Around Gwalior

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…”

Antri- The writer of Ain-e-Akbari murdered here in 1602

Antri ie,Antakpuri (A village that is situated at the bottom of a Mountain) near Gwalior is an ancient township which was established around 1,500 years ago.Two ponds and a Temple of Turka Gol mata have there own importance in Antri.A mosque is still in very good condition here which was built by Mugal Emperor Humayun.

Tomb of Abul Fazl

One of the gems in Mughal emperor Abul Fazl and the writer of book Ain-e-Akbari was murdered here on 19th August 1602 by Bundela ruler of Orcha by the order of Salim , the rebel and the son of Akbar.Salim later became the Emperor Jahangir.  Commital of Abul Fazans beheaded body was done here .Abul Fazl’s tomb is situated at the same place. His severed head was sent to Allahbad as the evindence of his death by Veer Singh Dev.

Abul Fazl Presenting Akbarnama

Antari was one of the advanced Tehsils in Gwalior Region before Freedom with its interventions in Literature and Music.