Around Gwalior

Sabalgarh / सबलगढ़

सबलगढ़ का इतिहास अत्यन्त प्राचीन है। महाभारत काल मे यह क्षेत्र ” चेदि ” राजाओं के अधीन रहा। प्राचीन भारत मे यह अलग अलग काल खण्डों में क्रमशः मौर्य , कुषाण एवं गुप्त राजाओं के अधीन रहा। 8वी से 12 सदी के बीच इस क्षेत्र पर गुर्जर प्रतिहार , चंदेल और कच्छपघात वंश के राजाओं ने शासन किया। मुगलों के आने के पूर्व यह क्षेत्र ऐसाह एवं ग्वालियर के तोमर राजाओं के अधीन रहा।अकबर के शासनकाल में यह क्षेत्र आगरा सूबा के अंतर्गत मंडरायल सरकार अधीन था। 17 वी सदी के अंतिम दशक में यहाँ नरवर के प्रधानमंत्री और सेनापति खाण्डेराव के नबल सिंह खंडेराव का शासन रहा।
18 सदी के आरंभ में यह सिकरवारों के अधीन था तदुपरांत करौली के जादौनो के अधीन रहा। ग्वालियर स्टेट गज़ेटियर के अनुसार सबलगढ़ को साबला गुर्जर ने बसाया था किंतु मौजूदा किले का निर्माण करौली के राजा गोपालसिंह द्वारा कराया गया।
सन 1750 ई. में यूरोपियन यात्री ट्रीफन थ्रेलर यहां होकर गुजरा। उसने अपने यात्रा वृतांत में ” सबलगढ़ किले को एक मजबूत किला ” होने का उल्लेख किया है।
सन 1795 में यह किला मराठाओं ने करौली के जदौनों से छीन लिया और मराठा सरदार खाण्डेराव को यहॉं का प्रशासक नियुक्त किया। सन 1809 में “जीन बैपेरिस्ट ” द्वारा इसे अपने अधिपत्य में ले लिया गया किन्तु कुछ समय पश्चात इसे मराठाओं को फिर बापस कर दिया गया।
ग्वालियर स्टेट के दौरान सर दिनकर राव (1859-62) की देखरेख में ब्रिटिश प्रशासनिक ब्यबस्था को अपनाया गया। ग्वालियर राज्य को ग्वालियर ,ईशागढ और मालवा तीन प्रान्तों में विभाजित किया गया। इन प्रान्तों को 19 जिलों और 62 परगनो में विभाजित किया गया।
इस प्रशासनिक ब्यबस्था में सबलगढ़ जिला बना , किन्तु स न 1904 में पुनर्गठन में प्रान्तों की संख्या तीन से घटा कर दो ग्वालियर और मालवा कर दी गई। इसी पुनर्गठन में जिलों की संख्या 19 से घटा कर 13 कर दी गई। सबलगढ़ ज़िले को श्योपुर ज़िले में सम्मलित कर दिया गया और सबलगढ़ परगना मुख्यालय रह गया।
ग्वालियर स्टेट के दौरान सबलगढ़ बहुत तरक्की हुई। नए ढंग का बाज़ार संतरों के नाम से बनाया गया। मदरसा , अस्पताल और रियासत का डाक खाना कायम किया गया।
सन 1880 में रेस्ट हाउस बनाया गया जो आज भी चम्बल डिवीजन का सबसे बेहतरीन रेस्ट हाउस है।सिंचाई की सुविधा के लिए सबलगढ़ , टोंगा जैसे कई तालाब बनबाये गए।
सन 1904 में ग्वालियर लाइट रेल्बे की ग्वालियर सबलगढ़ शाखा पर नैरोगेज ट्रेन चलाई गई जो यात्रियों की सुविधा के साथ – साथ अकाल के समय पानी और चारा आदि लाने ले जाने काम भी करती थी।
सन 1906 में राहत कार्यों के दौरान इसका निर्माण श्योपुरकलां तक किया गया।यह ट्रेन आज भी पिछले 114 साल से लगातार चल रही है जो एक ज़माने में इस क्षेत्र की जीवन रेखा रही है।
स न 1891 में सबलगढ़ कस्बे की आवादी 6111 थी ,1901 में आवादी 6039 रह गई जिसमें 3080 पुरुष एवं 2959 महिलाये थी।

Baijatal

“Baijatal” , the name of this tank is after the name of  Baijabai who is the wife of  ruler Daulat Rao Scindia in early 1800.

Baijabai was a very brave,skilled politician and a very ambitious woman.She participated in the battle of ASAI with Daulat rao Scindia. Daulat Rao Scindia was bandles so he adopted a child with the permission of britishers.That child was Jankaoji Rao Scindia who wasa also one of the ruler of Scindia Family.

Being ambitious Baijabai always wants the control of the region in her hands.when Jankoji Rao Scindia became major ,the ambition of baijabai  resulted the partitioning of Gwalior Darbar in two parts.But later on Jankoji Rao Scindia was elected as the emperor.

Baijatal is constructed with  hindu architecture in mind with a pictures cue vie from all around.Its constructed with sandstone with a beautiful platform in between the lake where a traditional dance festival every year

Tomb of Ghaus Mohammad

Hazrat mohammad ghaus was one of the noteworthy sufi in the history of India.Mohammad Ghaus has written many books in which “Gulzare Abraar” is the most famous. This noble saint was born 16th century in Gazipur (UP).Intajaam Ulla Sahabi stated your birth on 890 Hizri.

According to the texts of ” Manaakab Goosiya ” wrtten by Fazal Ali Sattari the full name of Mohammad Ghaus was Hamid Uddin. According to the book “Kuliyate Gwalior ” written by fazal ali who was contamporary of Akbar, Mohammad Ghaus was the last gos after that no ghaus was born .That means Ghaus was a designation instead of name.Mohammad Ghaus has written some books like  Aurad-E-Ghausiya , Mezaarnaamaa , Zamaayaa , Bahrul Hayat , Jawahar-E-Khamsa , Kabeer-E-Makhajal , Kanjool Wahida etc.

Mohammad Ghaus arrived in gwalior at 1523. 4 years after his arrival Afghan warlord Rahimdaad captured Gwalior. Even mughal Emperor babur was influenced by Mohammad ghaus and attended him personally for blessings.

According to the book “Darbare Akbari” when baburs forces arrived in Gwalior centurion of gwalior Tatar Khan denied to give the fort of Gwalior to Babur.At that time mohammad ghaus who lived in the fortress and worships the god played a vital role in presenting the fort to babur without any battle.Even Babur described this incident in detail in his autobiography “Babur naama”.

Famous poet Khadag Rai has described that Babur was so much influenced by Mohammad Ghaus that he decided to make Humayun the king of India on Mohammad ghaus’s advice.

Because of the closeness of Mohammad Gaus with Babur and Humayun a Aghan leader Shershah was angry with Ghaus and he sended his whole army to kill him. Feelling helpless Mohammad ghaus threshed the heads of 12,000 troops. Lord Humayun pardoned in a letter about the whole incident to Mohammad ghaus.This incident was described in book “Gulzare Abraar ” on page number 292.

In 966 Hizri Akbar arrived Gwalior to meet Mohammad Ghaus.After being the king of Mughal Empire he came many times to gwalior for the blessings of Mohammad Ghaus.

Spectacular tomb of Mohammad Ghaus is a world famous architecture from the history. It was built in 38 years in Akbars Era from the the Kings treasure under the guidance of Mohammad Ghaus’s son and lord Akbar.

It is amazing to see that the tomb of a sufi becomes a famous pilgrimage center of both Muslims and Hindus. The mausoleum of Ghaus Mohammad exhibits typical Mughal architecture, its hexagonal pillars and screens using pierced stone technique are simply marvelous.

On a historical point of view, the Afgan Prince stands nowhere, but his tomb emanates breath-taking beauty that is having an ethereal look. The marvelous stone works coupled with an excellent architecture, the tomb looks gorgeous.

Gurudwara Data bandi chor

Sri Hargobind the sixth Guru was detained in the Fort of Gwalior by the order of Emperor Jahangir. The cause of detention, it is said, was that the fanatical Muslim officers, particularly those under the influence of Naqshbandi cult, were alarmed by the Guru’s new policy of militarization. They poisoned the mind of Jahangir, who otherwise about that time had soft corner for Guru. He was summoned to Delhi and was asked to pay a fine of rupees two lakhs which had been imposed on his father and which the latter had refused to pay.
As Guru Hargobind showed little inclination to pay the fine, he was sent for detention to Gwalior Fort where the Mughal Emperor used to keep their political prisoners. Obviously the cause of detention was political. Non payment of fine was merely an excuse. According to Sikh chronicles, the detenition was for a period of 40 days or two months. The latter period seems more likely The persuasive efforts of Bhai Jetha at Jahangir’s court and may be the exercise of influence with the Emperor by the Muslim saint Hairat Mian Mir, a friend of Guru Arjun, brought an early end to his detention. The release came in the nature of general amnesty which also brought the end of the imprisonment of 52 Rajas who had been kept there. The Guru came to be known as ‘Bandi Chhor’ The Grand emancipator.

A magnificent Gurdwara has been built in the Gwalior Fort in memory of the sixth Guru. It is called Gurdwara Bandichhor. Pilgrims from all over the country visit this Gurdwara to pay homage to Guru Hargobind Gwalior is a well-known city, 120 kilometres south of Agra and well connected by rail and road. Its historical fort built atop a hill is a prominent landmark overlooking the town below. Mughal rulers used this fort as a prison for chiefs and nobles of status. Emperor Jahangir ordered the incarceration of Guru Hargobind here at the instigation of the Guru’s detractors. However, when the Sufi Saint Mian Mir and other sympathizers interceded, the Emperor not only ordered the Guru’s release but also sought the internee nobles as a man of God, pious as well as brave. When they heard of his release, they looked up to him for succour. Guru Hargobind thereat refused to be released unless other internees were also let out. The emperor agreed to release as many of them as could come out holding the fringe of the Guru’s rule. The Guru, narrate the chroniclers, had a long robe made with many strings attached to it which enabled all the fifty-two captives to come out of the fort with him. This earned for the Guru the epithet Data Bandi Chhor, lit. the munificent liberator. Chroniclers differ about the dates and duration of the Guru’s detention. But it appears that it was only for a few months sometime between 1617 and 1619. A shrine bearing the name was established inside the fort. It was looked after by Muslim priests until the Sikhs acquired possession and established a Gurdwara after the Independence in 1947. The original shrine in the form of a marbled platform is still maintained near the entrance to Gurdwara Data Bandi Chhor Patshahi 6 Guru Hargobind Sahib Ji, as it is now named. The present building complex spread over six acres was constructed under the supervision of Sant Jhanda Singh and Utam Singh Mauni of Khadur Sahib during the 1970s and 1980s. The principal building is a six-storey edifice near the old shrine. The sanctum is on one side of a high-ceilinged, almost square hall on the ground floor. There is a basement below of the same size as the hall and four storeys of room above the sanctum. Guru ka Langar with its vast dining hall and residential rooms for staff and pilgrims are in a separate, adjoining compound. It is a peculiarity of this Gurdwara to have two sarvoars, one each for gents and ladies.

The Chausath Yogini Temple – Mitawali

The Chausath Yogini Temple, Morena, also known as Ekattarso Mahadeva Temple, is an 11th-century temple located in Mitawali village of Morena district. It is one of the few such Yogini temples in the country which is in a good condition. The temple is formed by a circular wall with 64 chambers and an open mandapa in the centre, separated by a courtyard which is circular in shape, where Shiva is deified. The temple has been declared an ancient historical monument by the Archaeological Survey of India.


The Chausath Yogini temple is in Mitaoli village (also spelled Mitawali or Mitavali), near Padaoli in Morena district 40 kilometres (25 mi) from Gwalior. According to an inscription dated to 1323 CE (Vikram Samvat 1383), the temple was built by the Kachchhapaghata king Devapala (r. c. 1055 – 1075). It is said that the temple was the venue of providing education in astrology and mathematics based on the transit of the Sun.

The temple is located on a hill which is about 100 feet (30 m) in height and there are 100 steps to climb leading to the entrance of the temple. It is externally circular in shape with a radius of 170 feet (52 m) and within its interior part it has 64 small chambers, each with a mandapa which is open and a facia of pilasters and pillars. The roof of the entire structure is flat including that of another east facing circular temple within the outer circular wall. A large passage or courtyard lies between the outer enclosure and the central temple which is dedicated to Lord Shiva. There is an open porch entrance to this temple. The exterior surface of the outer wall has carvings of Hindu deities.[3] Each of the 64 chambers in the outer circle has an image of Shiva deified in it. However, recent investigations have confirmed that originally these had a Yogini image deified in them and hence the temple is known as Chausath Yogini Temple (‘Chausath’ here means “Sixty four”). It is said that the roof over the 64 chambers and the central shrine had towers or shikharas which were probably removed during later modifications.

Within the main central shrine there are slab coverings which have perforations in them to drain rainwater to a large underground storage. The pipe lines from the roof lead the rain water to the storage are also visible. The temple needs conservation measures to preserve the ancient monument in good shape.

The design of the temple has withstood earthquake shocks, without any damage to its circular structural features, in the past several centuries. The temple is in the Seismic Zone III. This fact was cited when the issue of safety from earthquake effect of the Parliament House which is also a circular structure, similar to the Chausath Yogini Temple, was debated in the Indian Parliament.

Surprisingly, this temple escaped the curious eyes of Sir Alexander Cunningham, who with his associates, carried out extensive surveys of northern and western Indian antiquities in the late nineteenth century CE. The place was also omitted in the Gwalior state gazetteer prepared by C E Luard in 1908.

M B Garde, who was the face of the Gwalior Archaeological Department during the second quarter of the twentieth century, carried out innumerous conservation activities and surveys. He is been credited with discoveries of various remote sites and monuments. In his book, Archaeology in Gwalior, second edition of which was published in 1934, there is no mention of Mitawali. Garde provided a detailed map of various sites and monuments within the then Gwalior state, in which he included Padhavali which is located very near to Mitawali however Mitawali temple was missing.

The first mention of this temple and village, as per my available sources, appears in the annual report of the Gwalior Archaeological Department for the year 1942-46. In this report are mentioned various conservation activities carried out by the department in this temple. Also were included various inscriptions found at the site. The report does not mention about the discovery of the temple, therefore it may be assumed that the temple was known before that time. However, this temple is not mentioned in any annual report prior to the above one.

Antiquity of this village can be set back to the Kushana period as we find a Mahasena image of that period at this site. From the Kushana time, the next period of importance would be the tenth century period of the Kacchapaghata rulers who constructed the yogini temple here. After their fall, the place would have gone into obscurity.

Among the conservation activities were included the cutting of steps (masonry and rock-cut) for ascending the hill to approach the temple, refitting of the main entrance door, repairs to the centrals shrine which was in worship, rebuilding of parapet wall around the roof, rebuilding of the terraced roof etc.

Ekattatso Mahadeva Temple – Standing atop an isolated hill of about hundred feet high, this circular temple commands a splendid view of the cultivated fields below. This temple is so named because of the presence of multitude of shivalingas inside its cells. The temple consists of a circular peripheral wall which shows different courses of constructions in different times. The topmost course of the wall, composed of bricks and limestone, was the addition during the conservation activities taken up by the Gwalior Archaeological Department. On this outer wall are placed various small niches, at regular intervals, many of which are empty now and few are equipped with couples in different poses.

This circular temple is one among the very few such temples in India. This is a yogini temple dedicated to sixty-four yoginis. Other prominent yogini temples in India are located at Bhedaghat near Jabalpur and Khajuraho in Madhya Pradesh, Hirapur and Jharial in Odhisa. The yogini cult was a secretive practice confined to few groups and individuals. Its secrets are very securely guarded by its proponents and practitioners that if you are an outsider then it is very hard to know its rituals and practices. One can know and understand this cult only after becoming one and joining their community. But the trick is that when one becomes a part of that community, one also takes an oath to guard its secrets as others.

The interior of this circular enclosure has a pillared colonnade which has sixty-five cells. Usually, the cells should be numbered sixty-four to house that number of yoginis. If there is an extra, as the case here, this extra cell is usually added to house an image of Shiva as Shiva is overall lord of all the yoginis. However this does not seem to be the case here as there is a separate central shrine for Shiva inside this enclosure. In this situation, this extra cell may be added to house an image of some popular goddess. Among these cells, the number thirty-seven has a special decorative treatment on its door-jambs and lintel. This was, probably, done to mark a special yogini of some particular interest. We are unfortunate as none of the yogini images of Mitawali is traceable. At present, all these cells have a shivalinga inside.

The circular enclosure is hypaethral except the covered roof over the cells. Hypaethral is an important characteristic of a yogini temple as many of their rituals and practices were carried out directly under the sky. This hypaethral nature of the temples also suggested linkage to astronomy however there has been no evidences found of any instruments used during such studies. At the center of the enclosure stands a large circular pavilion with two concentric rings of pillars. This shrine was dedicated to Shiva as he is the overlord of the yoginis.

Inscriptions –  Gwalior Archaeology Department’s annual report for year 1942-46 mentions three Sanskrit epigraphs found at this site. None of these have been published with details. The most important inscription is engraved at theouter compound wall and mentions about the construction of the temple. This inscription is damaged and partly obliterated however its main contents can be read satisfactorily. It tells that the temple has been constructed by king Devapala and his queen. It is dated Vikrama Samvat 1380, corresponding 1323 CE. King Devapala belonged to the Kacchapaghata dynasty and ruled between 1055-1075 CE. Therefore this inscription refers to an event in the past, which occurred almost 250 years before when this inscription was engraved.

Another inscription is incised on a pillar flanking the entrance to the central shrine records a verse from Surya Stotra and a salutation to one Maharaja Rai Singh. Another verse from the same stotra is engraved on the natural rock face outside the temple. Another inscription on the rock face consists of an amorous verse. The latest inscription here is in Hindi and dated Vikrama Samvat 1560, corresponding 1503 CE.

Batesara group of temples

Batesara is a group of ruined temples spreaded over the western slope of an isolated hill are located in south west of padavali village in the Morena District near by Gwalior. Made of the stone masonry ,  the ruins comprised of temples remains , gateways , stepped tanks , architectural members , amalkas , brahmenical icons etc ,Which can be stylistically ascribed to post-Gupta to early Pratihara period ranging from 6th to 9th century AD . It shows the early stages of the development of Temple art. The earliest group of temple are having sanctum proper with flat roof while temples of later phases are possessed with curvilinear shikhara over the sanctoms. One of the surviving temples dedicated to lord shiva known as Bhuteshwara Temple, shows all the features of Pratihara art.

The Bateshwar Valley is situated one and a half kilometer from Padavali. There are more than a hundred temples in the valley but most of them are worn and torn, There are two water pounds providing drinking and bathing water and the scenery around is so fascinating as if one is roaming in the paradise. It is believed  that these statues located here  are not human made but rhter they were created , shaped and deformed by the nature itself. Half Kilometer from Bateshwar we comes across a majestic temple at hill top. peoples here are amazed to see the erotic panel of the temple.

According to Madhya Pradesh Directorate of Archaeology, this group of 200 temples were built during the reign of Gurjara-Pratihara Dynasty. According to Michael Meister, an art historian and a professor specializing in Indian temple architecture, the earliest temples in the Bateshwar group near Gwalior are likely from the 750-800 CE period.

The temples were destroyed after the 13th century; it is not clear if this was by an earthquake, or Muslim forces. The site was visited and its ruins reported by Alexander Cunningham in 1882 as a “collection of more than 100 temples large and small to the southeast of Paravali [Padavali]]”, the latter with a “very fine old temple”. Bateshwar was notified by Archaeological Survey of India (ASI) as a protected site in 1920. Limited recovery, standardized temple numbering, ruins isolation with photography, and site conservation effort was initiated during the colonial British era. Several scholars studied the site and included them in their reports. For example, the French archaeologist Odette Viennot published a paper in 1968 that included a discussion and photographs of the numbered Batesar temples.

In 2005, the ASI began an ambitious project to collect all the ruins, reassemble them and restore as many temples as possible, under an initiative led by the ASI Bhopal region’s Superintending Archaeologist K.K. Muhammed. Under Muhammed’s leadership, some 60 temples were restored. Muhammed has continued to campaign for the site’s further restoration and calls it “my place of pilgrimage. I come here once in every three months. I am passionate about this temple complex.”

According to Muhammed, the Bateshwar complex was “built on the architectural principles enunciated in two Sanskrit Hindu temple architecture texts, Manasara Shilpa Shastra composed in the 4th century CE, and Mayamata Vastu Shastra written in the 7th century CE”. He followed these texts as his team of over 50 workers collected pieces of the ruins from the site and like a jigsaw puzzle tried to put it back together. The site has been a “massive mounds of rubble” of temple parts, states Subramanian, with “ruins lying everywhere”.

It is said that Dacoit Nirbhay Singh Gujjar and his gang helped Archaeological Survey of India restore the temple complex.

The site is mentioned in historical literature as Dharon or Paravali, later as Padavali. The local name for the group of temples is Batesvar or Bateshwar temples.According to the Cunningham’s report of 1882, the site was a “confused assemblage of more than one hundred temples of various sizes, but mostly small”. The largest standing temple was of Shiva, wrote Cunningham, and the temple was locally called Bhutesvara. However, to his surprise the temple had a relief of Garuda on top, leading him to speculate that the temple may have been a Vishnu temple before it was damaged and reused. The Bhutesvara temple had a square sanctum with a 6.75 feet (2.06 m) side, with a relatively small 20 square feet mahamandapa. The sanctum doorway was flanked by river goddesses Ganga and Yamuna. The tower superstructure was a pyramidal square starting off from a 15.33 feet (4.67 m) sided square seated on a flat roof, then rhythmically tapering off.

The standing temples, stated Cunningham, all had sides made from single slabs set upright, above which sat flat roofs then pyramidal top as a part of their architecture. The site had a water tank cut into the hill rock, with rows of small temples arranged to form a street to the tank. Cunningham also reported seeing Shiva linga inside one of the temples, a trimurti statue, a Ganesha, Shiva and Parvati together around this temple. Next to the Shiva temple was a Vishnu temple, about the same size as the Siva temple, again a square sanctum of 6.67 feet (2.03 m) side with river goddesses Ganga and Yamuna flanking the doorway on its jambs.

In north-northeast corner of the site was a large platform of about 42.67 feet (13.01 m) length and 29.67 feet (9.04 m) breadth, with a integrated platform projection of a square with 11.67 feet (3.56 m) side. Cunningham speculated that this may have been the largest temple at the Bateshvara site before its destruction, and he noted that not a stone remains near the platform to offer further clues as to what the lost temple was like.Cunningham also noted that one of the small temples to the northwest of the Bhuteshwara temple had a short inscription dated Samvat 1107 (1050 CE), thus establishing the floruit for the site.

The ASI team ruins identification and restoration efforts since 2005 have yielded the following additional information about the site:

  • Some of the temples had a Nataraja on the kirti-mukha
  • Reliefs with “exquisite carving” of Lakulisa
  • Reliefs of Siva holding the hand of Parvati
  • Reliefs narrating the legend of Kalyana-sundaram, or the marriage of Shiva and Parvati with Vishnu, Brahma and others attending
  • Small sculptures of women playing the lute, veena or drums in Vishnu temples, suggesting that music profession in pre-11th century India encouraged women to participate as musicians
  • Amorous couples in various stages of courtship and intimacy (mithuna, kama scenes)
  • Secular scenes such as men riding elephants, men wrestling, lions
  • Friezes with narratives from the Bhagavata Purana such as Krishna leela scenes such as Devaki holding baby Krishna who is suckling her breasts in prison that is guarded by a woman; Baby Krishna draining away the life of the demon with poisoned breasts, etc.

According to Gerd Mevissen, the Batesvar temples complex has many interesting lintels, such as one with Navagraha, many with Dashavatara (ten avatars of Vishnu) of the Vaishnavism tradition, frequent display of Saptamatrikas (seven mothers) from the Shaktism tradition. The presence of Navagraha lintel suggests, states Mevissen, that the temple complex must be dated after 600 CE. The diversity of the theological themese at the site suggest that Batesvar (also called Batesara) was once a hub for temple-related arts and artists.

Gangadas ki Shala

Ganga Das Ki Shala is know in Gwalior for National Unity and as the samadhi of Jhansi Ki Rani Laxmi Bai. As per described by Mahant Rameshwar dayal of Utila when Emperor Akbar passed From GWALIOR in 16th Century. He met Gusai Ji Shri Parmanand Swami. Akbar himself came here got the blessings and ordered to construct a temple in 21.5 Bighas of land and 12 villages were attached to it as Jagir On this occasion.Emperor Akbar presented turban and sword to Mahant Ji as token of respect.

As the 9th generation of Permanand Ji on whose name is this temple and Shala, Mahant Ganga Das JI was born On 1824 AD. Rani Laxmi Bai of Jhansi arrived here on 18th June 1854 who was seriously injured while in battle against Britishers and was surrounded by them.She requested that she should be given refuge as she would succumb to fatal injuries. These incidents as historical evidences.

Maharaj Gangadas promised to protect her.She requested that her dead body should not be handed over to Britishers.450 Sadhus used to live there at that time.Britishers surrounded Ganga Das Ki shala from all around and attacked. 345 Sadhus laid down there lives in protecting Rani of Jhansi Maharani LaxmiBai. In between Maharaj gave her sacred Ganga water and after consuming that she succumbed to her injuries. Maharaj Ganaga das performed her last rites with the help of Sadhus. Thakur Raghunath Singh Kaptan.Krishan Ji Rao Bua, and one Pathan opted to live in the Samadhi Of rani Laxmi Bai till there Life.After the battle Gangadas Ji Maharaj left Gwalior to proceeded towards Ganges.

Maharah Jivaji Rao himself went to Maharaj Ganga Das Who expressed his annoyance to Scindia But after a span Maharaj Ganga Das Came back.

Address : Phool bagh Road , Padav gwalior

Shanishchara -A historic temple

In Shanischara ( Shanichara ) not only you can get the philosophy of God Shani but Here Abundant Natural Splendor is present . After Looking that your Jaded Heart will fill with a joy.

Shani Temple in Shanischara (Gwalior) has its own importance in the temples of India. Its not only the oldest Shani temple in the world but the sculpture of Lord Shani is also special. According to the astrologers and the pandits this temple was built in the reigm of Samrat Vikramaditya and the statue over their is made of the meteoried fallen from the sky. Because the Shani temple is located at uninhabitated place thats why its effect is also special.

In 1808AD Emperor Daulat rao Scindia Called a Jaagir of village “Ainti” and all the income from that jaagir was used for the maintenance of Shani temple of so called Gwalior State at that time.In 1945 the management of Shani temple of Gwalior state is handed over to Aukaf Board which was built to manage all the religious places of Gwalior State. At present Aukaf board runs under government of Madhya Pradesh In India.

A traditional fair is organised here at every Shani Amavasya .At that time Special buses and trains are also available from gwalior to Shanischara (Shanichara).

How to reach

Shanichara railway station is located at Gwalior Bhind Railway Line. From any part of India you have to reach Gwalior and from there you can easily access Shanischara (Shanichara).

For air travellers nearest airport is Gwalior Airport.Shanischara is just 15kms away from Rajmata Vijaya Raje Scindia Terminal i.e. Gwalior Airport.

From Gwalior city you can hire an autorikshaw or a car to reach shanischara at nominal cost.

श्री शनिदेव सुख , शांति , यश , वैभव , धन – संपत्ति , पद – प्रतिष्ठा , के प्रदाता हैं | आईये इस देव स्थान के विकास मैं अपना अमूल्य योगदान दे | श्री शनिदेव आपका मंगल करें |

If any queries :

Collector , District Morena , Maafi and Aukaf Officer Gwalior Region , Motimahal Gwalior , Tahsildar Morena
Roopesh Upadhyay , President Shri Shani Shradhalu Samuh , Gwalior. Mobile – 9425360221

Sarod Ghar

Ustaad Amjad ALi Khan established first ever  museum for music at his ancestral house at Jiwaji Ganj Gwalior where he born and learnt music from his father and great maestro Ustaad Hafiz Ali Khan Sahab from Gwalior. Its a unique institution devoted to promoting Indian classical music, heritage and culture. Under the aegis of Haafiz Ali Khan Memorial Trust,

through this ‘window’ to the past, music lovers can gain a better understanding of the evolution and history of North Indian Classical Music and can get a deeper perspective and insight into the context of the art as it exists today. The aim of establishing Sarod Ghar is to create awareness and respect for classical music, musicians and the variety of instruments of India. The museum houses a collection of old and contemporary instruments, belonging to great and illustrious musicians of the past, on which they pursued their practice. Their immortality is thus enshrined in this institution.

In Sarod Ghar you can watch the impressive collections of Photographs , documents and Musical Instruments of the number of music Maestros all over India .The museum houses a collection of old and contemporary instruments, belonging to great and illustrious musicians of the past, on which they pursued their practice. Their immortality is thus enshrined in Sarod Ghar.

Sarod Ghar is is fulfilling the aim of

  • To document the evolution of East Indian classical music and instruments.
  • To illustrate the rich heritage of Gwalior in the field of classical music.
  • To promote the relevance of the guru-shishya parampara (Teacher-disciple tradition / relationship) in classical music education.
  • To provide a forum and platform for musician and scholars to express their art and views before a discerning audience.
  • The museum has been housed in the ancestral home of Amjad Ali Khan, the renowned sarod Maestro, who donated the property to the trust for this purpose. The house has a colourful history with four generations of Sarod players being born here.
  • The first instruments exhibited were the instruments belonging to his forefathers. The rabab of Ghulam Bandagi Khan Bangash, the Sarods of Nanne Khan, Asghar Ali Khan and Haafiz Ali Khanare part of this collection

Sarod Ghar is a Holy and Devine Place for all the music lovers across the world and the music lovers all across the country are contributing instruments belonging to The Maetros and Gurus from the past.The Collection now includes the Tanpura of Krishnarao Shankar Pandit, Violin of Allauddin Khan, the Tabla of Ahmed Jaan Thirakwa, Kanthe Maharaj and Kader Bux.Recently a devotee of Music gifted a Sitar to Ustaad Amjad Ali Khan belonging to Ustad Nanhe Khan Sahab.

The entire premises remodeled by one of the followers of Ustad Amjad Ali Mr Endrick Roy . He is an architect by profession and also one of the best Sarod Player. The premises is designed keeping sarod,music and devotion in mind where you will feel the God.The Building has been remodeled based on the traditional building techniques of Gwalior using the local stone craftsmanship. The result is a stunning assimilation of old and new architecture, where the sanctity and purity that resides here has been translated into a composition in stone. In the words of Amjad Ali Khan.”In this building, wherever you look, there is Rhythm and Sound…”