Baradevi, Parel

A couple of years ago, I happened to attend a lecture by Dr Kurush Dalal. In the course of the lecture, he mentioned the Baradevi in Parel.

What is referred to as Baradevi is a slab of rock,around 10 to 12 feet in height, on which are carved 7 images of Shiva and 5 images of his ganas. This can be traced to the Vakataka period he had said and can be dated to the 5th 6th century AD. This unfinished sculpture was found when the road there had been dug up in order to lay a road near the Haffkine Institute.
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The museum, realizing the significance of this discovery, wanted to place this sculpture under it's care. Arrangements were made for transportation but while it had  barely been lifted off the ground by a a crane, the belt snapped and the Baradevi slab fell back. this was interpreted by the locals as the deity's unwillingness to move to the new abode. they refused to let go of it. since then it has remained here in Parel. As this is an unfinished sculpture, it is not in worship and it remains secure in a structure, behind a grilled gate. The museum has taken a cast of this piece of art and have placed it in their premises.

This sculpture, the Baradevi has 7 images of Shiva carved on it. None of these are ornately embellished. However the hands..the fingers are beautifully carved. 3 images appear one above the other at the centre of the slab and the other four are slightly reclining images on either sides of these. The Shiva murti at the top of this slab has 10 arms and seems to wield a sword in one. the 3 (standing) central images have the distinctive crescent moon carved on the jata. 5 Ganas are visible in the lower half of the panel. The image of one gana is faceless. They are shown playing musical instruments like the flute and the harp.

Some scholars have accounted for 8 Shivas on this monolith..and that has been when they have included into their count, the entire stele which is shaped like a Shiv linga

There are 2 more temples in the vicinity of this Shiva monolith. on its right is an ancient Chandika temple. A little ahead, on it's left, and atop a flight of stairs is the Vagheshwari temple. The Vagheshwari devi as the name implies... rides a tiger. The origin of this temple can be traced back at least to 1857 says Mr Mhatre, whose family looks after the upkeep of the temple. There are records to prove it too, he says. He loves conversation and getting to know his visitors. He asked about us, our place of residence, our native villages.. and proudly said, Mumbai, this place is my native place.
Both the Chandika temple and the Vagheshwari mandir, remind me of the Gavdevi mandir of my childhood, or even of the temples in Goa. simple no frill structures .They have an old world charm , as if time has stood still here. This is a Maharashtrian neighbourhood with families who have been residing here for generations. I am taken back to my childhood, where the neighbours were mostly Maharastrians and i realise that I haven't heard the language being spoken with such fluency and ease in a long time. Nostalgic moments and i feel strangely secure. little memories seem to have been brought to life and i want to linger here a bit longer. I sit on the wooden bench there...comforted.

P.S.     Baradevi is a little ahead of the KEM hospital.   After the signal at KEM, one has to drive/walk a little ahead and on the left hand side, appears a flight of stairs, leading up a hill.  This is the Golanji hill.  As you are climbing, the dome and kalas of the Vagheswari temple are visible.  The approach to the Vagheshwari temple is via another staircase which leads you straight  to the small kerchief sized aangan of the temple.  

Once atop the Golanji hill, the Baradevi and the Chandika mandir are a 2 minute walk from the Vagheshwari mandir.

Napgur Madhyavarti Sangrahalay

A trip to Nagpur was on my wish list for many reasons.

I had been there in 1991 on a work related trip and wanted to revisit  a couple of places with my family.   Tadoba and Hemalkasa beckoned.   And I also wanted to visit the Central Museum at Nagpur.

While I was studying mythology, we had a lecture on Mythology and Temple architecture.  

When talking about how mythology was depicted in and on temples, the expert, Dr Vaishali Welankar, spoke aout how  the sculptors who adorned the temple walls with their art, were well versed in mythology.. the stories they were to depict.  Also sometimes the artist did take an artistic liberty so to say.

She mentioned a sculpture currently housed in the museum at Nagpur,  depicting an incident from the Vishnu mythology  - The distribution of Amruta after the Amrutamanthana.

In this particular piece, the sculptor has shown Mohini with a pot of Amruta, standing on Kurma.  And then there is Vishnu too, with his shankha and gada.  The Kurma is shown craning its neck in between the two figures of Vishnu and Mohini, waiting to sip on any drop  of Amruta that might flow out of Visnhu's outstretched palms.

Thus in one panel, the artist had depicted Lord Vishnu as well as his two forms, Mohini and Kurma.

Rani Prabhavati's fort. Vakataka period

 

 

  

 

 A cave ... it brings  forth an imagery of   a grotto, a cavity, a hollow in a rock face, on a hill slope or a mountain .   A cavern, providing shelter to the seeker, be it man or animal. Natural, or man made.  And if man-made, then it has been deliberately  carved out of the rock surface.


'Excavation'. Had always associated the term with archaeology and hence with the  discovery and unearthing of a hitherto forgotten or a buried -  underground kind of a site.

It was  in  my  Mythology class that  I learnt, "A cave is never  'carved 'out, it is always 'excavated'.

That course in mythology, it brought about a new awareness in understanding and appreciating architecture and sculpture..of  temples, temple  facades and  caves. 

The course also introduced me to a new literature, authors and scholars , Dr Suraj Pandit, being one of them.   No, he did not engage a lecture  with us, but the  awe and respect with which his name was uttered amongst the 'Jaaankaars' and seniors in our department, I already held him in  great esteem, without having met him or seen him ever.

The group I was associated with in those 2 yrs at Sanskrit Bhavan at the Mumbai University, was an eclectic one. These were folks  who came from  varied backgrounds, had  varied interests and  they pursued  these with earnestness..  My interactions with them broadened my horizons and I learnt of avenues, study courses and programmes I would never have  known of,  otherwise.

One such programme was the 3 day Site Seminar held at Kanheri each year, and led by none other than Dr Suraj Pandit.


Being a blue blooded Bambaiyya, I had known of the many heritage sights nestled in the city, of course. Some, I had visited...most, I had relegated to  my bucket list.   I do tackle  the bucket list with a vengeance, once in a while.

It was only this year that things fell in place for me and I was able to register myself for the Kanheri site seminar.  The seminar was conducted from the 4th to the 6th of November. , and I can forcefully say, it  has been   an experience to be cherished for life.


Kamheri was introduced to us   , by Dr Suraj Pandit.   He is extremely  passionate about Kanheri.      He owns it by virtue of his knowledge,  his  love for every bit of rock excavated and carved out there.  He is an authority on the subject  and is one who is equally enthusiastic about sharing his passion with you...By the end of the seminar, Kanheri then becomes  yours , as much as it is his.

Unselfishly sharing your wealth of knowledge ,  withholding nothing, emptying all  into the eager palms of seekers,  are the marks of a good teacher . Enabling the seeker to savor your experience with the same intensity, zeal and fervour,  is what makes a good teacher.  Dr Pandit and his team are all this and  more.

Kanheri is a  group of caves,  a cave complex, situated inside the Sanjay Gandhi Naitonal Park at Borivali (E) in Mumbai.  From the main gate of the Sanjay Gandhi National Park situated off the Western Express Highway at Borivali (E), it is a 7 km drive upto Kanheri. The caves at Kanheri have been excavated at different levels across the three hillocks there.

The monument is protected by the Archaeological Survey of India.

One can take their own vehicle inside the Park,  or avail of the bus service or the private taxis plying inside,  all for a fee.    The drive to Kanheri from inside the National Park is one which pleases the senses.  Greenery abounds in plenty.


 Who excavated those caves?  Why?  When?  How did the inhabitants of the caves live , centuries ago? How did they survive, thrive?  How do you interpret  and understand the structures there?       How do you bring to life the now desolate rocky landscape?   How do you recreate the times and lives of the the people who once resided there? How do you understand their culture and philosophy ? The sects within the religion and their interaction, how does one get an insight into this.....All this and much more was what was discussed and shared in the three days that we were there at the Kanheri Site Seminar.



The Kanheri caves are Buddhist caves.  Kanheri was an important Buddhist religious centre in its times.   The caves can be dated to 2nd C AD.  Kanheri reached its golden period and then saw its downfall by the 11th c AD.


What is a Chaitya.   What is a stupa?  How were the cave excavated.  Who actually excavated the,.  Who paid for it.  Who designed it









 

Banavasi