows the fear-negating gesture (abhaya), his upper left hand is in half-moon pose (ardhachandra mudra) which holds a tongue of flame which is the fire (agni) that finally destroys the world and is then quenched in cosmic waters. Thus the hand holding the drum and the one holding fire balance the forces of creation and destruction. The second left arm is held gracefully across the chest (gajahasta mudra) with the hand pointing to the uplifted foot, denoting favour or grace for the devotee. One foot rests on Apasmara or Mauyalka, the embodiment of human cruelty and ignorance. Surrounding Shiva's figure an immense aureole of flames emanates from him. The value of wisdom, truth and the mantra "om" is depicted through the flames. Indian dances demand classical synergy between Nritya and Natya.

INDIA HARITAGE SITES

AGRA FORT: Within a radius of 3 kilometers, on the banks of the river Yamuna, rises the crescent-like Agra Fort. Designed and built by Akbar in 1565 A.D., the fort is surrounded by a 70 foot high wall. It houses the beautiful Pearl Mosque and numerous palaces including the Jahangiri Mahal, Diwan-i-Khas, Diwan-i-Am and Moti Masjid.

The fort has four gates and is enclosed by a double barricaded wall of red sand stone. Many buildings were constructed within the fort of which very few remain till date. One of the most significant ones is the multi-storeyed Jahangiri Mahal built by Akbar for his wife Jodha Bai. The Mahal is reached through an impressive gateway and its inner courtyard consists of beautiful halls, profuse carvings on stone, exquisitely carved heavy brackets, piers and cross beams. Most of the panels in the eastern hall are decorated with the Persian styled stucco paintings in gold and blue. It is believed that a century later, most of the structures were dismantled by Shahjahan and were replaced with white marble pavilions covered with intricate inlay work. Of which the most prominent ones are - the Diwan-i-khas, the Mausam Burj and the Shaha Burj. Away from the waterfront he built the Moti Masjid and the Diwan-i-Am. Tourist Information ~: Open on all weekdays from sunrise to sunset. ~: Best time to visit From November to February. ~: Agra is connected to Delhi by air. One can also use the Taj Express or the Shatabdi to get there. One can even drive or bus it (204 km from Delhi). Places to visit: ~: Itmad-ud-daula's Tomb, Chini-ka-rauza, Ram Bagh, Fatehpur Sikri India has a rich architectural legacy going back to time immemorial. Timeless monuments, magnificent temples, and breathtaking sites...India never ceases to entice, mystify and fascinate the intrepid traveller. Of its prestigious monuments and natural wonders, sixteen cultural and five natural sites of India have already been declared as the World Heritage Sites by the General Conference of UNESCO. Theses sites have universal value, the protection of which is the concern of all mankind.

AJANTA CAVES: It was as late as the 19th century that a party of British officers discovered
the Ajanta Caves on the banks of the Vaghora river,Maharashtra, that, for long lay buried in the debris of time. These 30 caves were built to offer seclusion to the Buddhist monks, who lived, taught and performed rituals in the Chaityas and Viharas which were the seats of learning and cultural movement. Ajanta offers a rich tapestry of images that speak of places, royalty, culture and tales of everyday life of ancient India. Many of the Ajanta caves hold panels that illustrate stories from the Jatakas. From numerous images of Buddha to nymphs and princesses and various other characters, the Ajanta engravings are an unmatched visual treat. These caves are either chaityas (prayer halls), or viharas (places of residence for the monks.) Cave 19 consists of a courtyard with one entrance to the cave in the form of a pillared portico. On the facade are numerous sculptures of the Lord Buddha. Cave 26 consists of splendid carvings of which the most impressive one is the seven meter long sculpture of the reclining Buddha - the Parinirvana, along the left side of the wall. Another magnificent marvel is the depiction of the Maravijaya, an incident from the life of the Buddha, depicting his victory over Mara or the 'evil one.' Tourist Information ~: Open from 9 am to 5 pm (except Mondays). Access: Located in Maharashtra, 100 kilometers from the city of Aurangabad. Aurangabad can be reached by flight or train or even be motored down to from Manmad. If one is adventurous enough, one can even take the road from Mumbai, via Nasik to Aurangabad.

BRIHADISVARA TEMPLE, THANJAVUR: Under the reign of the great King Rajaraja, founder
of the Chola empire the great Temple of Tanjore (Thanjavur) was constructed between 1003 and 1010. The Brihadisvara temple with its 66.5 meters high 'srivimana' dominating the city, is built of granite. The temple consists of a cupolic dome which is octagonal in shape and rests on a single square block of granite,weighing 81.3 tonnes. The moulded plinth is extensively engraved with inscriptions. On the walls of the inner passages are life-size iconographic representations of various Hindu deities. Tourist Information ~: Open on all weekdays from sunrise to sunset except shrines under worship. Access: The nearest airport and major rail-head - Trichy is 58 kilometers away. Thanjavur is directly linked by rail to Madurai,Tirupati, Chennai and Rameswaram. Excellent bus services link it to other towns in Tamil Nadu. Best time to visit ~: October to April.

ELEPHANTA CAVES: About 10 kms north east of Apollo Bunder in Mumbai, the urbs prima of India, lies the island of Elephanta, the glorious abode of Lord Shiva.
An epitome of Hindu cave culture, Elephanta consists of seven caves of which the most notable is the Mahesa-murti cave. It has a very impressive size with a main body of 27 meters square supported by rows of six columns each. The main temple consists of a large pillared mandapa (hall) and a free standing square shrine at the west end of the hall. The pillars and reliefs in the cave are gigantic in scale. Set in various niches are a number of large reliefs depicting different aspects of Shaivaite iconography. Around the perimeter of the cave are sculptured compartments in this cave with images from the Hindu mythology. They depict Lord Shiva as Andhakasuravadha, impaling the demon of darkness, as Kalyanasundara-the gentle loving god, as Ardhnarishwara, (half female body) Shiva and Shakti, male and female, Nataraja-Shiva as the cosmic dancer and as Ravana anugraha - the destroyer of enemies. Tourist Information ~: Open from 09 hours to 17 hours (except Mondays). Best time to visit ~: November to March is the ideal time to visit the island. Access Located on a small island of Mumbai in Maharashtra, Elephanta can be reached by regular ferries that leave from Mumbai's Gateway of India harbour throughout the year, except during the monsoon season.

ELLORA CAVES -GLIMPSE OF FINEST CAVE TEMPLES

Ellora is the finest example of cave temples with almost 34 caves with intricate interiors and ornamental facades. Carved during the 350 A.D. and 700 A.D., the rock temples and monasteries represent three faiths-Hinduism, Buddhism and Jainism.

Cave 10 is a chaitya-hall (prayer hall) and is popularly known as 'Visvakarma' with a seated Buddha in a Stupa. The Ramesvara cave has figurines of river goddesses adorning its entrance. The Dumar Lena cave is dedicated to Lord Shiva. Among the viharas (residences of the monks), Cave 5 is the largest. The most impressive vihara is the three-storyed cave called 'Tin-Tala'. The Kailasa temple in cave 16 is a masterpiece in itself. The temple that took nearly 100 years to be completed, is decorated with themes and incidents from the puranas. Consisting of exquisite carvings, the cave temple is the most striking one amongst the other 30 at the site. Though carved out of one single rock, the temple looks like a freestanding structural southern type temple. The exterior of the temple is richly carved with niches, plasters, windows as well as images of deities, mithunas (erotic male and female figures) and another figures.Most of the deities at the left the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu). The whole temple consists of a shrine with a linga at the rear of the hall with a Dravidian sikhara, a flat-roofed mandapada supported by sixteen pillars, a separate porch for Nandi surrounded by an open-court entered through a low gopura. There are two dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art. All the carvings are done in more than one level. The lower storey consists of several large shrines while the gallery along the three sides at the rear contains huge sculpted panels. A two-storeyed gateway on the west side provides access to the main temple and the Nandi Mandapa, both on the same level, and is approximately seven metres high. The lower storeys of the main temple as well as the Nadi Shrine are solid and cannot be entered. Stone bridges carved from the living rock connect the Nandi pavilion and the entrance porch of the temple. The main temple has a southern style superstructure. The lower storey has almost life-sized elephants carved as if they are holding up the temple.The Jaina Caves (30 to 34) are massive, well-proportioned, decorated and mark the last phase of the activity at Ellora. Tourist information ~: Open from sunrise to sunset (except Mondays). Best time to visit: ~: The season extends all round the year. Although the best season to visit Ajanta & Ellora is from October to March. Access: ~: Is located at 30 kilometers form Aurangabad, which is well connected from Mumbai and Delhi via Manmad by rail. ~: Aurnagabad can also be reached by road from Mumbai, Pune, Nasik and Shirdi.

FATEHPUR SIKRI: The "City of Victory": Fatehpur Sikri was Akbar's capital for approximately
12 years. Akbar selected Sikri as the seat of his government believing it to be auspicious for himself. He experimented both with architecture and art and built a city expressing his ideals and vision.Today, Fatehpur Sikri's a deserted, phantom city. But the inner citadel is immaculately preserved. The finest monuments within this are are the Diwan-i-Am, Diwan-i-Khas, Panch House, Panch Mahal, Buland Darwaza and the tomb of Saint Sheikh Salim Chisti, and the Jama Masjid (one of the largest mosques in India).

Tourist Information ~: Open on all weekdays from sunrise to sunset. Best time to visit ~: From November to February. Access ~: Agra is connected to Delhi by air. One can also use the Taj Express or the Shatabdi to get there. One can even drive or travel by bus (204 km from Delhi). Places to visit: ~: Itmad-ud-daula's Tomb, Chini-ka-rauza, Ram Bagh, Fatehpur Sikri.

GOA - Churches and Convents: Built of laterite and lime plaster, the churches and
cathedrals built during 16th to 17th century A.D. at Old Goa are a legacy of the Portuguese. They comprise of Se' Cathedral, Church and Convent of St. Francis of Asisi, Chapel of St. Catherine, Basilica of Bom Jesus, Church of Lady of Rosary and the Church of St. Augustine. Built in a combination of the renaissance and baroque styles, these churches and convents in old Goa are architectural masterpieces.The Basilica of Bom Jesus, where the mortal remains of St. Francis Xavier rest, is one of the best in design and style.The Church of St. Cajetan has a facade decorated with Ionic, Doric and Corinthian pilasters. The Se' Cathedral, with its Tuscan exterior, Corinthian columns, raised platform with steps leading to the entrance and a barrelvault, is yet another example of Renaissance architecture. The paintings in the church are executed on wooden borders and fixed between panels with floral designs. Except for a few statues which are in stone, most of the other statues of the saints, Mother Mary and Jesus are mostly first carved in wood and then painted to adorn the altars. Travel Information ~: Open on all weekdays from sunrise to sunset. Best time to visit ~: Winters. Access By Air ~: Goa is linked by air to Bangalore, Mumbai, Delhi, Kochi, Chennai, Pune and Thiruvananthapuram. By Rail The nearest railhead is Vasco de Gama, (35 km) from Panaji. Goa is connected with Londa junction on the Miraj-Bangalore sector of south Central Railway. Konkan Railway linking Mumbai with Mangalore passes through Goa. By Road Good motorable road connects Goa with other towns via the National Highways NH 4A, NH17 and NH17A. Road links to Ahmedabad (1,138 km), Aurangabad (699 km), Bangalore (592 km), Mumbai (597 km), Chennai (923 km), Pune (473 km). Bus services connect Goa with Bangalore, Mumbai, Pune, Mangalore and other major towns in the neighbouring states. By Sea From Mumbai by Catamaran services operated by M/s. Damania Shipping (I) Ltd. from October to May only. Places to visit ~: Panaji, Baga, Calangute, Sinquerim, Anjuna, Chapora/ Vagator, Arambol/ Terekol, Bogmalo, Colva Old Goa, Aguada Fort.

HAMPI GROUP OF MONUMENTS: The Vijaynagar city ruins near the village of Hampi, 353
kilometers from Bangalore, are one of the most fascinating historical sites in South India. Hampi has many a pleasant surprise in store for you, the most famous being the King's Balance where kings were weighed against gold or money which was then distributed to the poor. Even today people weigh themselves in temples like Tirupati against anything right from money to gold to food which is then donated to the Trust. It is known as 'Tulabharam". Also worth a visit are the Queen's Bath with its arched corridors, projecting balconies and lotus shaped fountains, the two storeyed Lotus Mahal, the huge Elephant Stables, the splendid Vitthala Temple with its musical pillars and the Stone Chariot, the Virupaksha Temple, Ugra Narasimha, the 6.7 meters tall monolith, the Pushkarini Tank, the Mahanavami Dibba, etc. Temples of this city are noted for their large dimensions, florid ornamentation, bold and delicate carvings, stately pillars, magnificent pavilions and a great wealth of iconographic and traditional depictions which include subjects from the Ramayana and the Mahabharata. The Pampapati temple is one of the largest temples at Hampi. The Vitthala temple is an excellent example of Vijayanagara architectural style. Also present are some monolithic statues of Lakshmi, Narsimha and Ganesha which are noted for their monumental sizes and grace. Other temples in the surroundings are the Krishna temple, Pattabhirama temple, Hazara Ramchandra, Chandrasekhara temple and the Jaina temple. Tourist Information ~: Open on all weekdays from sunrise to sunset. Access ~: By Rail - The nearest point is Hospet from where one travels another 12 kilometers by road to reach Hampi. ~: By Road - Regular bus services from Bangalore to Hospet. ~: By Air - The nearest Airport is Bellary (974 km.) Other convenient airports are Belgaum (190 km) and Bangalore (353 km.). Best time to visit ~: September to February

HUMAYUN'S TOMB, DELHI: Built in the mid 16th century by Haji Begum, senior wife of
Humayun, the second Mughal emperor, Humayun's Tomb is a fine example of Mughal architecture built in Delhi. A rose petal sandstone mausoleum built in proper Mughal style is a beautiful memorial to the poet king. Octagonal in shape, raised on a plinth, with double domes, high arches, laid in the centre of a large walled enclosure, the monument is an imposing structure. A baradari (pavilion) occupies the centre of the eastern wall and a hammam (bath chamber) the centre of the northern wall. Approachable from four sides by paved stone paths which divide the garden into four squares, the mausoleum also has the distinction of having several of the Mughal rulers buried here besides Bega Begum herself, Hamida Begum (Akbar's mother),Dara Shikoh (Shah Jahan's son), Bahadur Shah II (the last Mughal Emperor) and many others. Humanyun's wife is also buried in the red and white sandstone, black and yellow marble tomb. The garden at this tomb has been laid out in the Persian style of a Chahr Bagh, with paved stone avenues and narrow water channels. It is still maintained in its original grandeur. Tourist Information ~: Open on all weekdays from sunrise to sunset.

Access ~: Delhi is well connected by air to all major world cities and important Indian cities. Rail services to most Indian locations. Road links to neighbouring states and major cities. Places to visit ~: Purana Quila, Jama Masjid, Red Fort, Jantar Mantar, India Gate, Parliament House, National Museum, Raj Ghat, Lakshmi Narayan Temple, Teen Murti House.

KHAJURAHO: The temples of Khajuraho in Madhya Pradesh are one of India's unique gifts to
the world. They were built between 950-1050 A.D. near the village of Khajuraho under the patronage of the Chandela kings of northern central India who ruled about 1,000 years ago.These 85 granite and sandstone temples of Khajuraho are renowned for their fine blend of sculpture and architecture. They consist of bands of horizontal sculptures which balance and blend with the vertical line of the temple's superstructure. Besides the Chausath-Yogini, the Brahma and the Mahadeva temples which are of granite, all the other temples are made of fine grained sandstone and are buff pink or pale yellow in colour. They have been constructed on a high and solid platform which provides an open ambulatory. The Visvanatha, Parsvanatha and Vaidyanatha temples belong to the time of King Dhanga, the The temple of Vishnu built by Yasovarman (AD 954), now famous as the Lakshmana temple proclaims the prestige of the Chandelas. successor of Yasovarman. The Jagadambi, and the Chit5ragupta Temples, are noteworthy among the western group of royal temples of Khajuraho. The immortal Kandariya Mahadeva temple is the largest and the grandest temple of Khajuraho, attributed to King Ganda (AD 1017-29). These temples are known for their lofty terraces (jagati) and functionally effective plans. The sculptural embellishments include, parivara, parsva, avarana devatas, dikpalas, the apsaras the sura-sundaris in their delicate, youthful female forms of ravishing beauty exuding an irrevocable charm and grace. Tourist Information ~: Open on all weekdays from sunrise to sunset. Best time to visit ~: October to April. Access ~: Air links to Delhi, Agra and Varanasi. Nearest railheads: Harpalpur, Mahoba, Jhansi. Road links to Satna, Harpalpur, Jhansi (175 km) and Gwalior (280 km). Places to visit ~: Raigarh Palace, Dhubela Museum (65 kms,) Pandav Falls (34 kms), Raneh Falls (19 kms), Ken Natural Trail (22 kms), Benisagar Lake (11 kms), Ranguan Lake (25 kms), Gangau Dam (34 kms), Panna National Park (25 kms), Panna (45 kms).

KONARK SUN TEMPLE-The Sun God's Chariot: The Sun Temple of Konark, also known as
Black Pagoda, is the crowning glory of the temple architecture of ancient Orissa.Built in A.D. 1250, during the reign of the Eastern Ganga King Narasimhadeva - I, centuries of myth and legend shroud its history. The design is the celestial chariot of the Sun God pulled by seven exquisitely carved ornamented horses, strained on twelve wheels on either side.

The huge monolithic wheels represent time, unity, completeness, justice, perfection and movement and each wheel stands for a fortnight and each horse a day of the week. The walls of the temple contain superb carvings of divine, semi divine, human and animal figures amidst floral and geometric ornamentations. Although the main sanctum is in ruins, the 39 meter high audience halls, the dance halls and the ruined temple of Chaya Devi are still there. Two horses and two monolithic elephants, exhibit the dynamism of the sculpture. Tourist Information ~: Open on all weekdays from sunrise to sunset Best time to visit ~: November to February. Access It is well connected by all weather motorable roads to Puri, Bhubaneswar and other parts of the state. It is 65 km from Bhubaneswar, 35 km from Puri and 85 km from via Pipli. The nearest railheads from Konark are Bhubaneswar and Puri. Nearest Airport - Bhubaneswar. Places to visit ~: Kuruma, Chaurasi, Ramachandi, Astranga, Kakatapur, Pipli.

MAMALLAPURAM: Lying 58 km south of Chennai, this group of pioneering temple architecture, founded by the Pallava kings, was carved out of rock along the Coromandel coast in the 7th and 8th centuries. These monuments are specially known for their rathas (temples in the form of chariots), mandapas (cave sanctuaries) and giant open-air reliefs. The famous Shore Temple, one of the oldest in South India, stands on the sea shore with its paved forecourts.
Another wonder is Arjuna's Penance, which is the world's largest bas-relief. This 27 meter long and 8 meter high massive rock panel is titled after Arjuna, the hero of the Indian epic 'Mahabharata'. The 'Descent of the Ganga', which is another interpretation of the bas-relief, is a brilliant composition in stone. Myriad ornamental figures of celestial beings are shown adorning the divine spectacle. Among the other exclusive frescoes are recreations of the Panchatantra tales. The Mandapams (porticos) are grand specimens of art. Scooped out of solid rock from a hillside, each mandapam depicts exclusive carvings rich in detail. A serene pastoral scene at the Krishna mandapam shows Lord Krishna lifting the Govardhan mountain, to protect his kinsfolk from the wrath of the Rain God Indra. The Varaha Cave portrays the two avatars (incarnation) of Lord Vishnu. The Mahishasuramardini Cave which shows the Goddess Durga killing a demon and Lord Vishnu in his cosmic slumber are particularly remarkable. Yet another marvel of sculptural excellence are the Five Rathas, monolithic temples dedicated to Hindu Gods. They are also known as the Pancha Pandava Rathas. Tourist Information ~: Open on all weekdays from sunrise to sunset. Best time to visit ~: December & January Access ~: Nearest Airport: Chennai (49 km). Rail links to Chennai, Kanchipuram and Arkonam. ~: Road links to Chennai, Pondicherry and Bangalore. Can be reached by road through State Tourism Buses or Taxis. Places to visit ~: Rock cut caves, Arjuna's Penance, The Rathas, Shore Temple.

NATURAL SITES
KAZIRANGA NATIONAL PARK, ASSAM: Located on the banks of the Brahmaputra river, in
Assam, Kaziranga is one of the last strongholds of the endangered Indian one-horned rhinoceros. With open country, covered mostly with elephant grass, Kaziranga gives the visitor a chance to see the fauna at fairly close quarters. Area: 430 sq. km. Best time to visit. ~: November to March. Access ~: By Road: Nearest town Bokaghat (23 km). ~: By Rail: Nearest railhead Mariani (115 km). ~: By Air: Nearest airport, Jorhat (95 km).

KEOLADEO GHANA BIRD SANCTUARY, BHARATPUR: The Keoladeo Ghana Bird Sanctuary
is situated just 55 kilometers from the Taj Mahal at Agra.The rich aquatic plant and animal life in the shallow, fresh water marsh of Bharatpur has been attracting resident and migratory aquatic birds in thousands for a long time now. There are over 353 species, belonging to 56 families. The Siberian Cranes visit all other waters in India, except the marshes of Keoladeo.For the number and variety of birds to be seen, Keoladeo is matchless. Being a unique bird place, the UNESCO has recognised it as a World Heritage Site. The park is now India's best water-bird sanctuary. It is truly a paradise of feathered life which provides unlimited opportunities to bird watchers, wildlife photographers, landscape painters, writers on nature and researches. Area: 29 sq km. Best time to visit ~: October to February Fauna found at the national park: Egrets, darters, cormorants, grey herons, storks, pheasant-tailed and bronze-winged jacanas, greylag geese, Siberian cranes,during winter. Also nilgai, chital, sambar, black bucks, pythons. Access 3 km from Bharatpur city, Agra 55 km, New Delhi 212 km. Connected by a good network of road and rail connections. Nearest Airport is Agra.

run through India to Bhutan. On both sides, the habitat is zealously protected as it houses not less than 20 species of birds and animals that are highly endangered. Manas is also the primary habitat of the rare golden langur. Area: 391 sq. km. Best time to visit ~: November to March. Fauna found at the reserve: Golden langur, wild buffalo, capped langur, Indian one-horned rhinoceros, water buffalo, gaur, hog deer, tiger. Access ~: By Road: Nearest town, Barpeta Road (41 km).

MANAS RESERVE, ASSAM: The Manas river divides the lush, mixed deciduous forests that

~: Nearest railhead: Barpeta. ~: Nearest airport: Guwahati. (186 km).

SUNDERBANS NATIONAL PARK: The Sunderbans National Park, covering about 1330.10 sq
km, is the habitat of nearly 200 Royal Bengal tigers. Bangladesh lies to the east of the Park and it is estimated that the combined population of tigers in the region could well be about 400 in number. Adapting itself to the saline and watery environment, the tigers at the Park are good swimmers and practically amphibious.Traversing the mangroves by motor launch is quite an experience, for the area is completely unspoilt and very different form the more conventional wildlife park. The estuarine crocodile is often seen along the mud banks but owing to the dense undergrowth the tiger is rarely sighted. The park is also noted for its conservation of the Ridley sea turtle. Best time to visit ~: September to May. Where to Stay ~: Forest Lodge at Sajnakhali. Nearest Town Gosaba (50 km). How to get there ~: By Rail: Canning (48 km). ~: By Air: Calcutta (112 km).

Expected World Heritage Site

THE TOY TRAIN OF THE DARJEELING HILLS: Darjeeling, the exotic hill station located at
6800 above sea level in West Bengal is connected to the plains by means of a 2 feet gauge, 83 km long railway line on which runs a beautiful toy train. This toy train has achieved worldwide fame for engineering excellence, wonderful landscape and touristy attraction. This train is still hauled by small steam engines which were built in the early 20th century. For a die-hard rail enthusiast, a trip to India is incomplete without a ride on this unique toy train. It is expected that UNESCO will soon be encrypting this railway system as the 22nd World Heritage Site of the country.

PATTADAKAL GROUP OF MONUMENTS: Pattadakal, in Karnataka, illustrate the Chalukyan

art which, in the 7th and 8th centuries A. D., under the Chalukya dynasty,achieved a harmonious blend of architectural forms from the north and south of India.There is an impressive series of nine Hindu temples, as well as a Jain sanctuary. The oldest temple at Pattadakal is the Sangamesvara temple built by Vijayditya Satyasraya (A.D. 697-733). It is a simple but a massive structure. The Temple of Vrupaksha, built around 740 A.D. by Queen Lokamahadevi to commemorate her husband's victory over the kings from the south is a masterpiece in itself. The narrative relief illustrate various episodes from the great Hindu epics -Ramayana and Mahabharata, from the holy book - Bhagavata and tales of Panchatantra. Travel information ~: Open on all weekdays from sunrise to sunset Best time to visit ~: Ideal time to visit Pattadakal is October to February. Access ~: The nearest railway station is Badami, 29 kms away. Pattadakal is connected by road to Badami (29 kms) and Aihole (17 kms).

QUTAB MINAR: Spearing its way proudly into the sky, Qutab Minar with a length of 238 feet,
commands a panoramic view of the green fields extending into a sprawling city of Delhi. Started in 1192 by the slave king, Qutb-ud-Din Aibak, the tower was built in three stages. Qutb-ud-Din completed the first storey while the other three were built by Iltutmish in 1230. The Minar was damaged in 1322 and then repaired by Mohammad Bin Tughlak and again in 1368 by Firoz Shah Tughlak. All the five storeys of the tapering Qutab Minar consist of ornamental bands of Koranic inscriptions. Each storey is marked by a balcony. The first three storeys are made of red sandstone, while the fourth and fifth are of marble of sandstone.The most outstanding feature of the tower is the stalactite support to the balconies and the circular plan with its alternating semi-circular and angular flutings.

Quwwat-ul-Islam Masjid: To mark his victory over Rai Pithora, Qutb-ud-Din Aibak built the
Quwwat-ul-Islam Masjid (Might of Islam) in 1192 which was completed in 1198.It is the earliest extant mosque in India, having a rectangular court. The court is enclosed by cloisters which were erected with carved columns and other architectural members from the 27 Hindu and Jain temples, which were later demolished.

Iron Pillar: The complex also hosts an Iron Pillar in the courtyard of the mosque. The quality of
the iron used for constructing the pillar is exceptionally pure and has not rusted even after 2000 years.An inscription in Sanskrit clearly indicated that it was initially erected outside a Vishnu temple, possibly in Bihar. It was raised in memory of the Gupta King Chandragupta Vikramaditya, who ruled from 375 to 413. It is said to have been brought to Delhi by the Tomar king Anangpal, somewhere in the 11th century.

Iltutmish Tomb: Also located in the complex is the Iltutmish Tomb, north-west to the Iron
Pillar. Iltutmish dies in 1236, but had his tomb built a year earlier, in 1235. This is a landmark in Indo-Islamic architecture.

Alai Darwaza: Described as one of the most treasured gems of Islamic architecture, this gate
was built on entirely Islamic principles. It is the first building employing whole Islamic principles of accurate construction and geometric ornamentation. The Alai Darwaza is a square, domed building with intricate carvings in red sandstone and marble.

Alai Minar: Ala-ud-Din wanted to build a second tower of victory twice as high as Qutab Minar but when he died the tower had reached only 27 meters and later no one was willing to continue with his over ambitious project. Alai Minar is the uncompleted tower today which stands to the north of the Qutab Minar and the mosque.
Travel Information ~: Open on all weekdays from sunrise to sunset. Best time to visit ~: November to February. Access ~: Delhi is well connected by air to all major world cities and important Indian cities. Rail services to most Indian locations. Road links to neighbouring states and major cities. Places to visit Purana Quila, Jama Masjid, Red Fort, Jantar Mantar, India Gate, Parliament House, National Museum, Raj Ghat, Lakshmi Narayan Temple, Teen Murti House.

BUDDHIST MONUMENTS AT SANCHI: Sanchi is known for its masterpieces of Buddhist art Buddhist stupas, monasteries, temples and pillars dating from the 3rd century B.C. to the 12th century A.D. The site consists of mainly three stupas. The most famous of the stupas Stupa NO. 1 is a hemispherical dome, crowned by a triple umbrella, 36.60 meters in diameter. A railing encircles the stupa cut by four exquisitely carved gateways or tornas. The torana consists of two upright pillars that are square in shape and support of two upright pillars that are square i shape and support a super structure of three architraves with volute ends. Both sides of the architraves as well as various faces of the upright pillars are sculpted with depiction of religious subjects, elephants dwarfs of ganas (attendants) lions, auspicious emblems, vriksha devatas (symbolising different types of trees), incidents and stories from the life of the Buddha. Stupa No. 2 consists of the Buddhist symbols like the Bodhi tree, a throne and the wheel of law. There are elaborate carvings on the pillars flanking the entrances. Some of them are lions supporting a Chakra (wheel), vidyadhars (bearers of wisdom) bringing garlands and the wish fulfilling wine. Temple 17 consists of a flat roofed square sanctum with a portico supported on four solid pillars. Nearby is the 2nd century B.C. Heliodoruspillar, the 5th century A.D. Udaygiri cave and monuments at Vidisha, all within a ten kilometers radius Travel Information ~: Open on all weekdays from sunrise to sunset. Best time to visit ~: November to February Access Located in Madhya Pradesh, Sanchi is connected to Bhopal by road which is 46 kilometers away via Diwanganj and 78 kilometers away via Raisen. To get to this site one must reach Bhopal which is well connected by air, rail and road to Delhi,Mumbai, Gwalior and Indore, and thereafter use the motorable road to Sanchi. Places to visit ~: Vidisha, Udaygiri Caves, Gyraspur, Udaypur.

TAJ MAHAL: An Emperor's Lament: Agra is the city of the Taj Mahal. It is a sublime
experience of the greatest love story ever told. Today, India's most fascinating and beautiful masterpiece, this perfectly symmetrical edifice is set amidst landscaped gardens on the banks of the Yamuna.The Taj was built to enshrine the remains of Begum Mumtaz Mahal, the consort of Mughal Emperor Shah Jahan. Built by the Persian architect Ustad Isa, the Taj ahs the verses of the holy Quran inscribed on it, with the gate being crowned by 22 small domes.Renowned for its architectural magnificence and aesthetic beauty, Taj counts among man's proudest creations. The Taj has been constructed on a 313 square feet marble platform that stands above a sandstone one. The entire portion is enclosed with a high boundary wall with broad octagonal pavilions at the corners. the most elegant dome of the monument has a diameter of 60 feet that rises 80 feet over the building. Semi-precious stones are inlaid into the marble in beautiful patterns and with superb craftsmanship in a process known as pietra dura. Within the dome lies the jewel inlaid cenotaph of the queen.The Taj in all its timeless beauty is still the inspiration of poets and painters, writers and photographers. The dome is made of white

marble, but the tomb is set against the plain across the river and it is this background that works its magic of colours that,thorugh their reflection, change the view of the Taj. So perfect are the proportions of the Taj, so exquisite its workmanship, that is has been described as having been described as having been designed by giants and finished by jewellers. Tourist Information ~: Open from sunrise to 19 hours. Best time to visit ~: From November to February. Access Agra is connected to Delhi by air. One can also use the Taj Express or the Shatabdi to get there. One can even drive or bus it (204 km from Delhi.) Places to visit ~: Itmad-ud-daula's Tomb, Chini-ka-rauza, Ram Bagh, Fatehpuri Sikri.