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| Agra Fort |
Near the gardens of Taj Mahal stands the important 16th-century Mughal monument known as the Red Fort of Agra. This powerful fortress of red sandstone encompasses within its 2.5-km-long enclosure walls, the imperial city of the Mughal rulers. The forbidding exteriors of this fort hide an inner paradise. There are a number of exquisite buildings like Moti Masjid - a white marble mosque akin to a perfect pearl; Diwan-E-Am, Diwan-E-Khaas, Musamman Burj - where Mughal Emperor Shah Jahan died in 1666 A.D., Jahangir's Palace, Khaas Mahal and Sheesh Mahal. Agra Fort, an excellent example of Mughal architecture, is one of the few UNESCO World Heritage Sites in India.
The construction of the Agra fort was started around 1565, when the initial structures were built by the Mughal Emperor Akbar, and subsequently taken over by his grandson Shah Jahan, who added most of the marble creations to the fort. The fort is crescent shaped, flattened on the east with a long, nearly straight wall facing the river. It is ringed by double castellated ramparts of red sandstone, punctuated at regular intervals by bastions. A 9m wide and 10m deep moat surrounds the outer wall. An imposing 22m high inner wall imparts a feeling of invincible defensive construction. The layout of the fort was determined by the course of the river, which in those days flowed alongside. The main axis is parallel to the river and the walls bridge out towards the city.
The fort had originally four gates, two of which were later walled up. Today, visitors are allowed entry only through the Amar Singh gate. Jehangir Mahal is the first notable building that the visitor sees as he enters through Amar Singh gate. Jehangir was Akbar's son and the heir to the Mughal throne. Jehangir Mahal was built by Akbar as the women's quarters. It is built of stone and is simply decorated on the exterior. Ornamental Persian verses have been carved on a large stone bowl, which were probably used to contain fragrant rose water. Akbar built a palace, adjacent to Jehangir Mahal, for her favourite queen Jodha Bai.
Built by Shah Jahan, entirely of marble, the Khaas Mahal demonstrates distinctive Islamic-Persian features. These are well blended with a striking range of Hindu features such as chhatris. It is considered to be emperor's sleeping room or 'Aramgah'. Khaas Mahal provides the most successful example of painting on a white marble surface. On the left of the Khaas Mahal, is the Musamman Burj, built by Shah Jahan. It is a beautiful octagonal tower with an open pavillion. It boasts of its openness, elevation and cool evening breezes. This is where Shah Jahan lay on his deathbed, gazing at the Taj.
Sheesh Mahal or the Glass Palace is the finest example of decorative water engineering in the hammams. It is believed to have been the harem or the dressing room, and its walls are inlaid with tiny mirrors which are the best specimens of the glass-mosaic decoration in India. To the right of Sheesh Mahal is Diwan-I-Khaas, the hall of Private Audience. The marble pillars are inlaid with semi-precious stones in delightful floral patterns. Adjacent to this, is the Mammam-E-Shahi or the Shah Burj, used as the summer retreat.
The Diwan-E-Am used to house the famous Peacock Throne, which was taken to the Red Fort when Shah Jahan moved his capital to Delhi. The throne alcove is of richly decorated white marble. Nagina Masjid, built by Shah Jahan, was the private mosque of the ladies of the court. Moti Masjid or the Pearl Mosque is the prettiest structure at Agra Fort. The building is presently closed for visitors. Near Moti Masjid is Mina Masjid, which seems to have been constructed by Shah Jahan strictly for his private use.
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| Ajanta & Ellora Caves |
 Beginning with the 2nd century BC, and continuing into the 6th century AD, the paintings and sculptures in the caves of Ajanta and Ellora, inspired by Buddhism and its compassionate ethos, unleashed a surge of artistic excellence unmatched in human history. These Buddhist and Jain caves are ornately carved, yet seem quiet and meditative and exude a divine energy and power.
About 107 km from the city of Aurangabad in Maharashtra, are the rock-out caves of Ajanta nestled in a panoramic gorge, in the form of a gigantic horseshoe. A set of 29 caves, Ajanta is among the finest examples of some of the earliest Buddhist architecture, cave paintings and sculptures. These caves comprise Chaitya halls or shrines, dedicated to Lord Buddha and Viharas or monasteries, used by Buddhist monks for meditation and the study of Buddhist teachings. The paintings that adorn the walls and ceilings of the caves depict incidents from the life of lord Buddha and various Buddhist divinities. Among the most interesting paintings are the Jataka tales, illustrating diverse stories relating to the previous incarnations of the Buddha as Bodhisattava, a saintly being who is destined to become the Buddha. These elaborate sculptures and paintings stand in impressive grandeur in spite of withstanding the ravages of time. Amid the beautiful images and paintings are sculptures of Buddha, calm and serene in contemplation.
 The cave temples and monasteries at Ellora, excavated out of the vertical face of an escarpment, are 26 km north of Aurangabad. Sculptors, inspired by Buddhism, Jainism and Hinduism, created elaborate rock carvings. Extending in a linear arrangement, the 34 caves contain Buddhist Chaityas or halls of worship, Viharas or monasteries and Hindu and Jain temples. Spanning a period of about 600 years between the 5th and 11th century AD, the earliest excavation here is of the Dhumar Lena (Cave 29). The most imposing excavation is, without doubt, that of the magnificent Kailasa Temple (Cave 16) which is the largest monolithic structure in the world. Known as Verul in ancient times, it has continuously attracted pilgrims through the centuries to the present day.
Declared as World Heritage Sites by UNESCO since 1983, the paintings and sculptures of Ajanta and Ellora, considered masterpieces of Buddhist religious art, have had a great influence in the development of art in India. The creative use of colour and freedom of expression used in depicting human and animal forms makes the cave paintings at Ajanta one of the high watermarks of artistic creativity. The Ellora preserved as an artistic legacy that will continue to inspire and enrich the lives of generations to come. Not only is this cave complex a unique artistic creation and an excellent example of technological exploit but also, with its sanctuaries devoted to Buddhism, Hinduism and Jainism, it illustrates the spirit of tolerance that was characteristic of ancient India.
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| Amer Fort |
 At a short distance of 11 kms from Jaipur, the Capital of Rajasthan State, the Amer Fort complex stands amidst wooded hills overlooking the Delhi-Jaipur highway, with its forbidding ramparts reflected in the still waters of the Maota Lake below.
One of the finest examples of Rajput architecture, it was the ancient capital of the Kachhawah rulers. The original palace was built by Raja Man Singh and additions were made later by Sawai Jai Singh.
Within the palace are the Diwan-e-Aam or the "Hall of Public Audience", the Diwan-e-Khas or the "Hall of Private Audience" and the Sukh Niws where a cool breeze blows across channels of water for the purpose of air-conditioning.
The private chambers of the queens have windows with latticed screens so that the ladies could watch the proceedings of the royal court in privacy. There is also the Jai Mandir or the "Temple of Victory", with its famous Sheesh Mahal, the scintillating "Hall of Mirrors"
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| Bahai Temple |
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 In the heart of New Delhi, the bustling capital of India, a lotus-shaped outline has etched itself on the consciousness of the city's inhabitants, capturing their imagination, fuelling their curiosity, and revolutionising the concept of worship. This is the Bahá'í Mashriqu'l-Adhkar, better known as the "Lotus Temple". With the dawning of every new day, an ever-rising tide of visitors surges to its doorsteps to savour its beauty and bask in its serenely spiritual atmosphere.
Since its dedication to public worship in December 1986, this Mother Temple of the Indian sub-continent has seen millions of people cross its threshold, making it one of the most visited edifices in India. As an evocative symbol of beauty and purity, representative of divinity, the lotus flower remains unsurpassed in Indian iconography. Rising up pure and unsullied from stagnant water, the lotus represents the manifestation of God. This ancient Indian symbol was adopted to create a design of ethereal beauty and apparent simplicity, belying the complex geometry underlying its execution in concrete form. The Lotus Temple proves to be a remarkable fusion of ancient concept, modern engineering skill, and architectural inspiration.
Its soothingly quiet Prayer Hall and tranquil surroundings have touched the hearts of the Temple's numerous visitors, awakening in them a desire to trace its inspirational source and capture a bit of its peace for themselves. The aura of silence surrounding the Hall instills reverence. Some are moved by its 'eloquent silence' and 'divine atmosphere’. People are affected in varied degrees by the peace and beauty of the sanctum sanctorum.
The construction of the Bahá'í House of Worship of Bahapur was a significant chapter in the making of Baha'i history on the Indian sub-continent. Bahá'ís have endeavoured to their utmost to build houses of worship as beautiful and distinctive as possible. They have been inspired by writings of Baha'u'llah and His son Abdu'l-Bahá.
Not only does it embody the spiritual aspirations and basic beliefs of the world-wide Bahá'í community, but, significantly in a land of myriad religions, it has begun to be seen as providing a unifying link, bringing divergent thoughts into harmony by virtue of its principle of oneness - of God, religion, and mankind. The Temple, with its total absence of idols, elicits bewilderment as well as favourable response. Visitors express perplexity at the absence of any deity and yet are awed by the beauty and grandeur of the edifice. A typical response is: "There is silence and the spirit is eloquent. One feels one is at last entering into the estate of the soul, the state of stillness and peace".
The Lotus Temple is one of the 100 canonical works of this century, a powerful icon of great beauty that goes beyond its pure function of serving as a congregation space to become an important architectural symbol. As a symbol of faith and human endeavour expended in the path of God, the temple has become the recipient of accolades and worldwide acclaim. In 2000, the temple received the "GLOBArt Academy 2000" award in recognition of "the magnitude of the service of [this] Taj Mahal of the 20th century in promoting the unity and harmony of people of all nations, religions and social strata, to an extent unsurpassed by any other architectural monument world-wide".
"Architecturally, Artistically, Ethically, the edifice is a paragon of perfection”, said a renowned Indian poet, in the praise of the temple.
Source : National Spiritual Assembly of the Bahá'ís of India (http://www.bahaindia.org)
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The Bara Imambara, Lucknow
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 Lucknow, the capital of the north Indian state of Uttar Pradesh is a modern city that can boast of having magnificent historical monuments. Situated at the banks of river Gomti, tributary of the Ganga, Lucknow is known for its gardens, parks and unique archaeological monuments. Famous as the city of Nawabs, Lucknow has retained its charm as a bastion of culinary and cultural delights. The people of this city are known for their exquisite charm, courtesy and flair of the Urdu language. Lucknow is also famous for its exclusive 'chikan' embroidered dress materials.
The city is home to ‘Bara Imambara’, a historical edifice with such a marvelous architecture that even modern architects seem to be perplexed by its design. The Imambara was built by Nawab Asaf-ud-Daula in 1784 and its designer was Kifayat-ullah who is said to be a relative of the architect of the Taj Mahal. Built by the Nawab in a famine relief programme, this fort like huge and elegant structure is also called Asafai Imambara. The structure shows the mixture of Rajput and Mughal architectures with Gothic influences. The Bara Imambara is an interesting building. It is neither a mosque, nor a mausoleum, but a huge building having interesting elements within it. The construction of the halls and the use of vaults show a strong Islamic influence.
The Bara Imambara is, in fact, a great hall built at the end of a spectacular courtyard approached through two magnificent triple-arched gateways. The central hall of the Imambara is almost 50 meters in length and 16-meter wide. The ceiling of this columnless hall is more than 15-meter high. The hall is one of the largest of its kind in the world without any external support of wood, iron, or stone beams. The roof has been put together with interlocking bricks without using a beam or a girder. Hence, it is viewed as a unique achievement of architecture. The building, which consists of three huge halls, has an amazing maze of corridors hidden in between its walls that are about 20 feet thick. This dense, dark maze called the ‘bhul bhulaiya’ is to be explored only if you are strong-hearted. It is a network of more than 1000 labyrinthine passages, some of which have dead-ends, some end at precipitous drops while others lead to entrance or exit points. Help of an "approved" guide is recommended if one wants a tour of the secret labyrinth without getting lost.
Another intriguing structure at the Imambara is the five-storied baoli (step well), which belongs to the pre-Nawabi era. Called the Shahi-Hammam (royal bath), this baoli is connected with the river Gomti. Only the first two stories are above water, the rest being perennially under water.
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| Basilica of Bom Jesus (Goa) |
 10 km east of Panaji, along the Mandovi river, is the town of Old Goa, where lie some of India’s greatest churches and among them, the most popular and the most revered by Christians worldwide is the Basilica of Bom Jesus. The Basilica, dedicated to Infant Jesus, has been declared a World Heritage Monument now. 'Bom Jesus' means 'Infant Jesus' or 'Good Jesus'. Renowned throughout the Catholic world, the 16th century cathedral is India’s first Minor Basilica, and is considered as one of the best examples of baroque architecture in India. The layout follows simple Renaissance norms while the detailing and decoration is unabashed Baroque. It’s an opulent structure which incorporates white marble and has beautifully gilded altars decorated with frescoes and inlay work.
The Basilica houses the sacred relics of St. Francis Xavier, patron saint of Goa who died in 1552. The mortal remains of the saint were gifted to the church by Cosimo de Medici III, Grand Duke of Tuscany. Today, the embalmed body lies in an airtight glass coffin positioned in a silver casket crafted by a 17th century Florentine sculptor, Giovanni Batista Foggini. In accordance with his wishes, his remains were transferred to Goa the following year after his death. It is said that, while transferring, the saint's body was found to be as fresh as the day it was buried. This miraculous phenomenon continues to attract the devout from all lands, and an ‘Exposition’ or public viewing of his body happens, once every decade, to allow pilgrims to view it. The saint is believed to have miraculous powers of healing, and pilgrims come from all over the world to offer prayers. The silver casket is lowered for public viewing only during the public exposition. Last exposition was in 2004.
Intricately carved basalt embellishments make it one of the richest facades in Goa. The layout follows simple Renaissance norms while the detailing and decoration is unabashed Baroque. The mausoleum of St. Xavier is a marvel of Italian art (the marble base) and Hindu craftsmanship (the silver casket). The elaborately gilded altars are beautiful examples of sculptures and carvings in wood, stone, gold and granite. Columns are covered with marble and inlaid with precious stones. The church also houses paintings depicting the life of St. Francis Xavier. Visitors are overcome by the deep spirituality and tranquility of the place. Every year thousands of people visit the cathedral especially in December. A trip to Goa is incomplete without a visit to the revered Basilica.
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| Brhadisvara Temple - Thanjavur |
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 The Brhadisvara Temple, a splendid example of Chola architecture was built by Emperor Rajaraja (985-1012.A.D.). The long series of epigraphs incised in elegant letters on the plinth all round the gigantic edifice reveals the personality of the Emperor.
The Brhadisvara temple is a monument dedicated to Siva, and he named lord as Rajarajesvaram-udayar after himself. The temple is constructed of granite, mostly of large blocks, a rock that is not available in the neighborhood and had therefore to be brought from a distance. The temple is within a spacious inner prakara of 240.90 m long (east-west) and 122m broad (north-south), with a gopura at the east and three other ordinary torana entrances one at each lateral sides and the third at rear. The prakara is surrounded by a double-storeyed malika with parivaralayas.
The sikhara, a cupolic dome, is octagonal and rests on a single block of granite, a square of 7.8 m weighing 80 tons. The majestic upapitha and adhishthana are common to all the axially placed entities like the ardhamaha and mukha-mandapas and linked to the main sanctum but approached through a north-south transept across the ardha-mandapa which is marked by lofty sopanas. The moulded plinth is extensively engraved with inscriptions by its royal builder who refers to his many endowments, pious acts and organisational events connected to the temple. The brihad-linga within the sanctum is 8.7 m high. Life-size iconographic representations on the wall niches and inner passage include Durga, Lakshmi, Sarasvati and Bhikshatana, Virabhadra Kalantaka, Natesa, Ardhanarisvara and Alingana forms of Siva. The mural paintings on the walls of the lower ambulatory inside are finest examples of Chola and later periods.
Fine arts were encouraged in the service of the temple; the sculptures, the paintings in the surrounding passages of the sanctorum and even the inscriptions in elegant Chola Grantha and Tamil letters give an idea of the great art that flourished under Rajaraja.
Sarfoji, a local Maratha ruler, rebuilt the Ganapati shrine. The celebrated Thanjavur school of paintings of the Nayakas are largely superimposed over the Chola murals.
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| Charminar |
 The city of Hyderabad, with its delightful blend of the ancient and the modern, presents to the onlooker an interesting skyline with modern buildings standing shoulder to shoulder with fascinating 400 year old edifices.
It boasts of some fine examples of Qutab Shahi architecture - the Jami Masjid, the Mecca Masjid, Toli Masjid, and of course, the impressive symbol of Hyderabad, the Charminar.
The Charminar is a massive arch built by Mohammed Quli Qutab Shah, in 1591 to commemorate the end of the plague in the city. The symbol of the city, the Charminar, is an impressive square monument with four minarets. The arch is illuminated daily in the evening, an unforgettable sight indeed.
The monument is a magnificent square edifice of granite, built upon four grand arches facing North, South, East and West. These arches support two floors of rooms and gallery of archways. At each corner of the square structure is a minaret rising to a height of 24 meters, making the building nearly 54 meters tall. It is these four (char) minarets (minar) that give the building, its name ‘Charminar’. Each minar stands on a lotus-leaf base, a special recurrent motif in Qutub Shahi buildings.
The first floor was used as a madarasa (college) during the Qutub Shahi period. The second floor has a mosque on the western side, the dome of which is visible from the road, if one stands some distance away. A spectacular view of the city may be had from the roof of the Charminar, although, due to severe overcrowding of the minarets, only visitors with special permission from the Archaeological Survey of India, Hyderabad Circle are allowed to go to the top of the minarets. The clocks above each of the four archways were added in 1889.
Walking around the Charminar area, one is constantly surprised by vestiges of the past intermingling with the present. Towards the Southeast of the Charminar is located imposing edifice of the Nizamia Unani Hospital. About 50m to the West, the line of shops in Lad Bazaar is interrupted by an old, crumbling brown wall, which marks the entrance to the old Nizama’s Jilau Khana (parade ground). The grounds are now being used for the development of a large commercial complex. Further down, a road to the left leads to the Khilawat Complex (Chowmahalla Palace). The Lad Bazaar road terminates in a square called Mahaboob Chowk where a large 19th century clock-tower looms over a delicate white mosque of the same period.
The Charminar is about 7 km from Hyderabad railway station. It is 5 km from Hyderabad bus station. Excellent private transport is available from all parts of the twin-cities. Called the "Arc De Triumph of the East", Charminar symbolises Hyderabad. As old as the city itself, the four imposing towers of this edifice stand in the heart of the old city as a hallmark of the Qutub Shahi era.
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| City Palace, Udaipur |
 Udaipur, the city of lakes, is known as the Venice of the east. Maharana Udai Singh II founded Udaipur in 1568 after his citadel Chittorgarh was sacked by Mughal Emperor Akbar. The legend says that Udai Singh was guided by a holy man meditating on the hill near Pichola Lake to establish his capital on this very spot. Surrounded by Aravali Ranges, forests and lakes this place was less vulnerable than Chittorgarh. Maharana Udai Singh died in 1572 and was succeeded by Maharana Pratap who valiantly defended Udaipur from subsequent Mughal attacks. Maharana Pratap is the most revered Rajput icon and gallantly fought the Mughal at the Haldighati in 1576. Udaipur is also the centre for performing arts, craft and its famed miniature paintings.
City Palace towers over the Pichola Lake. Maharana Uday Singh initiated the construction of the palace but succeeding Maharanas added several palaces and structures to the complex, retaining the uniformity of design. The entry to the palace is from the Hati Pol, the Elephant gate. The Bari Pol or the big gate brings one to the Tripolia, the Triple gate. It was once a custom that the Maharana would weigh under this gate in gold and silver, which was distributed to the populace. Now, it’s the main ticket office. Balconies, cupolas and towers surmount the palace to give a wonderful view of the lake. Suraj Gokhada or the ‘Balcony of Sun’ is where the Maharana used to grant public audiences, mainly to boost the morale of the people in difficult times. The Mor Chawk is the peacock square and gains its name from the vivid blue mosaic in glass of a peacock that decorates its walls.
The main part of the palace is now preserved as a museum displaying a large and diverse array of artefacts. The City Palace museum is entered through the Ganesh Deori meaning the door of Lord Ganesh. This leads to the Rajya Angan, the royal courtyard which is the very spot wher e Maharana Udai Singh met the sage who told him to found a city here. An armoury museum exhibits a huge collection of protective gear and weapons including the lethal two-pronged sword. The rooms of the palace are superbly decorated with mirrors, tiles and paintings. Manak Mahal or the Ruby palace has a lovely collection of glass and mirror work while Krishna Vilas display a rich collection of miniature paintings. Moti Mahal or the Pearl palace has beautiful mirror work and the Chini Mahal has ornamental tiles aWondrously carved in marble, the Dilwara Jain temples in Mount Abu(Rajasthan) enshrine various Jain 'Tirthankaras'. Constructed out of white marble from Arasoori Hill, near Ambaji, 23 km from Abu Road, the temples are an outstanding example of Jain temple architecture.
Of the five shrines in this group, four are architecturally significant. They are built with white marble stones. Each has a walled courtyard. In the centre of the courtyard is the shrine with the image of the deity, Rishabhdev. Around the large courtyard, there are numerous small shrines, each housing a beautiful image of the tirthankaras with a series of elegantly carved pillars from the entrance to the courtyard. The ministers of the Solanki rulers of Gujarat had constructed all these temples during 11th and 13th centuries AD.
Vimal Vasahi is the oldest temple, which has been dedicated to Adinath, the first Jain tirthankara. Vimal Shah, minister of the then Solanki ruler of Gujarat, built it in the year 1031 A.D. The special feature of this temple is it’s ceiling which is circular in eleven richly carved concentric rings. The central ceiling of the temple is adorned with magnificent carving and it culminates into an ornamented central pendant. The pendant of the dome tapers down forming a drop or point, like a lotus flower. This is an astonishing piece of work. It symbolizes the divine grace coming down to fulfill human aspirations. Figures of 16 Vidya Devis (goddesses of knowledge) are carved on the ceiling.
The other Dilwara temples are the Luna Vasahi, Vastupala and Tejapala, named after the ministers of the then Vaghela ruler of Gujarat who built them in 1230 AD. Inspite of being plain and austere on the outside, the interiors of all these temples are covered with delicate carvings. Its most notable feature is that the brilliant intricacy and delicacy of the marble carving is so fine that in places the marble becomes almost transparent.
Dilwara temples are one of the best examples of craftsmanship, the genius of carving out so brilliant and intricate a shape out of a block of stone, such that it almost comes to life! The temple is a tourist’s paradise and a meditative sanctum for the devotees. ll over. The Surya Chopar or the Sun Square depicts a huge ornamental sun symbolising the sun dynasty to which the Mewar dynasty belongs. The Bari Mahal is a central garden with a magnificent view of the city. Some more beautiful paintings can be seen in the Zenana Mahal or the ladies chamber, which leads to Lakshmi Chowk, a beautiful white pavilion.
Inside the separate palace enclosure, entered from the south of Badi Chowk, are the Shiv Niwas and Fateh Prakash Palace, which are now run as hotels. The grand City Palace on the banks of Pichola Lake is the finest example of architectural and cultural explosion under the rule of Rajput rulers. The palace hails tourists from all over the world, leaving them awestruck by its beauty and grandeur.
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| Dilwara Temples, Mount Abu |
 Wondrously carved in marble, the Dilwara Jain temples in Mount Abu(Rajasthan) enshrine various Jain 'Tirthankaras'. Constructed out of white marble from Arasoori Hill, near Ambaji, 23 km from Abu Road, the temples are an outstanding example of Jain temple architecture.
Of the five shrines in this group, four are architecturally significant. They are built with white marble stones. Each has a walled courtyard. In the centre of the courtyard is the shrine with the image of the deity, Rishabhdev. Around the large courtyard, there are numerous small shrines, each housing a beautiful image of the tirthankaras with a series of elegantly carved pillars from the entrance to the courtyard. The ministers of the Solanki rulers of Gujarat had constructed all these temples during 11th and 13th centuries AD.
Vimal Vasahi is the oldest temple, which has been dedicated to Adinath, the first Jain tirthankara. Vimal Shah, minister of the then Solanki ruler of Gujarat, built it in the year 1031 A.D. The special feature of this temple is it’s ceiling which is circular in eleven richly carved concentric rings. The central ceiling of the temple is adorned with magnificent carving and it culminates into an ornamented central pendant. The pendant of the dome tapers down forming a drop or point, like a lotus flower. This is an astonishing piece of work. It symbolizes the divine grace coming down to fulfill human aspirations. Figures of 16 Vidya Devis (goddesses of knowledge) are carved on the ceiling.
The other Dilwara temples are the Luna Vasahi, Vastupala and Tejapala, named after the ministers of the then Vaghela ruler of Gujarat who built them in 1230 AD. Inspite of being plain and austere on the outside, the interiors of all these temples are covered with delicate carvings. Its most notable feature is that the brilliant intricacy and delicacy of the marble carving is so fine that in places the marble becomes almost transparent.
Dilwara temples are one of the best examples of craftsmanship, the genius of carving out so brilliant and intricate a shape out of a block of stone, such that it almost comes to life! The temple is a tourist’s paradise and a meditative sanctum for the devotees.
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| Buddhist Monuments at Sanchi |
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 Sanchi, also known as Kakanaya, Kakanava, Kakanadabota and Bota-Sriparvata in ancient times is situated in the state of Madhya Pradesh. It is a religious place with historical and archaeological significance. Sanchi is famous in the world for stupas, monolithic Asokan pillar, temples, monasteries and sculptural wealth dating from 3rd century BC to 12th century AD.
The Sanchi stupas are noteworthy for their gateways as they contain ornamented depiction of incidents from the life of Buddha and his previous incarnations, "Bodhisattvas", as described in the Jataka tales. Here, Gautam Buddha is depicted by symbols, such as the wheel, which represents his teaching.
Sanchi was virtually forgotten after the 13th Century until 1818, when General Taylor, a British Officer rediscovered it, half buried and well preserved. Later in 1912, Sir John Marshal, Director General of Archaeology, ordered the restoration work at the site.
During Sunga times, several edifices were raised at Sanchi and its surrounding hills. The Asokan stupa was enlarged and faced with stones and decorated with balustrades, staircase and a harmika on the top. The reconstruction of Temple 40 and erection of Stupas 2 and 3 also date back to the same time. In the first century BC, the Andhra-Satavahanas, who had extended their sway over the eastern Malwa, caused the elaborately carved gateways to Stupa 1. From the second to 4th century AD, Sanchi and Vidisha came under the Kushanas and Kshatrapas and subsequently passed on to the hands of the Guptas. During the Gupta period, some temples were built and sculptures were added.
The largest stupa, known as the Great Stupa, is surrounded by a railing with four carved gateways facing all the four directions of the compass. The gateways were probably carved around 100 AD. Stupas are large hemispherical domes, containing a central chamber, in which the relics of the Buddha were placed. The stupas at Sanchi trace the development of the Buddhist architecture and sculpture at the same location beginning from 3rd century B.C. to 12th century A.D. One of the most interesting features of all the sculptures here, is the lack of images of the Buddha in human form. The carvings have a wonderful vitality and show a world where people and animals live together in happiness, harmony and plenty. Stylized depiction of nature is exquisite. Lord Buddha has been shown symbolically in inanimate figures. Presently under a UNESCO project, Sanchi and another Buddhist site, Satdhara, is being further excavated, conserved and environmentally developed.
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| Chhatrapati Shivaji Terminus |
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 The Chhatrapati Shivaji Terminus, formerly known as Victoria Terminus in Mumbai, Maharashtra is a fine example of Victorian Gothic Revival architecture in India, with a blend of themes derived from Indian traditional architecture. The terminus exhibits an important interchange of influences between the two. The building, designed by the British architect F.W. Stevens, became the symbol of Bombay (now Mumbai) as the ‘Gothic City' and the major international mercantile port city in the Indian subcontinent within the British Commonwealth. The terminal was built over ten years, starting in 1878 according to a High Victorian Gothic design based on late medieval Italian models. Its remarkable stone dome, turrets, pointed arches, and eccentric ground plan are close to traditional Indian palace architecture.
This famous terminal also displays the beauty of late 19th century railway architecture in the British Commonwealth characterized by its advanced structural and technical solutions. It has become an inseparable part of the people of Mumbai as the station operates both suburban and long distance trains. This magnificent terminus serves as the headquarters of the Central Railways in India and is one of the busiest stations of the nation. Till 1996, it was known as Victoria Terminal, named so in the honour of Queen Victoria.
On 2nd July 2004, the World Heritage Committee of UNESCO nominated this magnificent specimen of late 19th century railway architecture as a World Heritage Site. This terminus is one of the rare specimens of the excellent fusion of traditional western and Indian architecture and adds a unique variety to the rich Indian heritage.
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| Chola Temples |
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 Situated in the southern state of Tamil Nadu, this World Heritage site comprises the three great 11th and 12th century Chola Temples: the Brihadisvara temples of Thanjavur, Gangaikondacholisvaram, and the Airatesvara temple at Darasuram. The three Chola temples in India are exemplary production in the Dravidian style of temple architecture.
The Brihadisvara temples are situated at Thanjavur, the ancient capital of the Chola kings. King Rajaraja Chola constructed the Brihadisvara Temple in 10th century AD, designed by the famous architect Sama Varma. The Cholas were great patrons of art, during their reign, as a result, the most magnificent temples and exquisite bronze icons were created in South India.
The Brihadisvara temple is crowned by a pyramidal 65-m vimana, a sanctum tower. Its walls are covered with rich sculptural decoration. The second Brihadisvara temple complex built by Rajendra I was completed in 1035. Its 53-m vimana has recessed corners and a graceful upward curving movement, contrasting with the straight and severe tower at Thanjavur. It has six pairs of massive, monolithic dvarapalas statues guarding the entrances and bronzes of remarkable beauty inside.
The other two temples, Gangaikondacholisvaram and Airatesvara were also built in the age of Cholas and testify their brilliant achievements in architecture, sculpture, painting, and bronze casting.
The great Temple of Tanjore (Thanjavur) was built between 1003 and 1010 in the reign of the King Rajaraja, of the Chola Empire which stretched all over South India and the neighbouring islands. Surrounded by two rectangular enclosures, the Brihadisvara Temple (built from blocks of granite and, in part, from bricks) is crowned with a pyramidal 13-storey tower, the vimana, standing 61 m high and topped with a bulb-shaped monolith. The walls of the temple are covered with rich sculptural decoration.
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| Churches and Convents of Goa |
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 The Southern Indian State, Goa has some world famous churches and convents, particularly the Church of Bom Jesus, which contains the tomb of St Francis-Xavier and Se' Cathedral. These monuments were influential in spreading forms of Manueline, Mannerist and Baroque art in all the countries of Asia where missions were established.
The Basilica of Bom Jesus , located 10 km east Panaji (Capital of Goa) was built in 16th Century. 'Bom Jesus' means 'Infant Jesus' or 'Good Jesus'. Renowned throughout the Catholic world, this cathedral is India's first Minor Basilica, and is considered as one of the best examples of baroque architecture in India. The layout follows simple Renaissance norms while the detailing and decoration is unabashed Baroque. It's an opulent structure, which incorporates white marble and has beautifully gilded altars decorated with frescoes and inlay work.
The Basilica houses the sacred relics of St. Francis Xavier, patron saint of Goa who died in 1552. Cosimo de Medici III, Grand Duke of Tuscany, gifted the mortal remains of the saint to the church. Today, the embalmed body lies in an airtight glass coffin positioned in a silver casket crafted by a 17th century Florentine sculptor, Giovanni Batista Foggini. In accordance with his wishes, his remains were transferred to Goa the following year after his death. It is said that, while transferring, the saint's body was found to be as fresh as the day it was buried.
The mausoleum of St. Xavier is a marvel of Italian art (the marble base) and Hindu craftsmanship (the silver casket). The elaborately gilded altars are fine examples of sculptures and carvings in wood, stone, gold and granite. Columns are covered with marble and inlaid with precious stones. The church also houses paintings depicting the life of St. Francis Xavier.
Se' Cathedral , another celebrated religious buildings of Goa was constructed in 16th century the Roman Catholics under the Portuguese rule. The Cathedral, the largest church in Asia, is dedicated to St. Catherine of Alexandria on whose feast day in 1510, Alfonso Albuquerque defeated the Muslim army and took possession of the city of Goa. Hence, it is also known as St. Catherine's' Cathedral.
The construction of this imposing edifice began in 1562 during the reign of King Dom Sebastião (1557-78) and substantially completed by 1619. It was consecrated in 1640.
The church is 250 ft in length and 181 ft in breath. The frontispiece stands 115 ft high. The building is Portuguese-Gothic in style with a Tuscan exterior and Corinthian interior. The exterior of the cathedral is notable for its plainness of style whereas, its vaulted interior overwhelms the visitors by sheer grandeur.
The main altar of the Cathedral is dedicated to St. Catherine of Alexandria, and old paintings on either side of it, depict scenes from her life and martyrdom. On the right of the nave, is the screened Chapel of the Cross of Miracles.
Church and Convent of St. Francis of Assisi, Church of Lady of Rosary; Church of St. Augustine are among some other famous Churches and Convents of Goa.
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| Elephanta Caves |
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 Elephanta anciently known as Gharapuri, the island capital of Konkan Mauryas, is celebrated for its colossal image of Mahesamurti with three heads each representing a different form. The Elephanta Caves serve as a great tourist attraction in the vicinity of the large Mumbai metropolis. The Elephanta island is located 10 km away from the Gateway of India at Mumbai in Maharashtra. The cave temple, dedicated to Lord Shiva, was excavated sometime in the 8th century by the Rashtrakuta kings, who ruled the area between AD 757-973.
The Elephanta caves is a conglomeration of seven caves, out of which the most important is the Mahesa-murti cave. The main body of the cave, excluding the porticos on the three open sides and the back isle, is 27 metres square and is supported by rows of six columns each. The gigantic figures of 'dvarapalas' or doorkeepers are very impressive.
There are sculptured compartments in this cave with remarkable images of Ardhanarisvara, Kalyana-sundara Shiva, Ravana lifting Kailasa, Andhakari-Murti (slaying of Andhaka demon) and Nataraja Shiva.
The cave complex has been given the status of world heritage by UNESCO.
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| Fatehpur Sikri |
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 The royal city at Fatehpur Sikri, situated 26 miles west of Agra, Uttar Pradesh, was built under the orders of the great Mughal Emperor Akbar. In honour of saint Shaikh Salim Chisti, Akbar founded a magnificent city on Sikri ridge. In 1571, he ordered the construction of buildings for his own use and asked the noblemen to build houses for themselves.
Within a year, most of the work was finished and within the next few years, a well planned administrative, residential and religious buildings came into existence.
The Jami Mosque was perhaps among the first buildings to come up. Its epigraph gives AH 979 (AD 1571-72) as the date of its completion. The Buland-Darwaza was added some five years later.
Among other important buildings are the tomb of Shaikh Salim Chishti, Naubat-or Naqqar Khana (drum-house), Taksal (mint), Karkhanas (royal workshop), Khazana (treasury), Hakim's quarters, Diwan-i-Am (hall of public audience), house of Maryam also called Sunahra Makan (Golden House), palace of Jodh Bai, Birbal's house, etc.
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