1)Taj Mahal
The Taj Mahal (pronounced /tɑdʒ mə'hɑl/ or pronounced /tɑʒ mə'hɑl/; Hindi: ताज महल; Persian/Urdu: تاج محل) , is a mausoleum located in Agra, India, that was built under Mughal Emperor Shah Jahan in memory of his favorite wife, Mumtaz Mahal.
The Taj Mahal (also "the Taj") is considered the finest example of Mughal architecture, a style that combines elements from Persian, Turkish, Indian, and Islamic architectural styles. In 1983, the Taj Mahal became a UNESCO World Heritage Site and was cited as "the jewel of Muslim art in India and one of the universally admired masterpieces of the world's heritage."
While the white domed marble and tile mausoleum is most familiar, Taj Mahal is an integrated symmetric complex of structures that was completed around 1648. Ustad Ahmad Lahauri is generally considered to be the principal designer of the Taj Mahal.[1]
Origin and inspiration
In 1631, Shah Jahan, emperor during the Mughal empire's period of greatest prosperity, was griefstricken when his third wife, Mumtaz Mahal, died during the birth of their fourteenth child, Gauhara Begum.[2] The court chronicles of Shah Jahan's grief illustrates the love story traditionally held as an inspiration for Taj Mahal.[3] [4] The construction of Taj Mahal begun soon after Mumtaz's death with the principal mausoleum completed in 1648. The surrounding buildings and garden were finished five years later. Emperor Shah Jahan himself described the Taj in these words:
The Taj Mahal incorporates and expands on design traditions of Rajput architecture, Persian and earlier Mughal architecture.
The tomb
The focus of the Taj Mahal is the white marble tomb, which stands on a square plinth consisting of a symmetrical building with an iwan, an arch-shaped doorway, topped by a large dome. Like most Mughal tombs, basic elements are Persian in origin.
The base structure is a large, multi-chambered structure. The base is essentially a cube with chamfered edges and is roughly 55 meters on each side (see floor plan, right). On the long sides, a massive pishtaq, or vaulted archway, frames the iwan with a similar arch-shaped balcony.
On either side of the main arch, additional pishtaqs are stacked above and below. This motif of stacked pishtaqs is replicated on chamfered corner areas as well. The design is completely symmetrical on all sides of the building. Four minarets, one at each corner of the plinth, facing the chamfered corners, frame the tomb. The main chamber houses the false sarcophagi of Mumtaz Mahal and Shah Jahan; their actual graves are at a lower level.
The marble dome that surmounts the tomb is its most spectacular feature. Its height is about the same size as the base of the building, about 35 meters, and is accentuated as it sits on a cylindrical "drum" of about 7 metres high. Because of its shape, the dome is often called an onion dome (also called an amrud or guava dome). The top is decorated with a lotus design, which serves to accentuate its height as well. The shape of the dome is emphasised by four smaller domed chattris (kiosks) placed at its corners. The chattri domes replicate the onion shape of the main dome. Their columned bases open through the roof of the tomb and provide light to the interior. Tall decorative spires (guldastas) extend from edges of base walls, and provide visual emphasis to the height of the dome. The lotus motif is repeated on both the chattris and guldastas. The dome and chattris are topped by a gilded finial, which mixes traditional Persian and Hindu decorative elements.
The main dome is crowned by a gilded spire or finial. The finial, made of gold until the early 1800s, is now made of bronze. The finial provides a clear example of integration of traditional Persian and Hindu decorative elements. The finial is topped by a moon, a typical Islamic motif, whose horns point heavenward. Because of its placement on the main spire, the horns of moon and finial point combine to create a trident shape, reminiscent of traditional Hindu symbols of Shiva.[6]
At the corners of the plinth stand minarets, the four large towers each more than 40 meters tall. The minarets display the Taj Mahal's penchant for symmetry. These towers are designed as working minarets, a traditional element of mosques as a place for a muezzin to call the Islamic faithful to prayer. Each minaret is effectively divided into three equal parts by two working balconies that ring the tower. At the top of the tower is a final balcony surmounted by a chattri that mirrors the design of those on the tomb. The minaret chattris share the same finishing touches, a lotus design topped by a gilded finial. Each of the minarets were constructed slightly outside of the plinth, so that in the event of collapse, a typical occurrence with many such tall constructions of the period, the material from the towers would tend to fall away from the tomb.
Exterior decoration
The exterior decorations of the Taj Mahal are among the finest to be found in Mughal architecture. As the surface area changes, a large pishtaq has more area than a smaller one, and the decorations are refined proportionally. The decorative elements were created by applying paint or stucco, or by stone inlays or carvings. In line with the Islamic prohibition against the use of anthropomorphic forms, the decorative elements can be grouped into either calligraphy, abstract forms or vegetative motifs.
The calligraphy found in Taj Mahal are of florid thuluth script, created by Persian calligrapher Amanat Khan, who signed several of the panels. The calligraphy is made by jasper inlaid in white marble panels, and the work found on the marble cenotaphs in the tomb is extremely detailed and delicate. Higher panels are written slightly larger to reduce the skewing effect when viewing from below. Throughout the complex, passages from the Qur'an are used as decorative elements. Recent scholarship suggests that Amanat Khan chose the passages as well.[7][8] The texts refer to themes of judgment and include:
Surah 91 - The Sun
Surah 112 - The Purity of Faith
Surah 89 - Daybreak
Surah 93 - Morning Light
Surah 95 - The Fig
Surah 94 - The Solace
Surah 36 - Ya Sin
Surah 81 - The Folding Up
Surah 82 - The Cleaving Asunder
Surah 84 - The Rending Asunder
Surah 98 - The Evidence
Surah 67 - Dominion
Surah 48 - Victory
Surah 77 - Those Sent Forth
Surah 39 - The Crowds
As one enters through Taj Mahal Gate, the calligraphy reads "O Soul, thou art at rest. Return to the Lord at peace with Him, and He at peace with you."[9][8]
Abstract forms are used especially in the plinth, minarets, gateway, mosque, jawab, and to a lesser extent, on the surfaces of the tomb. The domes and vaults of sandstone buildings are worked with tracery of incised painting to create elaborate geometric forms. On most joining areas, herringbone inlays define the space between adjoining elements. White inlays are used in sandstone buildings and dark or black inlays on the white marbles. Mortared areas of marble buildings have been stained or painted dark and thus creating a geometric patterns of considerable complexity. Floors and walkways use contrasting tiles or blocks in tessellation patterns.
Vegetative motifs are found at the lower walls of the tomb. They are white marble dados that have been sculpted with realistic bas relief depictions of flowers and vines. The marble has been polished to emphasise the exquisite detailing of these carvings. The dado frames and archway spandrels have been decorated with pietra dura inlays of highly stylised, almost geometric vines, flowers and fruits. The inlay stones are yellow marble, jasper and jade, leveled and polished to the surface of the walls.
Interior decoration
The interior chamber of the Taj Mahal steps far beyond traditional decorative elements. Here the inlay work is not pietra dura, but lapidary of precious and semiprecious gemstones. The inner chamber is an octagon with the design allowing for entry from each face, though only the south garden-facing door is used. The interior walls are about 25 metres high and topped by a "false" interior dome decorated with a sun motif. Eight pishtaq arches define the space at ground level. As with the exterior, each lower pishtaq is crowned by a second pishtaq about midway up the wall. The four central upper arches form balconies or viewing areas and each balcony's exterior window has an intricate screen or jali cut from marble. In addition to the light from the balcony screens, light enters through roof openings covered by chattris at the corners. Each chamber wall has been highly decorated with dado bas relief, intricate lapidary inlay and refined calligraphy panels, reflecting in miniature detail the design elements seen throughout the exterior of the complex. The octagonal marble screen or jali which borders the cenotaphs is made from eight marble panels. Each panel has been carved through with intricate pierce work. The remaining surfaces have been inlaid with semiprecious stones in extremely delicate detail, forming twining vines, fruits and flowers.
Muslim tradition forbids elaborate decoration of graves and hence Mumtaz and Shah Jahan are laid in a relatively plain crypt beneath the inner chamber with their faces turned right and towards Mecca. Mumtaz Mahal's cenotaph is placed at the precise center of the inner chamber with a rectangular marble base of 1.5 meters by 2.5 meters. Both the base and casket are elaborately inlaid with precious and semiprecious gems. Calligraphic inscriptions on the casket identify and praise Mumtaz. On the lid of the casket is a raised rectangular lozenge meant to suggest a writing tablet. Shah Jahan's cenotaph is beside Mumtaz's to the western side. It is the only visible asymmetric element in the entire complex. His cenotaph is bigger than his wife's, but reflects the same elements: a larger casket on slightly taller base, again decorated with astonishing precision with lapidary and calligraphy that identifies Shah Jahan. On the lid of this casket is a traditional sculpture of a small pen box. The pen box and writing tablet were traditional Mughal funerary icons decorating men's and women's caskets respectively. Ninety Nine Names of God are to be found as calligraphic inscriptions on the sides of the actual tomb of Mumtaz Mahal, in the crypt including "O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious... ". The tomb of Shah Jahan bears a calligraphic inscription that reads; "He traveled from this world to the banquet-hall of Eternity on the night of the twenty-sixth of the month of Rajab, in the year 1076 Hijri."
The garden
The complex is set around a large 300-meter square charbagh, a Mughal garden. The garden uses raised pathways that divide each of the four quarters of the garden into 16 sunken parterres or flowerbeds. A raised marble water tank at the center of the garden, halfway between the tomb and gateway, with a reflecting pool on North-South axis reflects the image of the Taj Mahal. Elsewhere, the garden is laid out with avenues of trees and fountains.[10] The raised marble water tank is called al Hawd al-Kawthar, in reference to "Tank of Abundance" promised to Muhammad.[11] The charbagh garden, a design inspired by Persian gardens, was introduced to India by the first Mughal emperor Babur. It symbolizes four flowing rivers of Paradise and reflects the gardens of Paradise derived from the Persian paridaeza, meaning 'walled garden'. In mystic Islamic texts of Mughal period, paradise is described as an ideal garden of abundance with four rivers flowing from a central spring or mountain, separating the garden into north, west, south and east.
Most Mughal charbaghs are rectangular with a tomb or pavilion in the center. The Taj Mahal garden is unusual in that the main element, the tomb, instead is located at the end of the garden. With the discovery of Mahtab Bagh or "Moonlight Garden" on the other side of the Yamuna, Archaeological Survey of India interprets that the Yamuna itself was incorporated into the garden's design and was meant to be seen as one of the rivers of Paradise.[12] The similarity in layout of the garden and its architectural features such as fountains, brick and marble walkways, and geometric brick-lined flowerbeds with Shalimar's suggest that the garden may have been designed by the same engineer, Ali Mardan.[13] Early accounts of the garden describe its profusion of vegetation, including roses, daffodils, and fruit trees in abundance.[14] As the Mughal Empire declined, the tending of the garden declined as well. When the British took over the management of Taj Mahal, they changed the landscaping to resemble that of lawns of London.[15]
Outlying buildings
The Taj Mahal complex is bounded by crenellated red sandstone walls on three sides with river-facing side open. Outside these walls are several additional mausoleums, including those of Shah Jahan's other wives, and a larger tomb for Mumtaz's favorite servant. These structures, composed primarily of red sandstone, are typical of the smaller Mughal tombs of the era. The garden-facing inner sides of the wall are fronted by columned arcades, a feature typical of Hindu temples later incorporated into Mughal mosques. The wall is interspersed with domed kiosks (chattris), and small buildings that may have been viewing areas or watch towers like the Music House, which is now used as a museum.
The main gateway (darwaza) is a monumental structure built primarily of marble and is reminiscent of Mughal architecture of earlier emperors. Its archways mirror the shape of tomb's archways, and its pishtaq arches incorporate calligraphy that decorates the tomb. It utilizes bas-relief and pietra dura (inlaid) decorations with floral motifs. The vaulted ceilings and walls have elaborate geometric designs, like those found in the other sandstone buildings of the complex.
At the far end of the complex, there are two grand red sandstone buildings that are open to the sides of the tomb. Their backs parallel western and eastern walls, and these two buildings are precise mirror images of each other. The western building is a mosque and its opposite is the jawab (answer) whose primary purpose was architectural balance and may have been used as a guesthouse. The distinctions between these two buildings include the lack of mihrab, a niche in a mosque's wall facing Mecca, in the jawab and that the floors of jawab have a geometric design, while the mosque floor was laid with outlines of 569 prayer rugs in black marble. The mosque's basic design is similar to others built by Shah Jahan, particularly to his Masjid-Jahan Numa, or Jama Masjid of Delhi, a long hall surmounted by three domes. The Mughal mosques of this period divide the sanctuary hall into three areas with a main sanctuary and slightly smaller sanctuaries on either side. At the Taj Mahal, each sanctuary opens onto an enormous vaulting dome. These outlying buildings were completed in 1643.
Construction
The Taj Mahal was built on a parcel of land to the south of the walled city of Agra. Shah Jahan presented Maharajah Jai Singh with a large palace in the center of Agra in exchange for the land.[16] An area of roughly three acres was excavated, filled with dirt to reduce seepage and leveled at 50 meters above riverbank. In the tomb area, wells were dug and filled with stone and rubble as the footings of the tomb. Instead of lashed bamboo, workmen constructed a colossal brick scaffold that mirrored the tomb. The scaffold was so enormous that foremen estimated it would take years to dismantle. According to the legend, Shah Jahan decreed that anyone could keep the bricks taken from the scaffold, and thus it was dismantled by peasants overnight. A fifteen kilometer tamped-earth ramp was built to transport marble and materials to the construction site. Teams of twenty or thirty oxen were strained to pull blocks on specially constructed wagons. An elaborate post-and-beam pulley system was used to raise the blocks into desired position. Water was drawn from the river by a series of purs, an animal-powered rope and bucket mechanism, into a large storage tank and raised to large distribution tank. It was passed into three subsidiary tanks, from which it was piped to the complex.
The plinth and tomb took roughly 12 years to complete. The remaining parts of the complex took an additional 10 years and were completed in order of minarets, mosque and jawab and gateway. Since the complex was built in stages, discrepancies exist in completion dates due to differing opinions on "completion". For example, the mausoleum itself was essentially complete by 1643, but work continued on the rest of the complex. Estimates of the cost of the construction of Taj Mahal vary due to difficulties in estimating construction costs across time. The total cost of construction has been estimated to be about 32 million Rupees at that time which now runs into trillions of Dollars if converted to present currency rates.[17]
The Taj Mahal was constructed using materials from all over India and Asia. Over 1,000 elephants were used to transport building materials during the construction. The translucent white marble was brought from Rajasthan, the jasper from Punjab, jade and crystal from China. The turquoise was from Tibet and the Lapis lazuli from Afghanistan, while the sapphire came from Sri Lanka and the carnelian from Arabia. In all, twenty eight types of precious and semi-precious stones were inlaid into the white marble.
A labour force of twenty thousand workers was recruited across northern India. Sculptors from Bukhara, calligraphers from Syria and Persia, inlayer from southern India, stonecutters from Baluchistan, a specialist in building turrets, another who carved only marble flowers were part of the thirty-seven men who formed the creative unit. Some of the builders involved in construction of Taj Mahal are:
- The main dome was designed by Ismail Afandi (a.ka. Ismail Khan),[18] of the Ottoman Empire and was considered as a premier designer of hemispheres and domes.
- Ustad Isa of Persia (Iran) and Isa Muhammad Effendi of Persia (Iran), trained by Koca Mimar Sinan Agha of Ottoman Empire, are frequently credited with a key role in the architectural design,[19][20] but there is little evidence to support this claim.
- 'Puru' from Benarus, Persia (Iran) has been mentioned as a supervising architect.[21]
- Qazim Khan, a native of Lahore, cast the solid gold finial.
- Chiranjilal, a lapidary from Delhi, was chosen as the chief sculptor and mosaicist.
- Amanat Khan from Shiraz, Iran was the chief calligrapher. His name has been inscribed at the end of the inscription on the Taj Mahal gateway.[22]
- Muhammad Hanif was a supervisor of masons and Mir Abdul Karim and Mukkarimat Khan of Shiraz, Iran (Persia) handled finances and management of daily production.
History
Soon after the Taj Mahal's completion, Shah Jahan was deposed by his son Aurangzeb and put under house arrest at nearby Agra Fort. Upon Shah Jahan's death, Aurangzeb buried him in the Taj Mahal next to his wife.
By the late 19th century, parts of the Taj Mahal had fallen badly into disrepair. During the time of the Indian rebellion of 1857, the Taj Mahal was defaced by British soldiers and government officials, who chiseled out precious stones and lapis lazuli from its walls. At the end of 19th century British viceroy Lord Curzon ordered a massive restoration project, which was completed in 1908. He also commissioned the large lamp in the interior chamber, modeled after one in a Cairo mosque. During this time the garden was remodeled with British-looking lawns that are visible today.
In 1942, the government erected a scaffolding in anticipation of an air attack by German Luftwaffe and later by Japanese Air Force. During the India-Pakistan wars of 1965 and 1971, scaffoldings were again erected to mislead bomber pilots[1]. Its recent threats have come from environmental pollution on the banks of Yamuna River including acid rain due to the Mathura oil refinery, which was opposed by Supreme Court of India directives. In 1983, the Taj Mahal was designated a UNESCO World Heritage Site.
Tourism
The Taj Mahal attracts from 2 to 4 million visitors annually, with more than 200,000 from overseas. Most tourists visit in the cooler months of October, November and February. Polluting traffic is not allowed near the complex and tourists must either walk from carparks or catch an electric bus. The Khawasspuras (northern courtyards) are currently being restored for use as a new visitor centre.[23][24] The small town to the south of the Taj, known as Taj Ganji or Mumtazabad, originally was constructed with caravanserais, bazaars and markets to serve the needs of visitors and workmen.[25] Lists of recommended travel destinations often feature the Taj Mahal, which also appears in several listings of seven wonders of the modern world, including the recently announced New Seven Wonders of the World, a recent poll[26] with 100 million votes
The grounds are open from 6 am to 7pm weekdays, except for Friday when the complex is open for prayers at the mosque between 12 noon and 2 pm. The complex is open for night viewing on the day of the full moon and two days before and after [2], excluding Fridays and the month of Ramzan. For security reasons [27] only five items - water in transparent bottles, small video cameras, still cameras, mobile phones and small ladies' purses - are allowed inside the Taj Mahal.
Myths
Ever since its construction, the building has been the source of an admiration transcending culture and geography, and so personal and emotional responses to the building have consistently eclipsed scholastic appraisals of the monument.[28]
A longstanding myth holds that Shah Jahan planned a mausoleum to be built in black marble across the Yamuna river.[29] The idea originates from fanciful writings of Jean-Baptiste Tavernier, a European traveller who visited Agra in 1665. It was suggested that Shah Jahan was overthrown by his son Aurangzeb before it could be built. Ruins of blackened marble across the river in Moonlight Garden, Mahtab Bagh, seemed to support this legend. However, excavations carried out in the 1990s found that they were discolored white stones that had turned black.[30] A more credible theory for the origins of the black mausoleum was demonstrated in 2006 by archeologists who resconstructed part of the pool in the Moonlight Garden. A dark reflection of the white mausoleum could clearly be seen, befitting Shah Jahan's obsession with symmetry and the positioning of the pool itself.[31]
No evidence exists for claims that describe, often in horrific detail, the deaths, dismemberments and mutilations which Shah Jahan supposedly inflicted on various architects and craftsmen associated with the tomb. Some stories claim that those involved in construction signed contracts committing themselves to have no part in any similar design. Similar claims are made for many famous buildings.[32] No evidence exists for claims that Lord William Bentinck, governor of India in the 1830s, supposedly planned to demolish the Taj Mahal and auction off the marble. Bentinck's biographer John Rosselli says that the story arose from Bentinck's fund-raising sale of discarded marble from Agra Fort.[33]
In 2000, India's Supreme Court dismissed P.N. Oak's petition to declare that a Hindu king built the Taj Mahal.[34][32] Oak claimed that origins of the Taj, together with other historic structures in the country currently ascribed to Muslim sultans pre-date Muslim occupation of India and thus, have a Hindu origin.[35] A more poetic story relates that once a year, during the rainy season, a single drop of water falls on the cenotaph, as inspired by Rabindranath Tagore's description of the tomb as "one tear-drop...upon the cheek of time". Another myth suggests that beating the silhouette of the finial will cause water to come forth. To this day, officials find broken bangles surrounding the silhouette.
2)Arch of Constantine
The Arch of Constantine (Italian: Arco di Costantino) is a triumphal arch in Rome, situated between the Colosseum and the Palatine Hill. It was erected to commemorate Constantine I's victory over Maxentius at the Battle of Milvian Bridge on October 28, 312. Dedicated in 315, it is the latest of the existing triumphal arches in Rome, from which it differs by spolia, the extensive re-use of parts of earlier buildings.
General description
The general design with a main part structured by detached columns and an attic with the main inscription above is modelled after the example of the Arch of Septimius Severus on the Roman Forum. It has been suggested that the lower part of the arch is re-used from an older monument, probably from the times of the emperor Hadrian (Conforto et al., 2001; for a defence of the view that the whole arch was constructed in the 4th century, see Pensabene & Panella).
The arch spans the Via Triumphalis, the way taken by the emperors when they entered the city in triumph. This route started at the Campus Martius, led through the Circus Maximus and around the Palatine Hill; immediately after the Arch of Constantine, the procession would turn left at the Meta Sudans and march along the Via Sacra to the Forum Romanum and on to the Capitoline Hill, passing both the Arches of Titus and Septimius Severus.
During the Middle Ages, the Arch of Constantine was incorporated into one of the family strongholds of ancient Rome. Works of restoration were first carried out in the 18th century; the last excavations have taken place in the late 1990s, just before the Great Jubilee of 2000.
Decoration
The decoration of the arch heavily uses parts of older monuments, which are given a new meaning in the context of the Constantinian building. As it celebrates the victory of Constantine, the new "historic" friezes illustrating his campaign in Italy convey the central meaning: the praise of the emperor, both in battle and in his civilian duties. The other imagery supports this purpose: decoration taken from the "golden times" of the Empire under Trajan, Hadrian and Marcus Aurelius places Constantine next to these "good emperors", and the content of the pieces evokes images of the victorious and pious ruler.
Another explanation given for the re-use is the short time between the start of construction (late 312 at the earliest) and the dedication (summer 315), so the architects used existing artwork to make up for the lack of time to create new art. As yet another possible reason, it has often been suggested that the Romans of the 4th century lacked the artistic skill to produce acceptable artwork and therefore plundered the ancient buildings to adorn their contemporary monuments. This interpretation has become less prominent in more recent times, as the art of Late Antiquity has been appreciated in its own right. It is possible that a combination of those explanations is correct.
Attic
Flanking the inscription on both sides, there are pairs of relief panels above the minor archways, 8 in total. They were taken from an unknown monument erected in honour of Marcus Aurelius, and show (north side, left to right) the emperor's return to Rome after the campaign (adventus), the emperor leaving the city and saluted by a personification of the Via Flaminia, the emperor distributing money among the people (largitio), the emperor interrogating a German prisoner, (south side, left to right) a captured enemy chieftain led before the emperor, a similar scene with other prisoners, the emperor speaking to the troops (adlocutio), and the emperor sacrificing pig, sheep and bull (suovetaurilia). Together with three panels now in the Capitoline Museum, the reliefs were probably taken from a triumphal monument commemorating Marcus Aurelius' war against the Marcomanni and the Sarmatians from 169 – 175, which ended with his triumphant return in 176. On the largitio panel, the figure of Marcus Aurelius' son Commodus has been eradicated after the latter's damnatio memoriae. On top of each of the columns stand marble statues of Dacian prisoners from the times of Trajan, probably taken from the Forum of Trajan.
From the same time date the two large (3 m high) panels decorating the attic on the small sides of the arch, showing scenes from the emperor's Dacian Wars. Together with the two reliefs on the inside of the central archway, they came from a large frieze celebrating the Dacian victory. The original place of this frieze was either the Forum of Trajan, as well, or the barracks of the emperor's horse guard on the Caelius.
Main section
The general layout of the main facade is identical on both sides of the arch. It is divided by four columns of Corinthian order made of Numidian yellow marble (giallo antico), one of which has been transferred into the Basilica di San Giovanni in Laterano and was replaced by a white marble column. The columns stand on bases showing victory figures on front, and captured barbarians and Roman soldiers on the sides.
The spandrels of the main archway are decorated with reliefs depicting victory figures with trophies, those of the smaller archways show river gods. Column bases and spandrel reliefs are from the times of Constantine.
Above each lateral archway are pairs of round reliefs dated to the times of Emperor Hadrian. They display scenes of hunting and sacrificing: (north side, left to right) hunt of a boar, sacrifice to Apollo, hunt of a lion, sacrifice to Hercules, (south side, left to right) departure for the hunt, sacrifice to Silvanus, hunt of a bear, sacrifice to Diana. The head of the emperor (originally Hadrian) has been reworked in all medallions: on the north side, into Constantine in the hunting scenes and into Licinius or Constantius I in the sacrifice scenes; on the south side, vice versa. The reliefs, c. 2 m in diameter, were framed in porphyry; this framing is only extant on the right side of the northern facade.
The main piece from the time of Constantine is the "historical" relief frieze running around the monument under the round panels, one strip above each lateral archway and at the small sides of the arch. These reliefs depict scenes from the Italian campaign of Constantine against Maxentius which was the reason for the construction of the monument. The frieze starts at the western side with the "Departure from Milan". It continues on the southern, "outward" looking face, with the siege of a city, probably Verona, which was of great importance to the war in Northern Italy; also on that face, the Battle of Milvian Bridge with Constantine's army victorious and the enemy drowning in the river Tiber. On the eastern side, Constantine and his army enter Rome; the artist seems to have avoided using imagery of the triumph, as Constantine probably did not want to be shown triumphant over the Eternal City. On the northern face, looking "towards" the city, two strips with the emperor's actions after taking possession of Rome: Constantine speaking to the citizens on the Forum Romanum, and distributing money to the people.
Inner sides of the archways
Inscriptions
The main inscription would originally have been of bronze letters. It can still be read easily, though only the recesses in which the letters sat, and their attachment holes, remain. It reads thus, identically on both sides:
The words instinctu divinitatis ("inspired by the divine") have been much commented. They are usually read as sign of Constantine's shifting religious affiliation: The Christian tradition, most notably Lactantius and Eusebius of Caesarea, relate the story of a vision of God to Constantine during the campaign, and that he was victorious in the sign of the cross at the Milvian Bridge. The official documents (esp. coins) still prominently display the Sun god until 324, while Constantine started to support the Christian church from 312 on. In this situation, the vague wording of the inscription can be seen as the attempt to please all possible readers, being deliberately ambiguous, and acceptable to both pagans and Christians. As was customary, the vanquished enemy is not mentioned by name, but only referred to as "the tyrant", drawing on the notion of the rightful killing of a tyrannical ruler; together with the image of the "just war", it serves as justification of Constantine's civil war against his co-emperor Maxentius.
Over each of the small archways, inscriptions read:
They give a hint on the date of the arch: "Solemn vows for the 10th anniversary – for the 20th anniversary" and "as for the 10th, so for the 20th anniversary". Both refer to Constantine's decennalia, i.e. the 10th anniversary of his reign (counted from 306), which he celebrated in Rome in the summer of 315. It can be assumed that the arch honouring his victory was inaugurated during his stay in the city.
3)Corcovado
| Corcovado | |
|---|---|
 | |
| Elevation | 2,330 ft |
| Location | Rio de Janeiro, Brazil |
| Coordinates | 22°57′8.7″S, 43°12′42″W. |
| Type | Granite peak |
Corcovado, meaning "hunchback" in Portuguese, is a mountain in central Rio de Janeiro, Brazil. Location 22°57′8.7″S 43°12′42″W / -22.952417, -43.21167.
The 710-meter (2,330 ft) granite peak is located in the Tijuca Forest, a national park. Corcovado hill lies just west of the city center but is wholly within the city limits and visible from great distances. It is known worldwide for the 38-meter (125 ft) statue of Jesus atop its peak, entitled Cristo Redentor or "Christ the Redeemer".
Access
The peak and statue can be accessed via a narrow road or by the 3.8 kilometer (2.4 mi) Corcovado Rack Railway which was opened in 1884 and refurbished in 1980. The railway uses two-car electrically powered trains, with a passenger capacity of 360 passengers per hour. The rail trip takes approximately 20 minutes and departs every half hour. Due to its limited passenger capacity, the wait to board at the entry station can take several hours. The year-round schedule is 8:30 to 18:30.
From the train terminus and road, the observation deck at the foot of the statue is reached by 222 steps, or by elevators and escalators. Among the most popular year-round tourist attractions in Rio, the Corcovado railway, access roads, and statue platform are commonly crowded.
Attractions
The most popular attraction of Corcovado mountain is the statue and viewing platform at its peak, drawing over 300,000 local and international visitors per year. From the peak's platform the panoramic view includes downtown Rio, Sugarloaf Mountain, the Lagoa Rodrigo de Freitas (lake), Copacabana and Ipanema beaches, Estádio do Maracanã (Maracanã Stadium), and several of Rio's favelas. Cloud cover is common in Rio and the view from the platform is often obscured. Sunny days are recommended for optimal viewing.
Notable past visitors to the mountain peak include Pope Pius XII, Pope John Paul II, Alberto Santos-Dumont, Albert Einstein and Diana, Princess of Wales.
An additional attraction of the mountain is rock climbing. The south face had 54 climbing routes as of 1992.
The easiest way starts from Park Lage.
Geology
The peak of Corcovado is a big granite dome, which describes a generally vertical rocky formation.
4)Angkor Wat
Angkor Wat (or Angkor Vat) (Khmer: អង្គរវត្ត), is a temple complex at Angkor, Cambodia, built for King Suryavarman II in the early 12th century as his state temple and capital city. As the best-preserved temple at the site, it is the only one to have remained a significant religious centre since its foundation—first Hindu, dedicated to Vishnu, then Buddhist. The temple is the epitome of the high classical style of Khmer architecture. It has become a symbol of Cambodia, appearing on its national flag, and it is the country's prime attraction for visitors.
Angkor Wat combines two basic plans of Khmer temple architecture: the temple mountain and the later galleried temple, based on early South Indian architecture, with key features such as the Jagati. It is designed to represent Mount Meru, home of the devas in Hindu mythology: within a moat and an outer wall 3.6 km (2.2 miles) long are three rectangular galleries, each raised above the next. At the centre of the temple stands a quincunx of towers. Unlike most Angkorian temples, Angkor Wat is oriented to the west; scholars are divided as to the significance of this. The temple is admired for the grandeur and harmony of the architecture, its extensive bas-reliefs and for the numerous devatas (guardian spirits) adorning its walls.
The modern name, Angkor Wat, in use by the 16th century,[1] means "City Temple": Angkornokor which comes from the is a vernacular form of the word Sanskrit word nagarawat is the (capital), while Khmer word for temple. Prior to this time the temple was known as Preah Pisnulok, after the posthumous title of its founder, Suryavarman II.[2]
History
Angkor Wat lies 5.5 km north of the modern town of Siem Reap, and a short distance south and slightly east of the previous capital, which was centred on the Baphuon. It is in an area of Cambodia where there is an important group of ancient structures. It is the southernmost of Angkor's main sites.
The initial design and construction of the temple took place in the first half of the 12th century, during the reign of Suryavarman II (ruled 1113 – c. 1150), Dedicated to Vishnu, it was built as the king's state temple and capital city. As neither the foundation stela nor any contemporary inscriptions referring to the temple have been found, its original name is unknown, but it may have been known as Vrah Vishnulok after the presiding deity. Work seems to have ended on the king's death, leaving some of the bas-relief decoration unfinished.[3]In 1177 Angkor was sacked by the Chams, the traditional enemies of the Khmer. Thereafter the empire was restored by a new king, Jayavarman VII, who established a new capital and state temple (Angkor Thom and the Bayon respectively) a few kilometres to the north.
In the 14th or 15th century the temple was converted to Theravada Buddhist use, which continues to the present day. Angkor Wat is unusual among the Angkor temples in that although it was somewhat neglected after the 16th century it was never completely abandoned, its preservation being due in part to the fact that its moat also provided some protection from encroachment by the jungle.[4]
One of the first Western visitors to the temple was Antonio da Magdalena, a Portuguese monk who visited in 1586 and said that it "is of such extraordinary construction that it is not possible to describe it with a pen, particularly since it is like no other building in the world. It has towers and decoration and all the refinements which the human genius can conceive of".[5] However, the temple was popularised in the West only in the mid-19th century on the publication of Henri Mouhot's travel notes. The French explorer wrote of it:
"One of these temples—a rival to that of Solomon, and erected by some ancient Michelangelo—might take an honourable place beside our most beautiful buildings. It is grander than anything left to us by Greece or Rome, and presents a sad contrast to the state of barbarism in which the nation is now plunged."[6]
Mouhot, like other early Western visitors, was unable to believe that the Khmers could have built the temple, and mistakenly dated it to around the same era as Rome. The true history of Angkor Wat was pieced together only from stylistic and epigraphic evidence accumulated during the subsequent clearing and restoration work carried out across the whole Angkor site.
Angkor Wat required considerable restoration in the 20th century, mainly the removal of accumulated earth and vegetation.[7] Work was interrupted by the civil war and Khmer Rouge control of the country during the 1970s and 1980s, but relatively little damage was done during this period other than the theft and destruction of mostly post-Angkorian statues.[8]
The temple has become a symbol of Cambodia, and is a source of great national pride. A depiction of Angkor Wat has been a part of every Cambodian national flag since the introduction of the first version circa 1863.[9] In January 2003 riots erupted in Phnom Penh when a false rumour circulated that a Thai soap opera actress had claimed that Angkor Wat belonged to Thailand.
Architecture
Site and plan
Angkor Wat, located at 13°24′45″N 103°52′0″E / 13.4125, 103.86667Coordinates: 13°24′45″N 103°52′0″E / 13.4125, 103.86667, is a unique combination of the temple mountain, the standard design for the empire's state temples, the later plan of concentric galleries, and influences from Orissa and the Chola of Tamil Nadu, India. The temple is a representation of Mount Meru, the home of the gods: the central quincunx of towers symbolises the five peaks of the mountain, and the walls and moat the surrounding mountain ranges and ocean.[11] Access to the upper areas of the temple was progressively more exclusive, with the laity being admitted only to the lowest level.[12]
Unlike most Khmer temples, Angkor Wat is oriented to the west rather than the east. This has led many (including Glaize and George Coedès) to conclude that Suryavarman intended it to serve as his funerary temple.[13] Further evidence for this view is provided by the bas-reliefs, which proceed in a counter-clockwise direction—prasavya in Hindu terminology—as this is the reverse of the normal order. Rituals take place in reverse order during Brahminic funeral services.[14] The archaeologist Charles Higham also describes a container which may have been a funerary jar which was recovered from the central tower.[15] Freeman and Jacques, however, note that several other temples of Angkor depart from the typical eastern orientation, and suggest that Angkor Wat's alignment was due to its dedication to Vishnu, who was associated with the west.[16]
A further interpretation of Angkor Wat has been proposed by Eleanor Mannikka. Drawing on the temple's alignment and dimensions, and on the content and arrangement of the bas-reliefs, she argues that these indicate a claimed new era of peace under king Suryavarman II: "as the measurements of solar and lunar time cycles were built into the sacred space of Angkor Wat, this divine mandate to rule was anchored to consecrated chambers and corridors meant to perpetuate the king's power and to honor and placate the deities manifest in the heavens above."[17] Mannikka's suggestions have been received with a mixture of interest and scepticism in academic circles.[18] She distances herself from the speculations of others, such as Graham Hancock, that Angkor Wat is part of a representation of the constellation Draco.[19]
Style
Angkor Wat is the prime example of the classical style of Khmer architecture—the Angkor Wat style—to which it has given its name. By the 12th century Khmer architects had become skilled and confident in the use of sandstone (rather than brick or laterite) as the main building material. Most of the visible areas are of sandstone blocks, while laterite was used for the outer wall and for hidden structural parts. The binding agent used to join the blocks is yet to be identified, although natural resins or slaked lime have been suggested.[20]
Angkor Wat has drawn praise above all for the harmony of its design, which has been compared to the architecture of ancient Greece or Rome. According to Maurice Glaize, a mid-20th-century conservator of Angkor, the temple "attains a classic perfection by the restrained monumentality of its finely balanced elements and the precise arrangement of its proportions. It is a work of power, unity and style."[21]
Architecturally, the elements characteristic of the style include: the ogival, redented towers shaped like lotus buds; half-galleries to broaden passageways; axial galleries connecting enclosures; and the cruciform terraces which appear along the main axis of the temple. Typical decorative elements are devatas (or apsaras), bas-reliefs, and on pediments extensive garlands and narrative scenes. The statuary of Angkor Wat is considered conservative, being more static and less graceful than earlier work.[22] Other elements of the design have been destroyed by looting and the passage of time, including gilded stucco on the towers, gilding on some figures on the bas-reliefs, and wooden ceiling panels and doors.[23]
The Angkor Wat style was followed by that of the Bayon period, in which quality was often sacrificed to quantity.[24] Other temples in the style are Banteay Samré, Thommanon, Chao Say Tevoda and the early temples of Preah Pithu at Angkor; outside Angkor, Beng Mealea and parts of Phanom Rung and Phimai.
Features
Outer enclosure
The outer wall, 1024 by 802 m and 4.5 m high, is surrounded by a 30 m apron of open ground and a moat 190 m wide. Access to the temple is by an earth bank to the east and a sandstone causeway to the west; the latter, the main entrance, is a later addition, possibly replacing a wooden bridge.[25] There are gopuras at each of the cardinal points; the western is much the largest and has three ruined towers. Glaize notes that this gopura both hides and echoes the form of the temple proper.[26] Under the southern tower is a statue of Vishnu, known as Ta Reach, which may originally have occupied the temple's central shrine.[27] Galleries run between the towers and as far as two further entrances on either side of the gopura often referred to as "elephant gates", as they are large enough to admit those animals. These galleries have square pillars on the outer (west) side and a closed wall on the inner (east) side. The ceiling between the pillars is decorated with lotus rosettes; the west face of the wall with dancing figures; and the east face of the wall with balustered windows, dancing male figures on prancing animals, and devatas, including (south of the entrance) the only one in the temple to be showing her teeth.
The outer wall encloses a space of 820,000 square metres (203 acres), which besides the temple proper was originally occupied by the city and, to the north of the temple, the royal palace. Like all secular buildings of Angkor, these were built of perishable materials rather than of stone, so nothing remains of them except the outlines of some of the streets.[28] Most of the area is now covered by forest. A 350 m causeway connects the western gopura to the temple proper, with naga balustrades and six sets of steps leading down to the city on either side. Each side also features a library with entrances at each cardinal point, in front of the third set of stairs from the entrance, and a pond between the library and the temple itself. The ponds are later additions to the design, as is the cruciform terrace guarded by lions connecting the causeway to the central structure.
Central structure
The temple stands on a terrace raised higher than the city. It is made of three rectangular galleries rising to a central tower, each level higher than the last. Mannikka interprets these galleries as being dedicated to the king, Brahma, the moon, and Vishnu.[3] Each gallery has a gopura at each of the points, and the two inner galleries each have towers at their corners, forming a quincunx with the central tower. Because the temple faces west, the features are all set back towards the east, leaving more space to be filled in each enclosure and gallery on the west side; for the same reason the west-facing steps are shallower than those on the other sides.
The outer gallery measures 187 by 215 m, with pavilions rather than towers at the corners. The gallery is open to the outside of the temple, with columned half-galleries extending and buttressing the structure. Connecting the outer gallery to the second enclosure on the west side is a cruciform cloister called Preah Poan (the "Hall of a Thousand Buddhas"). Buddha images were left in the cloister by pilgrims over the centuries, although most have now been removed. This area has many inscriptions relating the good deeds of pilgrims, most written in Khmer but others in Burmese and Japanese. The four small courtyards marked out by the cloister may originally have been filled with water.[30] North and south of the cloister are libraries.
Beyond, the second and inner galleries are connected to each other and to two flanking libraries by another cruciform terrace, again a later addition. From the second level upwards, devatas abound on the walls, singly or in groups of up to four. The second-level enclosure is 100 by 115 m, and may originally have been flooded to represent the ocean around Mount Meru.[31] Three sets of steps on each side lead up to the corner towers and gopuras of the inner gallery. The very steep stairways represent the difficulty of ascending to the kingdom of the gods.[32] This inner gallery, called the Bakan, is a 60 m square with axial galleries connecting each gopura with the central shrine, and subsidiary shrines located below the corner towers. The roofings of the galleries are decorated with the motif of the body of a snake ending in the heads of lions or garudas. Carved lintels and pediments decorate the entrances to the galleries and to the shrines. The tower above the central shrine rises 43 m to a height of 65 m above the ground; unlike those of previous temple mountains, the central tower is raised above the surrounding four.[33] The shrine itself, originally occupied by a statue of Vishnu and open on each side, was walled in when the temple was converted to Theravada Buddhism, the new walls featuring standing Buddhas. In 1934, the conservator George Trouvé excavated the pit beneath the central shrine: filled with sand and water it had already been robbed of its treasure, but he did find a sacred foundation deposit of gold leaf two metres above ground level.
Decoration
Integrated with the architecture of the building, and one of the causes for its fame is Angkor Wat's extensive decoration, which predominantly takes the form of bas-relief friezes. The inner walls of the outer gallery bear a series of large-scale scenes mainly depicting episodes from the Hindu epics the Ramayana and the Mahabharata. Higham has called these, "the greatest known linear arrangement of stone carving".[35] From the north-west corner anti-clockwise, the western gallery shows the Battle of Lanka (from the Ramayana, in which Rama defeats Ravana) and the Battle of Kurukshetra (from the Mahabharata, showing the mutual annihilation of the Kaurava and Pandava clans). On the southern gallery follow the only historical scene, a procession of Suryavarman II, then the 32 hells and 37 heavens of Hindu mythology. Glaize writes of;
"... those unfortunate souls who are to be thrown down to hell to suffer a refined cruelty which, at times, seems to be a little disproportionate to the severity of the crimes committed. So it is that people who have damaged others' property have their bones broken, that the glutton is cleaved in two, that rice thieves are afflicted with enormous bellies of hot iron, that those who picked the flowers in the garden of Shiva have their heads pierced with nails, and thieves are exposed to cold discomfort."[36]
On the eastern gallery is one of the most celebrated scenes, the Churning of the Sea of Milk, showing 92[37] asuras and 88 devas using the serpent Vasuki to churn the sea under Vishnu's direction (Mannikka counts only 91 asuras, and explains the asymmetrical numbers as representing the number of days from the winter solstice to the spring equinox, and from the equinox to the summer solstice).[38] It is followed by Vishnu defeating asuras (a 16th-century addition). The northern gallery shows Krishna's victory over Bana (where according to Glaize, "The workmanship is at its worst"[39]) and a battle between the Hindu gods and asuras. The north-west and south-west corner pavilions both feature much smaller-scale scenes, some unidentified but most from the Ramayana or the life of Krishna.
Angkor Wat today
Since the 1990s, Angkor Wat has seen a resumption of conservation efforts and a massive increase in tourism. The temple is part of the Angkor World Heritage Site, established in 1992, which has provided some funding and has encouraged the Cambodian government to protect the site.[40] The German Apsara Conservation Project (GACP) is working to protect the devatas and other bas-reliefs which decorate the temple from damage. The organisation's survey found that around 20% of the devatas were in very poor condition, mainly because of natural erosion and deterioration of the stone but in part also due to earlier restoration efforts.[41] Other work involves the repair of collapsed sections of the structure, and prevention of further collapse: the west facade of the upper level, for example, has been buttressed by scaffolding since 2002,[42] while a Japanese team completed restoration of the north library of the outer enclosure in 2005. World Monuments Fund began work on the Churning of the Sea of Milk Gallery in 2008.
5)Temple of Hercules Victor
The Temple of Hercules Victor or Hercules Olivarius is an ancient edifice located in the Forum Boarium in Rome. It is is a monopteros, a round temple of Greek 'peripteral' design (surrounded by colonnades on all sides). This layout caused many to mistake it for a temple of Vesta, but it has been determined to be a temple of Hercules
Dating from about 120 BC, the temple is 14.8m in diameter and consists of a circular cella within a concentric ring of 20 x 10.66 m tall Corinthian columns resting on a tuff foundation. These elements supported an architrave and roof which have disappeared. The original wall of the cella and the columns remain but the current tile roof was added later. Palladio suggested a dome, though this was apparently erroneous. The temple is the earliest surviving marble building in Rome.
By 1132 the temple had been converted to a church, known as St. Stephen 'of the carriages'. Additional restorations (and a fresco over the altar) were made in 1475. A plaque in the floor was dedicated by Sixtus IV. In the 17th Century the church was renamed St. Mary 'of the Sun'.
This temple and the Temple of Vesta in Tivoli inspired the centralized churches of the Renaissance.
The temple was recognized officially as an ancient monument in 1935.
6)Sanchi
Sanchi is a small village in Raisen District of India, it is located 46 km north east of Bhopal, and 10 km from Besnagar and Vidisha in the central part of the state of Madhya Pradesh. It is the location of several Buddhist monuments dating from the third century BCE to the twelfth century CE. It is a nagar panchayat in Raisen district in the Indian state of Madhya Pradesh. Toranas surround the Stupa and they each represent love, peace, trust, and courage.
The 'Great Stupa' at Sanchi was originally commissioned by the emperor Ashoka the Great in the third century BCE. Its nucleus was a simple hemispherical brick structure built over the relics of the Buddha. It was crowned by the chatra, a parasol-like structure symbolising high rank, which was intended to honour and shelter the relics[1].
Sunga period
| ?Sanchi Madhya Pradesh • India | |
| | |
| Coordinates: 23°28′50″N 77°44′11″E / 23.480656, 77.7363 | |
| Time zone | IST (UTC+5:30) |
| District(s) | Raisen |
| Population | 6,785 (2001[update]) |
Coordinates: 23°28′50″N 77°44′11″E / 23.480656, 77.7363
The stupa was vandalized at one point, sometime in the second century BCE, an event some have related to the rise of the Sunga emperor Pusyamitra Sunga. It has been suggested that Pushyamitra may have destroyed the original stupa, and his son Agnimitra rebuilt it.[2] During the later rule of the Sunga, the stupa was expanded with stone slabs to almost twice its original size. The dome was flattened near the top and crowned by three superimposed parasols within a square railing. With its many tiers it was a symbol of the dharma, the Wheel of the Law. The dome was set on a high circular drum meant for circumambulation, which could be accessed via a double staircase. A second stone pathway at ground level was enclosed by a stone balustrade with four monumental gateways (toranas) facing the cardinal directions. The buildings which seem to have been commissioned during the rule of the Sungas are the Second and Third stupas (but not the highly decorated gateways, which are from the following Satavahana period, as known from inscriptions), and the ground balustrade and stone casing of the Great Stupa.
Satavahana period
The gateways and the balustrade were built after 70 BCE, and appear to have been commissioned by the Satavahana. An inscription records the gift of one of the top architraves of the Southern Gateway by the artisans of the Satavahana king Satakarni:
Although made of stone, they were carved and constructed in the manner of wood and the gateways were covered with narrative sculptures. They showed scenes from the life of the Buddha integrated with everyday events that would be familiar to the onlookers and so make it easier for them to understand the Buddhist creed as relevant to their lives. At Sanchi and most other stupas the local population donated money for the embellishment of the stupa to attain spiritual merit. There was no direct royal patronage. Devotees, both men and women, who donated money towards a sculpture would often choose their favourite scene from the life of the Buddha and then have their names inscribed on it. This accounts for the random repetition of particular episodes on the stupa (Dehejia 1992). On these stone carvings the Buddha was never depicted as a human figure. Instead the artists chose to represent him by certain attributes, such as the horse on which he left his father’s home, his footprints, or a canopy under the bodhi tree at the point of his enlightenment. The human body was thought to be too confining for the Buddha.
Some of the friezes of Sanchi also show devotees in Greek attire (Greek clothing, attitudes, and musical instruments) celebrating the stupa[4].
Later periods
Further stupas and other religious Buddhist and early Hindu structures were added over the following centuries until the 12th century CE. Temple 17 is probably one of the earliest Buddhist temples as it dates to the early Gupta period. It consists of a flat roofed square sanctum with a portico and four pillars. The interior and three sides of the exterior are plain and undecorated but the front and the pillars are elegantly carved, giving the temple an almost ‘classical’ appearance (Mitra 1971).
With the decline of Buddhism in India, the monuments of Sanchi went out of use and fell into a state of disrepair.
Western rediscovery
A British officer in 1818, General Taylor, was the first known Western historian to document (in English) the existence of Sanchi. Amateur archaeologists and treasure hunters ravaged the site until 1881, when proper restoration work was initiated. Between 1912 and 1919 the structures were restored to their present condition under the supervision of Sir John Marshall.[5]
Today, around fifty monuments remain on the hill of Sanchi, including three stupas and several temples. The monuments have been listed among the UNESCO World Heritage Sites since 1989.
Geography
Sanchi is located at 23°29′N 77°44′E / 23.48, 77.73[6]. It has an average elevation of 434 metres (1423 feet).
Demographics
As of 2001 India census[7], Sanchi had a population of 6,785. Males constitute 53% of the population and females 47%. Sanchi has an average literacy rate of 67%, higher than the national average of 59.5%: male literacy is 75%, and female literacy is 57%. In Sanchi, 16% of the population is under 6 years of age.
7)Humayun's Tomb
Humayun's tomb is a complex of buildings in Mughal architecture built as Mughal Emperor Humayun's tomb. It is located in Nizamuddin East, Delhi.
In time of Slave Dynasty this land was under the KiloKheri Fort which was capital of Sultan Kequbad son of Nasiruddin (1268-1287). It encompasses the main tomb of the Emperor Humayun as well as numerous others. The complex is a World Heritage Site and the first example of this type of Mughal architecture in India.
The architecture of the mausoleum is similar to Taj Mahal.
History
The tomb of Humayun was built by the orders of Hamida Banu Begum, Humayun's widow starting in 1562. The architect of the edifice was reportedly Sayyed Muhammad ibn Mirak Ghiyathuddin and his father Mirak Ghiyathuddin who were brought in from Herat. It took 8 years to build and had a Chahr Bagh Garden style in its design, which is a Persian-style garden layout and was the first of its kind in the South Asia region.
Restoration
Restoration work by the Aga Khan Trust for Culture was completed in March 2003, enabling water to flow through the watercourses in the gardens once more[1]. Funding for this work was a gift from the institutions of His Highness the Aga Khan to India. In addition, AKTC is conducting a more significant restoration at Babur's tomb, the resting place of Humayun's father in Kabul.
Coordinates: 28°31′28″N 77°11′08″E / 28.524382, 77.18543
The Qutab complex, also spelled Qutb or Qutub, is an array of monuments and buildings at Mehrauli in Delhi, India, the most famous of which is the Qutb Minar. This complex was first constructed by Qutab-ud-din Aibak, the first ruler of the Slave Dynasty, and his successor Iltutmish (aka Altmash) in his new city called the Qila-Rai-Pithora near Prithivraj Chauhan's older city. The complex was added to by many subsequent rulers, including Iltutmish and Ala ud din Khilji as well as the British.[1]
The most famous monument situated in the complex is the Qutub Minar; other important constructions in the complex are the Quwwat ul-Islam Mosque, the Alai Gate, the Alai Minar and the Iron pillar. Twenty-seven previous Jain temples were destroyed and their materials reused to construct the minar and other monuments of the complex.
Alai Gate
The Alai Gate (Ala-i Darwaza) is the main gateway in the complex. The gateway was built by the first Khilji sultan of Delhi, Ala ud din Khilji. The domed gateway is decorated with red sandstone and inlaid marble decorations, latticed stone screens and showcases the remarkable craftsmanship of the Turkish artisans who worked on it.
Qutb Minar
Qutb Minar is the tallest brick minaret in the world, and an important example of Indo-Islamic Architecture. The Qutb Minar is 72.5 metres (239 ft) high. The diameter of the base is 14.3 metres wide while the top floor measures 2.7 metres in diameter. It is listed as a UNESCO World Heritage Site along with surrounding buildings and monuments.
Alai Minar
Quwwat ul-Islam Mosque
Quwwat-ul-Islam mosque (Might of Islam) (also known as the Qutb Mosque or the Great Mosque of Delhi) was built by Qutb-ud-din Aybak, founder of the Mamluk or Slave dynasty. The mosque construction started in the 1190s when Aibak was the commander of Muhammad Ghori's garrison occupied Delhi. The mosque is said to be built by the parts taken by destruction of twenty-seven Hindu and Jain temples. Historical records compiled by Muslim historian Maulana Hakim Saiyid Abdul Hai attest to the iconoclasm of Qutb-ud-din Aybak. The first mosque built in Delhi, the "Quwwat al-Islam" was built after demolishing the Jain temple built previously by Prithvi Raj and leaving certain parts of the temple outside the mosque proper.[2] This pattern of iconoclasm was common during his reign, although an argument goes that such iconoclasm was motivated more by politics than by religion.[3]It was the first mosque built in Delhi after the Islamic conquest of India and the best surviving example of Ghurid's architecture.
The mosque is in ruins today but indigenous corbelled arches, floral motifs, and geometric patterns can be seen among the Islamic architectural structures.
Iron pillar
Tomb of Iltutmish
The tomb of Slave Dynasty ruler, Iltutmish, is also part of the Qutb complex at Mehrauli. Though the dome of the structure has collapsed the front facade with its ornate carving is still standing at far end of the Qutb complex.
9)Red Fort
Coordinates: 28°39′21″N 77°14′25″E / 28.65583, 77.24028
- This article is about the Red Fort in Delhi, India. The Agra Fort is also known as the "Red Fort".
The Delhi Fort also known as Lal Qil'ah, or Lal Qila (Hindi: लाल क़िला, Urdu: لال قلعہ) meaning the Red Fort, located in Delhi, India and became a UNESCO World Heritage Site in 2007.[1]
History
The Red Fort was the palace for Mughal Emperor Shah Jahan's new capital, Shahjahanabad, the seventh Muslim city in the Delhi site. He moved his capital from Agra in a move designed to bring prestige to his reign, and to provide ample opportunity to apply his ambitious building schemes and interests.
The fort lies along the Yamuna River, which fed the moats that surround most of the wall. The wall at its north-eastern corner is adjacent to an older fort, the Salimgarh Fort, a defense built by Islam Shah Suri in 1546. Construction on the Red Fort began in 1638 and was complete by 1648. However, it is believed that it is the ancient city of Lal Kot which was captured by Shah Jahan since Lal Kot literally means Red (Lal) Fort (Kot). Lal Kot was the capital city of Prithviraj Chauhan in the late 12th century.
Dimensions
Architectural Design
The walls of the fort are smoothly dressed, articulated by heavy string-courses along the upper section. They open at two major gates, the Delhi and the Lahore gates. The Lahore Gate is the main entrance; it leads to a long covered bazaar street, the Chatta Chowk, whose walls are lined with stalls for shops. The Chatta Chowk leads to a large open space where it crosses the large north-south street that was originally the division between the fort's military functions, to its west, and the palaces, to its east. The southern end of this street is the Delhi Gate.
Important Buildings Inside Fort
Naqqar Khana
Diwan-i-Aam
Nahr-i-Behisht
The imperial private apartments lie behind the throne. The apartments consist of a row of pavilions that sits on a raised platform along the eastern edge of the fort, looking out onto the river Yamuna. The pavilions are connected by a continuous water channel, known as the Nahr-i-Behisht, or the "Stream of Paradise", that runs through the center of each pavilion. The water is drawn from the river Yamuna, from a tower, the Shah Burj, at the northeastern corner of the fort. The palace is designed as an imitation of paradise as it is described in the Koran; a couplet repeatedly inscribed in the palace reads, "If there be a paradise on earth, it is here, it is here". The planning of the palace is based on Islamic prototypes, but each pavilion reveals in its architectural elements the Hindu influences typical of Mughal building. The palace complex of the Red Fort is counted among the best examples of the Mughal style.
Zenana
Khas Mahal
Diwan-i-Khas
The next pavilion contains the hammam, or baths, in the Turkish style, with Mughal ornamentation in marble and colored stones.
Moti Masjid
To the west of the hammam is the Moti Masjid, the Pearl Mosque. This was a later addition, built in 1659 as a private mosque for Aurangzeb, Shah Jahan's successor. It is a small, three-domed mosque in carved white marble, with a three-arched screen which steps down to the courtyard.
Hayat Bakhsh Bagh
To its north lies a large formal garden, the Hayat Bakhsh Bagh, or "Life-Bestowing Garden", which is cut through by two bisecting channels of water. A pavilion stands at either end of the north-south channel, and a third, built in 1842 by the last emperor, Bahadur Shah Zafar, stands at the center of the pool where the two channels meet.
The Fort Today
The Red Fort is one of the most popular tourist destinations in Old Delhi, attracting thousands of visitors every year. The fort is also the site from which the Prime Minister of India addresses the nation on August 15 , the day India achieved independence from the British. It also happens to be the largest monument in Old Delhi.
At one point in time, more than 3,000 people lived within the premises of the Delhi Fort complex. But after the Sepoy Mutiny of 1857, the fort was captured by Britain and the residential palaces destroyed. It was made the headquarters of the British Indian Army. Immediately after the mutiny, Bahadur Shah Zafar was tried at the Red Fort. It was also here in November 1945, that the most famous courts-martial of three officers of the Indian National Army were held. After India gained independence in 1947, the Indian Army took control over the fort. In December 2003, the Indian Army handed the fort over to the Indian tourist authorities.
The fort was the site of a December 2000 attack by terrorist group Lashkar-e-Toiba which killed two soldiers and one civilian in what was described in the media as an attempt to derail the India-Pakistan peace process in Kashmir.
10)Khajuraho
Khajuraho (Hindi: खजुराहो) is a village in the Indian state of Madhya Pradesh, located in Chhatarpur District, about 385 miles (620 kilometres) southeast of Delhi, the capital city of India.
The Khajuraho group of monuments has been listed as a UNESCO World Heritage Site.
One of the most popular tourist destinations in India, Khajuraho has the largest group of medieval Hindu and Jain temples, famous for their erotic sculpture. The name Khajuraho is derived from the Hindi word khajur meaning date palm.
History
The city was once the original capital of the Chandela Rajputs, a Hindu dynasty that ruled this part of India from the 10th to the 12th centuries. The Khajuraho temples were built over a span of a hundred years, from 950 to 1050. The Chandela capital was moved to Mahoba after this time, but Khajuraho continued to flourish for some time.
Geography
Khajuraho is located at 24°51′N 79°56′E / 24.85, 79.93[1]. It has an average elevation of 283 metres (928 feet).
Demographics
| ?Khajuraho Madhya Pradesh • India | |
| | |
| Coordinates: 24°51′N 79°56′E / 24.85, 79.93 | |
| Time zone | IST (UTC+5:30) |
| Area • Elevation | • 283 m (928 ft) |
| District(s) | Chhatarpur |
| Population | 19,282 (2001[update]) |
Coordinates: 24°51′N 79°56′E / 24.85, 79.93As of 2001 India census[2], Khajuraho had a population of 19,282. Males constitute 52% of the population and females 48%. Khajuraho has an average literacy rate of 53%, lower than the national average of 59.5%: male literacy is 62%, and female literacy is 43%. In Khajuraho, 19% of the population is under 6 years of age.
Architecture
The Khajuraho temples, constructed with spiral superstructures, adhere to a northern Indian shikhara temple style and often to a Panchayatana plan or layout. A few of the temples are dedicated to the Jain pantheon and the rest to Hindu deities - to God's Trio, Brahma, Vishnu and Shiva, and various Devi forms, such as the Devi Jagadambi temple. A Panchayatana temple had four subordinate shrines on four corners and the main shrine in the center of the podium, which comprises their base. The temples are grouped into three geographical divisions: western, eastern and southern.
With a graded rise secondary shikharas (spires) cluster to create an appropriate base for the main shikhara over the sanctum. Kandariya Mahadeva, one of the most accomplished temples of the Western group, comprises eighty-four shikharas, the main being 116 feet from the ground level.
These shikharas -- subordinate and main -- attribute to the Khajuraho temples their unique splendor and special character. With a graded rise of these shikharas from over the ardhamandapa, porch, to mandapa, assembly hall, mahamandapa, principal assembly hall, antarala, vestibule, and garbhagriha, sanctum sanctorum, the Khajuraho temples attain the form and glory of gradually rising Himalayan peaks. These temples of Khajuraho have sculptures that look very realistic and are studied even today.
The Saraswathi temple on the campus of Birla Institute of Technology and Science, Pilani, India is modeled after the Khajuraho temple.
Chronology
The temples have been assigned the following historical sequence by Dr. Kanhaiyalal Agrawal [3].
Landscape
The development of landscape archaeology as an academic discipline raises questions concerning the earlier landscape of Khajuraho and the original relationship between the temple complex and the surrounding area. There are no records of what the original landscape might have been, but it is known that a large community of priests used the temple complex and that Indian gardens in the tenth century were predominantly tree gardens. They did not have lawns or herbaceous flowering plants.
