The history of Varanasi is a tapestry woven with the threads of various dynasties, empires, and cultural movements. Its origins trace back to ancient times, with references found in the Rigveda, one of the oldest known scriptures. The city is believed to have been founded by the Hindu deity Lord Shiva, making it a major pilgrimage site for Hindus. Throughout history, Varanasi has been a center of learning and culture, attracting scholars, philosophers, and religious leaders from all over the world. It was during the Gupta period (4th to 6th centuries CE) that the city saw significant development in art, literature, and architecture.
ARCHITECTURAL SIGNIFICANCE
Varanasi’s architectural heritage is a living testament to its rich and diverse history. The city is renowned for its ghats—stone steps leading down to the river—which number over eighty. These ghats, such as Dashashwamedh, Manikarnika, and Assi, are not only places of religious significance but also architectural marvels. They showcase a blend of different architectural styles, from the grandeur of Mughal architecture to the intricate carvings of Hindu temples.
CULTURAL SIGNIFICANCE
Varanasi is often referred to as the cultural capital of India. It has been a hub for classical music, dance, and art for centuries. The city has produced and nurtured legendary musicians and dancers like Ravi Shankar and Birju Maharaj. Varanasi’s contribution to literature is equally noteworthy, with renowned poets like Tulsidas and Kabir having lived and composed their works here. The city’s vibrant culture is also reflected in its numerous festivals, the most famous being Dev Deepawali, a festival of lights that illuminates the ghats with thousands of earthen lamps.
RELIGIOUS SIGNIFICANCE
The religious significance of Varanasi is unparalleled. It is considered the holiest of the seven sacred cities (Sapta Puri) in Hinduism. Hindus believe that dying in Varanasi and being cremated on the banks of the Ganges ensures liberation from the cycle of rebirth and grants moksha (salvation). This belief draws millions of pilgrims to the city every year. Varanasi is also important to Buddhism; it is near Sarnath, where Gautama Buddha gave his first sermon after attaining enlightenment. The Dhamek Stupa and the ruins of ancient monasteries in Sarnath are important Buddhist pilgrimage sites.
2nd Century BCE - Establishment of the Traditional core of the city.
• The city’s strategic location on the banks of the Ganges River facilitated trade and cultural exchange, contributing to its growth and prosperity.
• The traditional core of Varanasi sees significant development with the construction of early temples and religious structures.
10th-11th Century AD - A period of golden age.
• Varanasi experiences a renaissance in art, literature, and education.
• Flourishing trade contributes to economic prosperity.
• Varanasi solidifies its status as a major pilgrimage site for Hindus.
12th CENTURY AD: City is bought under rule of Muslim nawabs.
• The city was administered by Muslim nawabs who integrated it into their empire, influencing its architecture, culture, and society.
• Despite the destruction, Varanasi saw a period of cultural syncretism where Islamic architecture and culture merged with the existing Hindu traditions.
1794 AD: The cantonment is established.
• The cantonment served as a strategic military base for the British to control and manage the region.
• The cantonment area marked the beginning of significant British architectural and cultural influence in Varanasi.
1862 AD: the first railway link between Calcutta and Banaras.
• This railway link improved connectivity between the eastern and northern
• parts of India.
• Facilitated trade and commerce, enhancing the economic landscape of the region.
1916 AD: Banaras Hindu University is established.
• Malaviya envisioned BHU as a center for the revival of Indian education and culture.
• Located in Varanasi, the sprawling campus covers about 1,300 acres.
• BHU became a pivotal institution for higher learning in India.
1585 AD: The traditional core is brought under Mughal empire.
• Akbar incorporated Varanasi into his empire, promoting religious tolerance.
• The Mughal influence brought new administrative practices and a more centralized governance structure.
1725 AD: The kashiraj dynasty establishes ramnagar.
• The Kashi Naresh (King of Kashi), Balwant Singh, establishes Ramnagar as the capital of the Kashi Kingdom.
• Ramnagar becomes a center for learning, culture, and administration under the Kashi Raj.
1775 AD: The British gains political control over Varanasi.
• Varanasi’s location and economic potential make it a valuable acquisition for the British.
• British rule begins to influence the social, cultural, and economic fabric of the city.
1950 AD: the first master plan for the city was prepared.
• The master plan set the foundation for varanasi’s planned development, balanc ing modernization with heritage.
• It played a role in shaping the city’s urban landscape and addressing the challenges of post-independence urban growth.
1974 AD: Varanasi Development Authority was formed.
• VDA’s efforts have been crucial in modernizing Varanasi while preserving its heritage, improving the quality of life for its residents, and accommodating the influx of tourists and pilgrims.
1991 AD: Draft Master Plan was prepared.
• Included measures to protect the Ganges River and green spaces.
• Planned for commercial and industrial development to boost the local economy.
THE VARUNA RIVER, FLOWING THROUGH THE ANCIENT AND SACRED CITY OF VARANASI IN UTTAR PRADESH, INDIA, IS STEEPED IN HISTORICAL, CULTURAL, AND RELIGIOUS SIGNIFICANCE. ITS ORIGINS TRACE BACK TO THE PHULPUR REGION, AND IT MEANDERS SOUTHEAST TO MERGE WITH THE GANGES RIVER, EFFECTIVELY CONTRIBUTING TO THE CITY’S GEOGRAPHY AND NAME (DERIVED FROM VARUNA AND ASSI RIVERS).THE RIVER IS PROMINENTLY MENTIONED IN ANCIENT HINDU TEXTS, LINKING IT TO VARUNA, THE VEDIC GOD OF WATER AND COSMIC ORDER. HISTORICALLY, THE VARUNA RIVER HAS BEEN CRUCIAL FOR VARANASI’S DEVELOPMENT AS A CENTER OF LEARNING AND SPIRITUALITY, SUPPORTING AGRICULTURAL ACTIVITIES AND FOSTERING LOCAL BIODIVERSITY. THE BANKS OF THE VARUNA ARE LINED WITH NUMEROUS GHATS AND TEMPLES, WHERE DAILY RITUALS, PRAYERS, AND SIGNIFICANT RELIGIOUS CEREMONIES TAKE PLACE, ATTRACTING COUNTLESS PILGRIMS. DESPITE THE CHALLENGES OF MODERN POLLUTION, URBAN ENCROACHMENT, AND INADEQUATE SEWAGE TREATMENT, EFFORTS ARE ONGOING TO RESTORE AND PRESERVE THE RIVER’S ECOLOGICAL HEALTH AND CULTURAL HERITAGE. THE VARUNA RIVER REMAINS A VITAL SYMBOL OF VARANASI’S ENDURING SPIRITUAL ESSENCE AND HISTORICAL RICHNESS.
THE ASSI NALA, ALSO KNOWN AS THE ASSI RIVER, IS A HISTORICALLY AND CULTURALLY SIGNIFICANT WATERWAY IN THE ANCIENT CITY OF VARANASI, UTTAR PRADESH, INDIA. THE RIVER, WHICH MEETS THE GANGES AT THE RENOWNED ASSI GHAT, CONTRIBUTES TO THE CITY’S NAME (VARUNA + ASSI). ANCIENT HINDU SCRIPTURES AND TEXTS REFERENCE THE ASSI NALA, UNDERSCORING ITS IMPORTANCE IN VARANASI’S RELIGIOUS AND CULTURAL LANDSCAPE. THE RIVER HAS LONG BEEN A FOCAL POINT FOR SPIRITUAL ACTIVITIES, WITH NUMEROUS GHATS AND TEMPLES ALONG ITS BANKS WHERE DAILY RITUALS, PRAYERS, AND FESTIVALS ARE CONDUCTED. HISTORICALLY, THE ASSI NALA SUPPORTED LOCAL AGRICULTURE AND PROVIDED WATER FOR DOMESTIC USE, PLAYING A VITAL ROLE IN THE COMMUNITY’S SUSTENANCE.HOWEVER, IN RECENT YEARS, THE RIVER HAS FACED SIGNIFICANT POLLUTION CHALLENGES DUE TO URBANIZATION AND INADEQUATE WASTE MANAGEMENT. EFFORTS ARE UNDERWAY TO CLEAN AND RESTORE THE ASSI NALA, AIMING TO PRESERVE ITS ECOLOGICAL HEALTH AND MAINTAIN ITS CULTURAL AND RELIGIOUS SIGNIFICANCE FOR FUTURE GENERATIONS. DESPITE MODERN CHALLENGES, THE ASSI NALA REMAINS AN INTEGRAL PART OF VARANASI’S HERITAGE, SYMBOLIZING THE CITY’S ENDURING SPIRITUAL AND HISTORICAL ESSENCE.
REVERED HINDU TEMPLES DEDICATED TO LORD SHIVA. ITS HISTORY DATES BACK TO ANCIENT TIMES, WITH REFERENCES IN THE PURANAS AND OTHER SACRED TEXTS. THE TEMPLE’S CURRENT STRUCTURE WAS BUILT IN 1780 BY THE MARATHA RULER, MAHARANI AHILYABAI HOLKAR OF INDORE, AFTER THE ORIGINAL TEMPLE WAS DESTROYED AND REBUILT MULTIPLE TIMES DUE TO INVASIONS AND RELIGIOUS CONFLICTS, NOTABLY DURING THE REIGN OF MUGHAL EMPEROR AURANGZEB, WHO CONSTRUCTED THE GYANVAPI MOSQUE ON THE SITE OF THE ORIGINAL TEMPLE. THE TEMPLE COMPLEX, WITH ITS GOLD-PLATED SPIRE AND DOME, IS SITUATED ON THE WESTERN BANK OF THE HOLY RIVER GANGES, MAKING IT A SIGNIFICANT PILGRIMAGE SITE. DEVOTEES BELIEVE THAT A VISIT TO THE KASHI VISHWANATH TEMPLE AND A DIP IN THE GANGES CAN LEAD TO MOKSHA (LIBERATION FROM THE CYCLE OF REBIRTH).THE TEMPLE ALSO FEATURES THE REVERED JYOTIRLINGA, ONE OF THE TWELVE SACRED SHRINES OF LORD SHIVA. OVER THE CENTURIES, THE KASHI VISHWANATH TEMPLE HAS NOT ONLY BEEN A FOCAL POINT OF SPIRITUAL DEVOTION BUT ALSO A SYMBOL OF RESILIENCE AND CONTINUITY OF HINDU WORSHIP PRACTICES.THE KASHI VISHWANATH TEMPLE, AN ARCHITECTURAL MARVEL IN VARANASI, IS RENOWNED FOR ITS INTRICATE DESIGN AND HISTORICAL SIGNIFICANCE. THE TEMPLE COMPLEX COMPRISES A SERIES OF SMALLER SHRINES, WITH THE MAIN SANCTUM HOUSING THE REVERED JYOTIRLINGA OF LORD SHIVA. HERE IS A DETAILED LOOK AT ITS ARCHITECTURE:
MAIN
1. SANCTUM SANCTORUM (GARBHAGRIHA):
THE INNERMOST SANCTUM, KNOWN AS THE GARBHAGRIHA, HOUSES THE JYOTIRLINGA, WHICH IS THE CENTRAL FOCUS OF WORSHIP.
THE SANCTUM IS A SIMPLE, DARK CHAMBER ALLOWING FOR A PROFOUND SPIRITUAL EXPERIENCE, EMPHASIZING DEVOTION OVER OPULENCE.
2. SHIKHAR (SPIRE):
THE TEMPLE’S SPIRE, OR SHIKHAR, IS PLATED WITH GOLD, A GIFT FROM MAHARAJA RANJIT SINGH IN 1835. THE GOLD PLATING ADDS TO THE TEMPLE’S GRANDEUR AND IS VISIBLE FROM A DISTANCE. THE SPIRE FOLLOWS THE NAGARA STYLE OF ARCHITECTURE, CHARACTERIZED BY ITS CURVILINEAR SHAPE AND INTRICATE CARVINGS.
EXTERIOR DESIGN
1. MANDAPAS (HALLS):
THE TEMPLE COMPLEX INCLUDES SEVERAL MANDAPAS OR PILLARED HALLS USED FOR VARIOUS RITUALS AND GATHERINGS.
2. ENTRANCES AND DOORWAYS:
THE MAIN ENTRANCE, KNOWN AS THE VISHWANATH GALI, LEADS TO THE TEMPLE THROUGH A BUSTLING BAZAAR LINED WITH SHOPS SELLING RELIGIOUS ITEMS.
SMALLER SHRINES
1. SUB-SHRINES:
WITHIN THE TEMPLE COMPLEX, THERE ARE MULTIPLE SMALLER SHRINES DEDICATED TO OTHER DEITIES, INCLUING VISHNU, GANESHA, AND PARVATI. THESE SHRINES ARE DESIGNED IN HARMONY WITH THE MAIN TEMPLE, MAINTAINING ARCHITECTURAL COHERENCE THROUGHOUT THE COMPLEX.
2. GYANVAPI WELL:
ADJACENT TO THE TEMPLE IS THE GYANVAPI WELL, CONSIDERED SACRED AND BELIEVED TO CONTAIN THE LINGAM OF THE ORIGINAL TEMPLE DESTROYED BY AURANGZEB. THE WELL’S ARCHITECTURE INCLUDES INTRICATE STONE CARVINGS AND SERVES AS A SIGNIFICANT SITE FOR DEVOTEES.
ARTISTIC ELEMENTS
1. THE TEMPLE WALLS AND PILLARS ARE ADORNED WITH SCULPTURES OF GODS, GODDESSES, AND MYTHOLOGICAL SCENES.
2. THE TEMPLE’S ARCHITECTURE INCORPORATES VARIOUS SYMBOLIC ELEMENTS, SUCH AS THE LOTUS MOTIFS REP RESENTING PURITY AND SPIRITUAL AWAKENING.THE PLACEMENT AND ORIENTATION OF THE STRUCTURES FOLLOW TRADITIONAL VASTU SHASTRA PRINCIPLES, ALIGNING WITH COSMIC ENERGIES.
THE TIBETAN BUDDHIST MONASTERY IN SARNATH, NEAR VARANASI, UTTAR PRADESH, IS A SIGNIFICANT SPIRITUAL AND CULTURAL LANDMARK THAT EMBODIES THE RICH HERITAGE OF TIBETAN BUDDHISM. SARNATH ITSELF HOLDS IMMENSE HISTORICAL IMPORTANCE AS THE SITE WHERE GAUTAMA BUDDHA DELIVERED HIS FIRST SERMON AFTER ATTAINING ENLIGHTENMENT, MARKING THE BIRTHPLACE OF THE BUDDHIST SANGHA (COMMUNITY). THE TIBETAN MONASTERY IN SARNATH WAS ESTABLISHED IN THE 20TH CENTURY AS A CENTER FOR PRESERVING AND PROMOTING TIBETAN BUDDHIST TRADITIONS, PARTICULARLY FOLLOWING THE TIBETAN DIASPORA AFTER THE CHINESE OCCUPATION OF TIBET. THE MONASTERY IS A VIBRANT HUB FOR TIBETAN CULTURE, OFFERING A SERENE ENVIRONMENT FOR MEDITATION, PRAYER, AND STUDY. ITS ARCHITECTURE FEATURES TRADITIONAL TIBETAN ELEMENTS, WITH COLORFUL FRESCOES, INTRICATE MURALS, AND STATUES OF BUDDHA AND OTHER REVERED FIGURES. THE MONASTERY ALSO HOUSES A STUPA, PRAYER WHEELS, AND A LIBRARY WITH AN EXTENSIVE COLLECTION OF BUDDHIST TEXTS. IT SERVES AS A PLACE OF PILGRIMAGE FOR BUDDHISTS WORLDWIDE AND A CENTER FOR RELIGIOUS AND CULTURAL EXCHANGE. THE TIBETAN BUDDHIST MONASTERY IN SARNATH NOT ONLY HONORS THE LEGACY OF BUDDHA’S TEACHINGS BUT ALSO STANDS AS A TESTAMENT TO THE RESILIENCE AND CONTINUITY OF TIBETAN CULTURE AND SPIRITUALITY
THE ROOF OF THE MONASTERY OFTEN FEATURES TIERED LEVELS WITH UPTURNED EAVES, A DISTINCTIVE CHAR ACTERISTIC OF TIBETAN ARCHITECTURE, SYMBOLIZING THE SPREAD OF THE DHARMA. GOLDEN FINIALS AND SYMBOLIC ORNAMENTS, SUCH AS DHARMA WHEELS FLANKED BY DEER, ADORN THE ROOF, REPRESENTING BUDDHA’S FIRST SERMON AT SARNATH.
2. PILLARS AND COLUMNS:
THE INTERIOR IS SUPPORTED BY WOODEN PILLARS AND COLUMNS, INTRICATELY CARVED AND PAINTED WITH COLORFUL PATTERNS AND RELIGIOUS SYMBOLS.
THESE STRUCTURAL ELEMENTS NOT ONLY PROVIDE SUPPORT BUT ALSO ENHANCE THE AESTHETIC AND SPIRITUAL ATMOSPHERE OF THE TEMPLE.
GARDENS AND COURTYARDS:
THE MONASTERY IS OFTEN SURROUNDED BY WELL-MAINTAINED GARDENS AND COURTYARDS, PROVIDING A PEACEFUL ENVIRONMENT FOR MEDITATION AND REFLECTION.
STATUES OF SIGNIFICANT BUDDHIST FIGURES AND MONUMENTS COMMEMORATING IMPORTANT EVENTS ARE STRATEGICALLY PLACED WITHIN THE GARDENS.
2. MEDITATION HALLS AND RESIDENTIAL QUARTERS:
ADDITIONAL BUILDINGS WITHIN THE MONASTERY COMPLEX INCLUDE MEDITATION HALLS AND RESIDENTIAL QUARTERS FOR MONKS AND VISITING PRACTITIONERS. THESE STRUCTURES ARE DESIGNED TO BE SIMPLE YET FUNCTIONAL, FOSTERING A CONDUCIVE ENVIRONMENT FOR SPIRITUAL PRACTICE AND COMMUNAL LIVING.
MAIN TEMPLE STRUCTURE
ENTRANCE AND FACADE:
THE ENTRANCE TO THE MONASTERY IS MARKED BY A LARGE, ELABORATELY DECORATED GATE, OFTEN ADORNED WITH TIBETAN MOTIFS SUCH AS DRAGONS, LIONS, AND OTHER SYMBOLIC FIGURES. THE FACADE OF THE MAIN TEMPLE IS RICHLY PAINTED IN VIBRANT COLORS, FEATURING INTRICATE DESIGNS AND PATTERNS THAT ARE CHARACTERISTIC OF TIBETAN ART.
STUPAS AND PRAYER WHEELS:
THE MONASTERY COMPLEX INCLUDES SEVERAL STUPAS (CHORTENS), WHICH ARE DOME-SHAPED STRUCTURES CONTAINING RELICS AND ARE USED AS PLACES OF MEDITATION.
ALONG THE WALKWAYS, LARGE PRAYER WHEELS INSCRIBED WITH TIBETAN MANTRAS (TYPICALLY “OM MANI PADME HUM”) ARE INSTALLED. DEVOTEES SPIN THESE WHEELS AS THEY WALK, WHICH IS BELIEVED TO ACCUMU LATE MERIT AND PURIFY NEGATIVITIES.
MAIN SHRINE HALL:
THE MAIN SHRINE HALL, OR ASSEMBLY HALL, HOUSES STATUES OF THE BUDDHA, BODHISATTVAS, AND IMPORTANT TIBETAN SPIRITUAL LEADERS LIKE THE DALAI LAMA.
THE STATUES ARE OFTEN MADE OF GILDED BRONZE OR CLAY AND ARE INTRICATELY DETAILED, EMBODYING THE SERENE AND COMPASSIONATE NATURE OF THESE FIGURES.
LOCATED IN VARANASI, UTTAR PRADESH, IS ONE OF INDIA’S MOST PRESTIGIOUS INSTITUTIONS OF HIGHER LEARNING. FOUNDED IN 1916 BY THE RENOWNED NATIONALIST LEADER AND EDUCATIONIST PANDIT MADAN MOHAN MALAVIYA, BHU WAS ESTABLISHED WITH THE VISION OF PROMOTING THE STUDY OF INDIAN CULTURE, SCIENCE, AND TECHNOLOGY, BLENDING THE BEST OF ANCIENT AND MODERN EDUCATIONAL SYSTEMS. THE UNIVERSITY WAS CREATED WITH THE SUPPORT OF PROMINENT LEADERS LIKE DR. ANNIE BESANT, WHO ALSO PLAYED A CRUCIAL ROLE IN ITS EARLY DEVELOPMENT. BHU’S EXPANSIVE CAMPUS, SPREAD OVER 1,300 ACRES, IS HOME TO SEVERAL FACULTIES, INSTITUTES, AND RESEARCH CENTERS, COVERING DISCIPLINES FROM THE HUMANITIES AND SOCIAL SCIENCES TO MEDICINE AND ENGINEERING. THE UNIVERSITY’S MAIN CAMPUS IS KNOWN FOR ITS ARCHITECTURAL GRANDEUR, FEATURING A MIX OF TRADITIONAL INDIAN AND CONTEMPORARY STYLES. BHU HAS BEEN A CRADLE FOR MANY NOTABLE ALUMNI, INCLUDING NOBEL LAUREATE HAR GOBIND KHORANA, BHARAT RATNA AWARDEE C.N.R. RAO, AND FORMER PRIME MINISTER OF INDIA, LAL BAHADUR SHASTRI. OVER THE DECADES, BHU HAS REMAINED COMMITTED TO ITS FOUNDING IDEALS, EVOLVING INTO A SIGNIFICANT CENTER FOR ACADEMIC EXCELLENCE, CULTURAL HERITAGE, AND SOCIAL PROGRESS.BANARAS HINDU UNIVERSITY’S (BHU) ARCHITECTURE IS A BLEND OF TRADITIONAL INDIAN AND COLONIAL STYLES, REFLECTING ITS HISTORICAL AND CULTURAL SIGNIFICANCE. THE SPRAWLING CAMPUS, SPREAD OVER 1,300 ACRES, FEATURES SEVERAL NOTABLE BUILSING STRUCTURES.
THIS ICONIC BUILDING COMBINES COLONIAL AND INDIAN ARCHITECTURAL ELEMENTS, WITH HIGH CEILINGS, SPACIOUS READING HALLS, AND INTRICATE STONEWORK.
2. VISHWANATH TEMPLE (NEW VISHWANATH TEMPLE):
DESIGNED BY PANDIT MADAN MOHAN MALAVIYA, THE TEMPLE IS A REPLICA OF THE ORIGINAL KASHI VISHWANATH TEMPLE, FEATURING TALL SPIRES, DETAILED CARVINGS, AND A SERENE AMBIANCE.
3. ADMINISTRATIVE BLOCK:
THE CENTRAL ADMINISTRATIVE BUILDINGS DISPLAY A COLONIAL ARCHITECTURAL STYLE WITH GRAND FACADES, ARCHED WINDOWS, AND EXPANSIVE LAWNS.
4. FACULTIES AND INSTITUTES:
THE VARIOUS FACULTY BUILDINGS, SUCH AS THE FACULTY OF ARTS AND THE INSTITUTE OF MEDICAL SCIENCES, EXHIBIT A MIX OF MODERN AND TRADITIONAL DESIGN, WITH FUNCTIONAL LAYOUTS AND AESTHETIC APPEAL.
5. HOSTELS AND RESIDENTIAL AREAS:
THE STUDENT AND STAFF RESIDENCES ARE DESIGNED TO BE FUNCTIONAL AND COMFORTABLE, WITH GREEN SPACES AND RECREATIONAL FACILITIES INTEGRATED INTO THE CAMPUS LAYOUT.
6. CAMPUS LAYOUT:
THE OVERALL CAMPUS IS WELL-PLANNED, FEATURING WIDE ROADS, GREEN BELTS, GARDENS, AND OPEN SPACES, FOSTERING AN ENVIRONMENT CONDUCIVE TO LEARNING AND RELAXATION.
BHU’S ARCHITECTURAL STYLE REFLECTS ITS AIM TO HARMONIZE MODERN EDUCATION WITH TRADITIONAL VALUES, CREATING AN INSPIRING AND CULTURALLY RICH ACADEMIC ENVIRONMENT.
DURGA TEMPLE, ALSO KNOWN AS THE DURGA KUND MANDIR, IS A REVERED HINDU TEMPLE LOCATED IN VARANASI, UTTAR PRADESH. THE TEMPLE IS DEDICATED TO GODDESS DURGA, THE FIERCE FORM OF THE DIVINE FEMININE, SYMBOLIZING STRENGTH AND PROTECTION. BUILT IN THE 18TH CENTURY BY A BENGALI MAHARANI, THE TEMPLE HOLDS SIGNIFICANT HISTORICAL AND CULTURAL IMPORTANCE. THE EXACT DATE OF ITS CONSTRUCTION IS NOT WELL-DOCUMENTED, BUT IT IS BELIEVED TO HAVE BEEN CONSTRUCTED IN THE LATE 1700S. THE TEMPLE IS AN ARCHITECTURAL MARVEL, CONSTRUCTED IN THE NAGARA STYLE, CHARACTERIZED BY ITS MULTI-TIERED SPIRES AND INTRICATELY CARVED PILLARS AND WALLS. THE VIBRANT RED COLOR OF THE TEMPLE, SYMBOLIZING THE POWER AND ENERGY OF THE GODDESS, MAKES IT A STANDOUT STRUCTURE IN THE CITY. THE TEMPLE COMPLEX INCLUDES A LARGE RECTANGULAR WATER TANK KNOWN AS DURGA KUND, WHICH IS CONNECTED TO THE TEMPLE AND IS USED FOR VARIOUS RITUALS AND CEREMONIES. ACCORDING TO LOCAL LEGEND, THE IDOL OF GODDESS DURGA IN THE TEMPLE IS BELIEVED TO BE SELF-MANIFESTED, NOT MAN-MADE, ADDING TO ITS MYSTICAL AURA. THE TEMPLE IS ESPECIALLY CROWDED DURING THE NAVARATRI FESTIVAL WHEN DEVOTEES FROM ALL OVER INDIA COME TO SEEK THE BLESSINGS OF THE GODDESS. THE DURGA TEMPLE, WITH ITS RICH HISTORY, ARCHITECTURAL BEAUTY, AND SPIRITUAL SIGNIFICANCE, CONTINUES TO BE A CENTRAL PLACE OF WORSHIP AND A SYMBOL OF THE CULTURAL HERITAGE OF VARANASI.
ALAMGIRI MASJID
ALAMGIRI MASJID, ALSO KNOWN AS BENI MADHAV KA DARERA, IS A HISTORIC MOSQUE LOCATED IN VARANASI, UTTAR PRADESH. CONSTRUCTED IN 1664 UNDER THE ORDERS OF MUGHAL EMPEROR AURANGZEB, THE MOSQUE WAS BUILT ON THE SITE OF THE BINDU MADHAV TEMPLE, A PROMINENT HINDU TEMPLE DEDICATED TO LORD VISHNU. THIS CONSTRUCTION IS REFLECTIVE OF AURANGZEB’S BROADER POLICY OF ASSERTING ISLAMIC DOMINANCE, OFTEN INVOLVING THE DESTRUCTION OF HINDU TEMPLES AND THEIR REPLACEMENT WITH MOSQUES. ARCHITECTURALLY, ALAMGIRI MASJID IS A CLASSIC EXAMPLE OF MUGHAL DESIGN, FEATURING A LARGE PRAYER HALL WITH THREE DOMES AND TWO TOWERING MINARETS. THE CENTRAL DOME IS FLANKED BY TWO SMALLER DOMES, ALL ADORNED WITH INTRICATE CARVINGS AND INLAY WORK. THE PRAYER HALL IS SUPPORTED BY ORNATE PILLARS AND ARCHES, DECORATED WITH FLORAL AND GEOMETRIC PATTERNS. THE SPACIOUS COURTYARD SURROUNDING THE MOSQUE PROVIDES AN OPEN SPACE FOR CONGREGATIONAL PRAYERS. THE TWO MINARETS, USED FOR THE CALL TO PRAYER, ARE NOTABLE FOR THEIR HEIGHT AND DETAILED CRAFTSMANSHIP. ALAMGIRI MASJID STANDS AS A SIGNIFICANT SYMBOL OF MUGHAL ARCHITECTURE AND THE COMPLEX RELIGIOUS HISTORY OF VARANASI.
BHARAT KALA BHAVAN MUSEUM. BHARAT KALA BHAVAN MUSEUM, LOCATED WITHIN THE CAMPUS OF BANARAS HINDU UNIVERSITY (BHU) IN VARANASI, UTTAR PRADESH, IS A RENOWNED CULTURAL INSTITUTION THAT HOUSES AN EXTENSIVE COLLECTION OF INDIAN ART AND ARTIFACTS. ESTABLISHED IN 1920, THE MUSEUM WAS THE BRAINCHILD OF PADMA VIBHUSHAN AWARDEE RAI KRISHNADASA, WHO ENVISIONED A REPOSITORY THAT WOULD PRESERVE AND SHOWCASE THE RICH ARTISTIC HERITAGE OF INDIA. THE MUSEUM INITIALLY BEGAN AS A SMALL COLLECTION WITHIN THE UNIVERSITY BUT RAPIDLY EXPANDED UNDER THE PATRONAGE OF PROMINENT FIGURES SUCH AS PANDIT MADAN MOHAN MALAVIYA, THE FOUNDER OF BHU. TODAY, BHARAT KALA BHAVAN BOASTS OVER 100,000 ARTIFACTS, INCLUDING ANCIENT SCULPTURES, MINIATURE PAINTINGS, TEXTILES, MANUSCRIPTS, AND DECORATIVE ARTS. ITS COLLECTION SPANS MULTIPLE PERIODS AND REGIONS, OFFERING INSIGHTS INTO INDIA’S DIVERSE CULTURAL AND HISTORICAL LANDSCAPES. THE MUSEUM IS PARTICULARLY NOTED FOR ITS COLLECTION OF MUGHAL MINIATURES AND THE WORKS OF CELEBRATED INDIAN ARTISTS SUCH AS RAJA RAVI VARMA AND JAMINI ROY. BHARAT KALA BHAVAN NOT ONLY SERVES AS A CENTER FOR RESEARCH AND EDUCATION BUT ALSO PLAYS A CRUCIAL ROLE IN PRESERVING INDIA’S ARTISTIC LEGACY. IT ATTRACTS SCHOLARS, HISTORIANS, AND ART ENTHUSIASTS FROM AROUND THE WORLD, MAKING IT A SIGNIFICANT CULTURAL LANDMARK IN VARANASI.
RAMNAGAR FORT
RAMNAGAR FORT, LOCATED ON THE EASTERN BANK OF THE GANGES RIVER OPPOSITE VARANASI, UTTAR PRADESH, IS A HISTORIC FORTIFICATION THAT HAS SERVED AS THE RESIDENCE OF THE MAHARAJA OF VARANASI SINCE THE 18TH CENTURY. THE FORT WAS CONSTRUCTED IN 1750 BY KASHI NARESH RAJA BALWANT SINGH, A RULER OF THE BENARES STATE, DURING THE MUGHAL ERA. BUILT IN A MUGHAL STYLE WITH A BLEND OF INDIAN ARCHITECTURE, THE FORT IS MADE FROM CREAMY-COLORED CHUNAR SANDSTONE AND IS AN EXCELLENT EXAMPLE OF THE GRANDEUR AND STRATEGIC IMPORTANCE OF THE PERIOD.
Dashashwamedh Ghat
DASHASHWAMEDH GHAT IS PERHAPS THE MOST IMPORTANT VARANASI GHATS. THE BUSIEST ONE AND ALSO CONSIDERED TO BE THE MOST AUSPICIOUS ONE, DASHSHWAMEDH IS ALSO THE NEAREST ONE TO THE KASHI VISHWANATH TEMPLE. MYTHOLOGICALLY, IT IS BELIEVED THAT LORD BRAHMA PERFORMED ASHWAMEDH YAGNA AND SACRIFICED 10 HORSES FOR THE RITUAL. THAT IS WHY THE GHAT IS NAMED SO FROM DASH MEANING 10 AND ASHWA MEANING HORSE.
DASHASHWAMEDH GHAT IS ALSO KNOWN FOR THE EVENING ARTI OF VARANASI. THE GANGA ARTI OF VARANASI MIGHT BE A TOURISTY THING BUT IS ALSO QUITE SPECTACULAR. THE ARTI IS DEDICATED TO RIVER GANGA, SURYA – THE SETTING SUN, AGNI – THE FIRE AND LORD SHIVA.
ASSI GHAT IS THE SOUTHERNMOST GHAT IN VARANASI. NAMED AFTER THE ASSI RIVER,ASSI GHAT ALSO HAS ITS SHARE OF MYTHOLOGY. IT IS BELIEVED THAT GODDESS DURGA AFTER KILLING THE DEMON BROTHERS SHUMBHA-NISHUMBHA AND THREW DOWN HER SWORD AT THE ASSI STREAM. HERE THE RIVER GANGA MEANDERS AND MEETS WITH THE ASSI RIVER. ASSI GHAT IS DESCRIBED AS “SAIMBEDA TIRTHA” MEANING THAT ONE WHO DIPS IN THE GANGA HERE ONCE IN HIS LIFETIME WILL GET THE BLESSINGS OF ALL THE HINDU TIRTHAS. GENERALLY, HINDU PILGRIMS FLOCK HERE TO TAKE A DIP IN THE HOLY WATERS OF GANGA IN THE MONTH OF MAGH AND CHAITRA (SOMETIME BETWEEN JANUARY AND APRIL).
Manikarnika Ghat
Raja Harishchandra Ghat
MANIKARNIKA GHAT IS THE MAIN CREMATION GHAT IN VARANASI. IT ALSO HAPPENS TO BE ONE OF THE OLDEST AND SACRED VARANASI GHATS.LEGEND HAS IT THAT AT THE BEGINNING OF SATYA YUG, LORD VISHNU PRAYED TO LORD SHIVA AT ANAND VANA (KASHI) FOR A LONG TIME SO THAT LORD SHIVA DOES NOT DESTROY KASHI WHILE HE DESTROYED THE WORLD. LORD SHIVA WAS PLEASED BY THE EARNEST REQUEST OF LORD VISHNU AND GAVE THE BOON OF ETERNAL PEACE TO KASHI. LORD VISHNU WITH HIS SUDARSHAN CHAKRA DUG A POND OR KUND AT THE PLACE FOR LORD SHIVA AND GODDESS PARVATI. WHILE HAVING A BATH IN THE KUND, A MANI FROM HIS EARRING FELL INTO THE POND. HENCE THE GHAT WAS NAMED MANIKARNIKA GHAT. SOME OTHER SCHOOL OF THOUGHTS ALSO BELIEVE THAT THE EARRING OF SATI FELL AT THIS PLACE AFTER SHE GAVE UP HER LIFE. HARISHCHANDRA GHAT IS THE OTHER GHAT IN VARANASI WHERE THE CREMATION TAKES PLACE. THIS IS ALSO ONE OF THE OLDEST VARANASI GHATS HAVING A STRONG MYTHOLOGICAL CONNECT. IT IS SAID THE RAJA HARISHCHANDRA, THE RIGHTEOUS AND HONEST KING WHO ONLY SPOKE TRUTH SERVED AT THE GHAT AS A ‘DOM’ (THE PERSON WHO CREMATES THE DEAD BODIES).IT IS BELIEVED THAT CREMATION IN HARISHCHANDRA GHAT HAD BEEN TAKING PLACE EVEN BEFORE THAN MANIKARNIKA GHAT. THE DOMS AT THE GHAT ARE THE KEEPER OF THE SACRED FIRE THAT IS NEVER ALLOWED TO DIE DOWN. YOU CAN SEE THE SACRED FLAME LIGHTED AT THE HARISHCHANDRA GHAT. THE DOM RAJA IS RESPONSIBLE FOR THE FLAME TO BE ALWAYS BURNING. THE FIRST FIRE TO LIGHT THE FUNERAL PYRE IS TAKEN FROM THIS ETERNAL SACRED FIRE.
CHET SINGH GHAT IS ONE OF OUR FAVOURITE VARANASI GHATS. AN IMPOSING FORTRESS DOMINATES THE GHAT BUILT BY MAHARAJA CHET SINGH IN THE MID-EIGHTEENTH CENTURY. THE FORT WAS HIS PRIMARY RESIDENCE. THE PLACE WITNESSED A FIERCE BATTLE BETWEEN TROOPS OF WARREN HASTINGS AND MAHARAJA CHET SINGH IN 1781. THE MAHARAJA LOST THE BATTLE TO THE BRITISH, BUT IT IS SAID THAT HE ESCAPED FROM THE FORT AND THE FORTRESS WENT UNDER THE CONTROL OF THE BRITISH. LATER IN THE 19TH CENTURY, THE POSSESSION OF THE FORT WAS TAKEN BY KING PRABHUNARAYAN SINGH. LATER THE NORTHERN PART OF THE FORT WAS DONATED TO THE NAGA SANYASIS, A GROUP OF ASCETICS KNOWN FOR THEIR HARSH WAY OF LIVING.
Darbhanga Ghat
DARBHANGA GHAT IS ONE OF THE POPULAR VARANASI GHATS WHERE YOU CAN SEE THE 18TH CENTURY BUILT BRIJRAMA PALACE OVERLOOKING THE GANGES. THIS IS ONE OF THE OLDEST FORTS TO BE BUILT ON THE RIVERFRONT BY THE ROYAL FAMILY OF NAGPUR. THE FORT WAS LATER ACQUIRED BY THE MAHARAJA OF DARBHANGA, RAMESHWAR SINGH BAHADUR IN THE 20TH CENTURY. THE MAHARAJA OF DARBHANGA RENOVATED THE FORT AND INSTALLED THE FIRST-EVER ELEVATOR IN SOUTH ASIA. TODAY THE BRIJRAMA PALACE IS CONVERTED INTO A BOUTIQUE HOTEL AND THE ELEVATOR IS USED TO CARRY GUESTS INSIDE THE PROPERTY. THE PALACE TURNED HOTEL PROVIDES A LUXURIOUS STAY AMIDST THE BUSY GHATS.
SCINDHIA GHAT IS LOCATED JUST BESIDE THE MANIKARNIKA GHAT. WHAT IS INTERESTING HERE IS THE SUBMERGED TEMPLE DEDICATED TO LORD SHIVA. THE TEMPLE COLLAPSED DURING THE CONSTRUCTION OF THE GHAT IN 1870. THE GHAT IS NAMED AFTER THE SCINDHIA WHO WERE THE PATRONS FOR BUILDING THE GHAT. BEHIND THE SCINDHIA GHAT, THERE IS A NARROW MAZE OF ALLEYS HAVING A LOT OF OLD TEMPLES. THE PLACE IS KNOWN AS “SIDDHA KSETRA” OR THE LAND OF FULFILMENT.IT IS BELIEVED THAT AGNI, THE FIRE GOD OF THE HINDUS WAS BORN HERE.
AHILYABAI GHAT HAS THE DISTINCTION OF BEING THE FIRST GHAT TO BE NAMED IN HONOUR OF A PERSON, QUEEN AHILYABAI HOLKAR OF INDORE. THE GHAT WAS EARLIER KNOWN AS KEVALAGIRI GHAT. IN BETWEEN 17781785, UNDER THE PATRONAGE OF QUEEN AHILYABAI, THE GHAT WAS COMPLETELY RENOVATED. THERE IS A RESIDENTIAL PALACE AND A FEW TEMPLES IN THE GHAT. APPARENTLY, THE PALACES AND TEMPLES CANNOT BE ASCERTAINED FROM A DISTANCE. YOU CANNOT FATHOM FROM A FIRST LOOK THAT THE BEYOND THE GHAT THERE IS ANOTHER WORLD. AND THIS IS TRUE FOR MOST OF THE VARANASI GHATS.
Ahilyabai Ghat
Anandamayi Ghat
Babua Pande Ghat
THE GHAT WAS EARLIER KNOWN AS IMALIA GHAT. IN 1944 MATA ANADAMAYI PURCHASED THIS GHAT FROM THE BRITISH AND BUILT AN ASHRAM FOR HER DEVOTEES. YOU CAN STILL SEE THE ANADAMAYEE ASHRAM AT THE UPPER PART OF THE GHAT.
I HAVE MENTIONED THE PANDE GHAT BECAUSE THIS IS ONE OF THE MOST COLOURFUL GHATS, NOT BECAUSE OF ANY COLOURFUL WALL ART OR STRUCTURE, BUT FOR THE COLOURFUL CLOTHES THAT ARE HANGED THERE FOR DRYING. THIS GHAT WAS MADE PUCCA IN THE 19TH CENTURY BY KAVINDRA NARAYAN SINGH. IN 1805 BABUA PANDE, A RICH BRAHMIN OF CHHAPRA (BIHAR) HAD BUILT A WRESTLING PLACE NEAR THE GHAT AND SO THE GHAT WAS NAMED AFTER HIM.
Bhonsle Ghat
TULSI GHAT IS NAMED AFTER THE 16TH CENTURY FAMOUS HINDU POET TULSI DAS. IT IS BELIEVED THAT IT WAS AT THIS PLACE WHERE TULSI DAS COMPOSED THE AWADHI VERSION OF THE HOLY EPIC POEM ‘RAMCHARITAMANAS’.TULSI GHAT IS ALSO KNOWN FOR THE AKHARA OR THE WRESTLING GROUND. THE LOLARK KUND IS ALSO NEAR THE TULSI GHAT.
BHONSLE GHAT IS OWNED BY THE MARATHA KING BHONSLE FROM NAGPUR IN 1780. THIS GHAT ALSO HAS A CONSTRUCTION LOOKING LIKE A GATEWAY. THERE ARE THREE IMPORTANT SHRINES NEAR THIS GHAT – THE LAXMINARAYAN TEMPLE, THE RAGHURAJESVARA TEMPLE AND THE YAMADITYA TEMPLE (DEDICATED TO THE LORD OF DEATH, YAMA).
Man Sarovar Ghat
JAIN GHAT HAS SOME BEAUTIFUL WHITE COLOURED JAIN TEMPLES. THE GHAT WAS EARLIER KNOWN AS THE VACCHARAJA GHAT, BUT LATER BABU SHEKHAR CHANDA HAD REBUILT THE GHAT AND NAMED IT AFTER THE JAIN TIRTHANKARA. IT IS BELIEVED THAT THE 7TH JAIN TIRTHANKARA, SUPARSHVANATHA WAS BORN IN THE NEIGHBOURING AREA.
MAN SAROVAR GHAT WAS BUILT BY RAJA MAN SINGH OF AMBER, JAIPUR IN 1585. THE KING HAD ALSO ADDED A POOL NEARBY THAT IS KNOWN AS THE MANSAROVAR KUND. IT IS BELIEVED THAT THE WATER OF THE POOL IS AS SACRED AND PIOUS AS THAT OF THE SACRED MANSAROVAR LAKE IN TIBET. NOW WITH MORE AND MORE CONSTRUCTION COMING UP, THE KUND (POND) HAS BECOME A KUPA (WELL) AND IS KNOWN AS MANSAROVAR KUPA.THE KUMARSWAMY MUTT IS LOCATED IN THE UPPER PARTS OF THE MANSAROVAR GHAT.
Kedar Ghat
RAJENDRA PRASAD GHAT WAS INITIALLY THE PART OF THE DASHASHWAMEDH GHAT. LATER THIS WAS NAMED SUCH IN HONOUR OF THE FIRST PRESIDENT OF INDIA, DR RAJENDRA PRASAD.
KEDAR GHAT IS ANOTHER IMPORTANT GHAT IN VARANASI. IT HAS A VERY COLOURFUL DRAVIDIAN TYPE TEMPLE ON THE BANKS. THE KEDAR GHAT HAS A TEMPLE DEDICATED TO LORD SHIVA AND IS QUITE FAMOUS AMONG SOUTH INDIAN PILGRIMS. THE GHAT WAS BUILT BY THE VIJAYANAGAR KING. THERE IS A POOL NEARBY KNOWN AS THE GAURI KUND. THE WATER WHICH WAS PRESENT THERE ONCE UPON A TIME WAS SAID TO HAVE MEDICINAL VALUES.
Lalita Ghat or Nepali Ghat
MAN MANDIR GHAT WAS BUILT BY THE KING OF AMBER FROM RAJASTHAN. THE GHAT IS KNOWN FOR THE MAGNIFICENT EIGHTEENTH-CENTURY OBSERVATORY THAT WAS BUILT BY KING UNDER THE INSTRUCTION OF HIS ASTROLOGER. THE GHAT IS ALSO KNOWN FOR ITS EXQUISITE ORNATE WINDOW CARVINGS.
THERE IS A TINY PIECE OF NEPAL RIGHT IN THE MIDST OF INDIA. LALITA GHAT, ALSO KNOWN AS THE NEPALI GHAT LOOKS LIKE JUST ANY OTHER VARANASI GHATS. CLIMBING THE STAIRS, THERE WILL COME ACROSS TWO-STOREYED RED COLOURED TERRACOTTA, STONE AND WOOD PAGODA AMIDST THE MANY TEMPLES DOTTING THE VARANASI SKYLINE.THE KING OF NEPAL, RANA BAHADUR SHAH HAD TAKEN EXILE IN VARANASI FROM 1800 TO 1804. DURING THIS TIME, HE DECIDED TO BUILD AN EXACT REPLICA OF THE FAMOUS PASHUPATINATH TEMPLE OF NEPAL IN VARANASI. BUT BEFORE THE CONSTRUCTION OF THE TEMPLE WAS FINISHED, HE WENT BACK TO NEPAL AND WAS LATER MURDERED. HIS SON LATER COMPLETED THE CONSTRUCTION OF THE TEMPLE.
Panchganga Ghat
Adi Keshava Ghat
PANCHGANGA GHAT IS ONE OF THE IMPORTANT VARANASI GHATS. THE PLACE IS BELIEVED TO BE THE CONFLUENCE OF 5 RIVERS. ACCORDING TO LEGENDS, THE SYMBOLIC RIVULETS DHUTAPAPA (ONE WHO CLEANSES THE SINS) AND KIRANA (SUN’S RAYS) MEET THE THREE MAJOR RIVERS OF ANCIENT INDIA GANGA, YAMUNA AND SARASWATI AT THIS PLACE. THERE IS A SHRINE DEDICATED TO THE 5 (PANCHA) RIVERS (GANGA) HERE.IT IS ALSO BELIEVED THAT THE GREAT MEDIEVAL SUFI SAINT FOUND HIS GURU VAIDANT RAMANAND AT THIS PLACE AND THIS WAS HIS LEARNING PLACE. TULSI DAS IS ALSO SAID TO HAVE COMPOSED THE FAMOUS VINAY PATRIKA AT THIS GHAT.THE ALAMGIR MOSQUE WAS CONSTRUCTED BY MUGHAL EMPEROR AURANGZEB AT THE SITE OF THE BINDU MADHAVA TEMPLE DEDICATED TO LORD VISHNU.
ADI KESHAVA GHAT LIES ON THE OUTSKIRTS OF THE CITY WHEN THE VARUNA RIVER FLOWS INTO THE GANGA. JUST LIKE THE ASSI GHAT, IT MARKS THE BORDER OF VARANASI OR KASHI. ADI KESHAVA (MEANING THE ORIGINAL VISHNU) IS THE PLACE WHERE LORD VISHNU FIRST ARRIVED AT KASHI AS AN EMISSARY OF LORD SHIVA. THE GHAT IS UNAPPROACHABLE DURING THE RAINY SEASON. THERE ARE A NUMBER OF GANESHA SHRINES NEAR THIS GHAT.
Ganga Mahal Ghat
Chausatti Ghat
NEXT TO ASSI GHAT THE NARAYAN DYNASTY OF VARANASI, CONSTRUCTED A PALACE IN 1830 BY THE RIVER GANGA IN VARANASI. SINCE THE PALACE WAS HOUSED ON THE GHAT, THE GHAT WAS NAMED “GANGA MAHAL GHAT”. MAHAL MEANS PALACE.
ABOVE THE GHAT, THERE IS A TEMPLE OF CAUSATTHI (64) DEVI, BUT ONLY 60 IMAGES OF YOGINIS ARE THERE, THE REST FOUR ARE AT DIFFERENT PLACES. IN 1670 KING OF UDAIPUR (RAJASTHAN) RENOVATED THIS GHAT. ON THE EVENING OF HOLI FESTIVAL THE START OF CAITRA-1, MANY LOCALS VISIT THIS TEMPLE FOR POOJA.
Badri Narayana Ghat
IT IS BELIEVED THAT ONE CAN GET RID OF THE CURSE OF KILLING COWS (GAU HATHYA) BY TAKING BATH AT THIS GHAT. THIS IS WHY THE GHAT IS NAMED AS GAAY/GAI GHAT.
DUE TO BADRINARAYAN (REPLICA OF THE BADRINATH) TEMPLE SITUATED HERE, THE GHAT IS KNOWN AS BADRINARAYAN GHAT.
IN ANCIENT TIME KINGS OF KASHI USED TO LIVE NEARBY TO THIS GHAT. AS KINGS USED TO RESIDE IN THIS AREA SO THE GHAT WAS NAMED AS RAJ GHAT. THERE IS AN EXISTENCE OF MAHISHASUR TEMPLE ON THE GHAT, FEW PEOPLE ALSO CALL IT AS MAHISHASUR GHAT.
THIS WAS CONSTRUCTED BY A MONASTERY CHIEF DATTATREYA SWAMI IN 1788. THE LEGEND SAYS THAT ANYBODY BATHING ALONG WITH SPOUSE IN NARAD GHAT IS NOT ADVISED BECAUSE OF THE MYTH OF DISPUTE BETWEEN THE COUPLE IN FUTURE.
Manikarnika Kund, an ancient and sacred water tank in Varanasi, holds immense religious and historical significance. Situated near the renowned Manikarnika Ghat, one of the holiest cremation sites in Hinduism, the Kund is steeped in mythology and spirituality. According to legend, it was created by Lord Vishnu during his penance, and Lord Shiva and Goddess Parvati are believed to have bathed here. The Kund’s name, derived from “Mani” (jewel) and “Karnika” (ear), symbolizes the earring of Goddess Parvati that fell into the tank. The water body is revered for its purifying qualities, with devotees believing that a dip in the Kund can absolve sins and grant moksha (liberation). Architecturally, the Kund is an example of the intricate stonework and traditional construction techniques that characterize Varanasi’s sacred spaces. Over centuries, it has been a focal point for rituals, religious ceremonies, and festivals, particularly during the auspicious occasions of Mahashivratri and Kartik Purnima.
Source: Research Gate
The Kund, which means “pond” or “reservoir,” is an integral part of the larger Manikarnika Ghat area, which has been a focal point of Hindu rites and rituals for centuries. The Kund is surrounded by various temples, each dedicated to different deities, reflecting the syncretic nature of Hindu worship in Varanasi. The architecture around the Kund includes intricate carvings and centuries-old inscriptions, offering insights into the historical and artistic developments over time. Notably, the steps leading down to the water, known as ghats, are crafted from locally sourced stone and exhibit a blend of Mughal and Hindu architectural styles.
Lolark Kund in Varanasi is tied to a legend involving Surya, the sun god. During a severe 60year drought, Brahma chose the sage Ripunjay to restore order on Earth, leading to the exile of all gods from Kashi (Varanasi), including Shiva. Longing to return, Shiva sought help from Surya. When Surya first saw Kashi, he trembled with excitement, and where his semen fell, Lolark Kund was formed. Despite not disrupting Ripunjay’s rule, Surya stayed in Kashi, dividing himself into twelve parts known as Adityas, making Kashi their home. Lolark means ‘trembling sun,’ reflecting Surya’s reaction to Kashi. The water in Lolark Kund is believed to have special powers for fertility. It is said that women who bathe in it will be blessed with a child,
Architecture Feature
Stepped Design: The kund is constructed with a series of steps leading down to the water, allowing easy access for pilgrims to bathe in its sacred waters.
Rectangular Shape: The tank has a rectangular form, typical of many traditional Indian stepwells.
Stone Construction: Built primarily of stone, the kund’s structure has withstood the test of time, showcasing the durability and craftsmanship of ancient builders.
Surrounding Temples: The kund is often flanked by small temples and shrines, enhancing its religious significance.
Ornate Carvings: The walls and steps of Lolark Kund may feature intricate carvings and inscriptions, adding to its aesthetic and historical value.
In the temple of Maa Lakshmi situated on its banks a fair of 16 days is held from Ashtami of Bhadrapad Shukla Paksha which is famous by the name of Sorhiya fair. It is located on the Aurangabad road, 100 metres from Laksa police station. Thousands of devotees visit the temple every day. There has been an ancient belief about Lakshmi Kund that this Kund was earlier known as Lakshman Kund. Ramkund and Sitakund were also near it. But gradually Sita Kund disappeared. But the existence of Ramkund is still intact. The form of Lakshman Kund changed with time. Later it came to be known as Lakshmi Kunda. The festival of Lakshmi Puja is celebrated on the Chaturdashi Tithi during Krishna Paksha of every month.It is believed that Lord Shankar sent 64 yoginis to Kashi. Chausatti Yogini is established as the temple of Mata Chausatti on the Chausatti Ghat. While the Mayuri Yogini sent by Shiva reached Laxmi Kund. Thereafter, Mayuri Yogini played an important role in maintaining the existence of different kundas. But due to the Sorhiya fair the form of Laxmi Kund is as safe as possible. The fair that is held at Lakshmi Kund is known as Sorahaiya Ka Mela and is dedicated to the potterS.
Throughout the year on this pond the people of the vicinity perform the shraddha of the ancestors. In every house where someone dies, a bell is tied to the peepal tree on the second day of the funeral at the crematorium. The water of this pond is used by those who offer sacrifices to their ancestors. Apart from giving water to the ancestors every morning and evening for 10 days, the ritual of Dashgatra, Ekadashah and Dwadashah takes place on this pond.
Kedar Kund, also known as Parvati Kund, is situated at the celebrated Kedar Ghat in Varanasi. This sacred ‘well’ is believed to possess healing properties and attracts numerous visitors seeking spiritual and physical revitalization. The people of the ghat tell stories, with the confidence that comes only when one is 100% sure of the veracity of their story, of the origin of the kund.It’s a part of the famous Puranic story of Shiv’s tandav with Sati on his shoulders and Vishnu coming to save the world etc. Local beliefs suggest that the waters of Kedar Kund are blessed and abounding with healing attributes. Worshippers often gather here to seek blessings from the divine, with many participating in rituals and chanting.
Guari Kund, also known as Kedar Kund, is a sacred water tank located near Kedar Ghat in Varanasi, Uttar Pradesh. Named after Goddess Parvati (Guari) and Lord Shiva (Kedar), it holds religious significance for Hindu devotees who believe a dip in its waters purifies sins. The stepped architecture of the kund allows easy access for rituals and bathing. It is especially significant during festivals like Shivaratri. The kund is part of Varanasi’s rich spiritual and cultural heritage, attracting many visitors seeking blessings and spiritual solace.
known for its complex spatial layout and historical significance, beniya bugh provides a rich tapestry of architectural elements that reflect both the city’s ancient heritage and its evolving urban landscape. The architectural layout of beniya bugh is emblematic of traditional indian urban planning, characterized by its intricate network of narrow streets and alleys. this organic street pattern is a hallmark of historic varanasi, designed to accommodate high population densities while maximizing the use of available land. The narrow lanes facilitate pedestrian movement, which is crucial in a city where commercial and residential activities are closely intertwined. This irregular layout creates a sense of enclosure and intimacy, with densely packed buildings contributing to a cohesive community atmosphere. Beniya bugh showcases traditional varanasi building styles, characterized by the use of local materials and construction techniques. buildings are typically constructed using local sandstone and brick, which are well-suited to the region’s climatic conditions. the exteriors of many buildings exhibit the time-honored practice of plastering with lime, which not only provides aesthetic appeal but also contributes to the durability of the structures.
Sant Ravidas Ghat is a significant historical and spiritual site on the banks of the Ganges River in Varanasi, Uttar Pradesh. Named after the revered 15th-century saint and poet Sant Ravidas, a prominent figure in the Bhakti movement, it celebrates his teachings of equality, love, and devotion to God, transcending caste and social barriers.
-Historical Significance: The ghat honors Sant Ravidas, who is said to have meditated and preached at this site. His teachings and poems are still influential among followers of the Bhakti movement.
-Spiritual Importance: Devotees visit this ghat to pay their respects and seek blessings, as it is considered a place of spiritual purity and devotion.
-Cultural Heritage: The ghat is also a center for cultural activities and celebrations related to Sant Ravidas, particularly during his birth anniversary, which attracts thousands of devotees..
The confluence of Asi Nala with the Ganges River is a significant spot in Varanasi near Assi Ghat. It is considered sacred and is a popular site for
performing religious rituals and seeking spiritual renewal. Assi Ghat is also a vibrant cultural hub, attracting both locals and tourists with its traditional ceremonies and activities.
