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Varanasiवा�रा�णसी�

Varanasiवा�रा�णसी�

Location of Varanasiवा�रा�णसी�

in Uttar Pradesh and India

Coordinates 25°16′55″N 82°57′23″E 25.282°N 82.9563°E

Country  India

State Uttar Pradesh

District(s) Varanasi

Mayor Kaushalendra Singh

Population• Density

3,147,927 (district)[1] (2001)• 1,995 /km2 (5,167 /sq mi)[2]

Time zone IST (UTC+5:30)

Area• Elevation

1,550   km 2  (598 sq mi)• 80.71 m (265 ft)

Codes[show]

• Pincode • 221 001 to** (** area code)• Telephone • +0542

Footnotes[show]

Varanasi (Sanskrit: वा�रा�णसी� Vārāṇasī, Hindustani pronunciation: [ʋaːˈɾaːɳəsiː]  ( listen)), also commonly known as Benares or Banaras (Hindi: बना�रासी, Urdu: بنارس, Banāras [bəˈnɑːɾəs]  ( listen)) and Kashi (Hindi: का�शी�, Urdu: کاشی, Kāśī [ˈkaːʃiː]  ( listen)), is a city situated on the left (west) bank of the River Ganga (Ganges) in the Indian state of Uttar Pradesh, regarded as holy by Hindus, Buddhists, and Jains. It is one of the oldest continually inhabited cities in the world.[3][4]

The Kashi Naresh (Maharaja of Kashi) is the chief cultural patron of Varanasi and an essential part of all religious celebrations.[5] The culture of Varanasi is closely associated with the River Ganges and the river's religious importance. The city has been a cultural and religious centre in North India for several thousand years. The Benares Gharana form of Indian classical music developed in Varanasi, and many prominent Indian philosophers, poets, writers, and musicians resided or reside in Varanasi, including Kabir, Ravidas Their Guru Swami Ramanand, Trailanga Swami, Munshi Premchand, Jaishankar Prasad, Acharya Shukla, Ravi Shankar, Girija Devi, Hariprasad Chaurasia, and Bismillah Khan. Tulsidas wrote his Ramacharitamanas there, and Gautama Buddha gave his first sermon at Sarnath near Kashi.[6]

Varanasi is home to four universities: Banaras Hindu University, Mahatma Gandhi Kashi Vidyapeeth, Central Institute of Higher Tibetan Studies and Sampurnanand Sanskrit University. Residents mainly speak Kashika Bhojpuri, which is closely related to the Hindi

language. People often refer to Varanasi as "the city of temples", "the holy city of India", "the religious capital of India", "the city of lights", and "the city of learning."[7]

American writer Mark Twain wrote: "Benares is older than history, older than tradition, older even than legend, and looks twice as old as all of them put together."[8]

Contents

[hide] 1 Etymology 2 History

o 2.1 Kashi Naresh and Ramnagar

2.1.1 Saraswati Bhawan at Ramnagar Fort

2.1.2 Vyasa Temple at Ramnagar

2.1.3 Ram leela at Ramnagar

o 2.2 Recent terrorism

3 Geography

4 Culture

o 4.1 Holy City

o 4.2 Temples

o 4.3 Art and literature

5 Economy

6 Demographics

7 Transport

o 7.1 Public Transport

o 7.2 Air

o 7.3 Rail

o 7.4 Road

8 Civic administration and utility services

9 Education

o 9.1 University education

o 9.2 Basic and special education

10 Tourism

11 In popular culture

12 Notable residents

13 See also

14 References

15 External links

[edit] Etymology

The name Varanasi,[9] has its origin possibly from the names of the two rivers Varuna and Assi for it lies with the confluence of Varuna with the Ganges being to its north and that of Assi and the Ganges to its south.[10] Another speculation about the origin of the name is that the river Varuna itself was called Varanasi in olden times, from where the city got its name.[11] This is generally disregarded by historians though there may be some earlier texts suggesting it to be so.[12]

Through the ages, Varanasi was variously known as Avimuktaka, Anandakanana, Mahasmasana, Surandhana, Brahma Vardha, Sudarsana, Ramya, and Kasi.[13]

[edit] History

Ancient Indian (Bharata) cities and Places(Title and location names are in English.)

According to legend, the city was founded by the Hindu deity, Lord Shiva, around 5,000 years ago,[3] thus making it one of the most important pilgrimage destinations in the country. It is one of the seven sacred cities of Hindus. Many Hindu scriptures, including the Rigveda, Skanda Purana, Ramayana, and the Mahabharata, mention the city.

Varanasi is generally believed to be about 3,000 years old.[14] Varanasi was a commercial and industrial center famous for its muslin and silk fabrics, perfumes, ivory works, and sculpture. During the time of Gautama Buddha (born circa 567 BCE), Varanasi was the capital of the Kingdom of Kashi. The celebrated Chinese traveler, Xuanzang, attested that the city was a

center of religious, educational, and artistic activities, and that it extended for about 5 km along the western bank of the Ganges.

Varanasi (Benares) in 1922.

Painting of Benares in 1890.

[edit] Kashi Naresh and Ramnagar

Main article: Kasi Kingdom

Varanasi became an independent Kingdom of Kashi in the eighteenth century, and under subsequent British rule, it remained a commercial and religious center. In 1910, the British made Varanasi a new Indian state, with Ramanagar as its headquarters but with no jurisdiction over the city of Varanasi itself. Kashi Naresh still resides in the fort of Ramanagar. The Ramnagar Fort of the Kashi Naresh is situated to the east of Varanasi, across the Ganges.[15] The Ramnagar Fort was built by Kashi Naresh Raja Balwant Singh with creamy chunar sandstone in the eighteenth century.[5] It is a typically Mughal style of architecture with carved balconies, open courtyards, and picturesque pavilions.[5] The other fort of the Kashi Naresh is the Chet Singh Palace, near Shivala Ghat, Varanasi built by Maharaja Chet Singh.[16]

Ramnagar Fort and its museum are the repository of the history of the kings of Benares and since the 18th century has been the home of Kashi Naresh.[5] Even today the Kashi Naresh is deeply revered by the people of Benares.[5] He is the religious head and the people of Benares consider him the incarnation of Lord Shiva.[5] He is also the chief cultural patron and an essential part of all religious celebrations.[5]

[edit] Saraswati Bhawan at Ramnagar Fort

A rare collection of manuscripts, especially religious writings, is housed in Saraswati Bhawan. It includes a precious handwritten manuscript by Tulsidas.[5] There are also many books illustrated in the Mughal miniature style, with beautifully designed covers.[5]

[edit] Vyasa Temple at Ramnagar

According to a popular Puranic story, when Vyasa failed to get alms in Varanasi he put a curse on the city.[5] Soon after, at a house where Parvati and Shiva had taken human form as householders, Vyasa was so pleased with the alms he received that he forgot his curse.[5] However, because of his bad temper Shiva banished Vyasa from Varanasi.[5] Resolved to be near at hand, Vyasa took his residence on the other side of the Ganges where his temple may still be seen at Ramnagar.[5]

[edit] Ram leela at Ramnagar

When the Dasara festivities are inaugurated with a colourful pageant Kashi Naresh rides an elephant at the head of the procession.[5] Then, resplendent in silk and brocade, he inaugrates the month long folk theatre of Ramlila at Ramnagar, Varanasi.[5] The Ramlila is a cycle of plays which recounts the epic story of Lord Rama, as told in Rāmacaritamānasa, the version of the Ramayana penned by Tulsidas.[5] The plays sponsored by the Maharaja, are performed in Ramnagar every evening for 31 days.[5] On the last day the festivities reach a crescendo as Rama vanquishes the demon king Ravana.[5] Maharaja Udit Narayan Singh started this tradition of staging the Ramleela at Ramnagar in mid-nineteenth century.<[5] This is very important to the river ganges ritual

[edit] Recent terrorism

In March 2006, bomb blasts from terrorists resulted in 20 people being killed and many injured. One of the bombs was planted in the Sankat Mochan Hanuman Temple, a shrine dedicated to Lord Hanuman, while another was planted on a platform of the Varanasi Cantonment Railway Station, the main railway station in the city. A militant group, Lashkar-e-Kahab, claimed responsibility for the terror attacks.[17] In November 2007 Varanasi endured another bomb blast. The bomb was placed in the civil court of Varanasi. More than 20 people died and over 100 were injured.

[edit] Geography

Varanasi is closely associated with the Ganges and has many temples along its banks

The city of Varanasi is located in the middle Ganga valley of North India, in the Eastern part of the state of Uttar Pradesh, along the left crescent-shaped bank of the Ganga river. It has the headquarters of Varanasi district. The "Varanasi Urban Agglomeration" — an agglomeration of seven urban sub-units — covers an area of 112.26 km² (approximately 43 mi²).[18] The urban agglomeration is stretched between 82° 56’E - 83° 03’E and 25° 14’N - 25° 23.5’N.[18] Being located in the Indo-Gangetic Plains of North India, the land is very fertile because low level floods in the Ganges continually replenish the soil.

On a local level, Varanasi is located on a higher ground between rivers Ganga and Varuna, the mean elevation being 80.71 m.[19] As a result of absence of tributaries and canals, the main land is continuous and relatively dry. In ancient times, this geographic situation must have been highly favorable for forming settlements. But it is difficult to ascertain the original geography of Varanasi because the city's current location is not exactly the same as the one described in some old texts.

Varanasi is often said to be located between two confluences: one of Ganga and Varuna, and other of Ganga and Assi [disambiguation needed], (Assi having always been a rivulet rather than a river.) The distance between these two confluences is around 2.5 miles, and religious Hindus regard a round trip between these two places—a Pancha-kroshi Yatra (a five mile journey)-- ending with a visit to a Sakshi Vinayak Temple as a holy ritual.

Varanasi has a humid subtropical climate with large variations between summer and winter temperatures. Summers are long, from early April to October, with intervening monsoon seasons. Cold waves from the Himalayan region cause temperatures to dip across the city in the winter from December to February. The temperature ranges between 32°C – 46°C (90°F – 115°F) in the summers, and 5°C – 15°C (41°F – 59°F) in the winters.[19] The average annual rainfall is 1110 mm (44 in).[20] Fog is common in the winters, while hot dry winds, called loo, blow in the summers.

Through a combination of water pollution, new constructions of upstream dams, and increase in the local temperature, the water level of the Ganges has recently gone down significantly, and small islands have become visible in the middle of the river.

[edit] Culture

Varanasi attracts thousands of Hindu piligrims every year.

Wall paintings, Varanasi, 1974

Varanasi's "Old City," the quarter near the banks of Ganga, has crowded narrow winding lanes that are flanked by road-side shops and scores of Hindu temples. As atmospheric as it is confusing, Varanasi's labyrinthine Old City is rich with culture, and a deservedly popular destination for travelers and tourists.[21] The main residential areas of Varanasi (especially for the middle and upper classes) are situated in regions far from the ghats; they are more spacious and less polluted.

Varanasi has nearly 100 ghats. Many of the ghats were built when the city was under Maratha control. Marathas, Shindes (Scindias), Holkars, Bhonsles, and Peshwes (Peshwas) stand out as patrons of present-day Varanasi.

Many ghats are privately owned. The former Kashi Naresh owns Shivala or Kali ghat.

Most of the ghats are bathing ghats, while others are used as cremation sites. Many ghats are associated with legends or mythologies.

Ganga Aarti at Dashashwamedh Ghat, Varanasi

Dashashwamedh Ghat is located close to "Vishwanath Temple", and is probably the most spectacular ghat. Two Hindu mythologies are associated with it: According to one, Lord Brahma created it to welcome Lord Shiva. According to another, Lord Brahma sacrificed ten horses in a yajna here. A group of priests daily perform in the evening at this ghat "Agni

Pooja" (Worship to Fire) wherein a dedication is made to Lord Shiva, River Ganga, Surya (Sun), Agni (Fire), and the whole universe.

Two legends are associated with Manikarnika Ghat: According to one, it is believed to be the place where Lord Vishnu dug a pit with his Chakra and filled it with his perspiration while performing various penances. While Lord Shiva was watching Lord Vishnu at that time, the latter's earring ("manikarnika") fell into the pit. According to the second legend, in order to keep Lord Shiva from moving around with his devotees, his consort Goddess Parvati hid her earrings, and asked him to find them, saying that they had been lost on the banks of Ganga. Goddess Parvati's idea behind the fib was that Lord Shiva would then stay around, searching forever for the lost earrings. In this legend, whenever a body gets cremated at the Manikarnika Ghat, Lord Shiva asks the soul whether it has seen the earrings.

According to ancient texts, the owner of Manikarnika bought King Harishchandra as a slave and made him work on the Manikarnika at Harishchandra Ghat. Hindu cremations customarily take place here, though a majority of dead bodies are taken for cremation to the Manikarnik Ghat.

Picturesque Scindia (Shinde) Ghat borders Manikarnik to the north, with its Shiva temple lying partially submerged in the river as a result of excessive weight of the ghat’s construction about 150 years ago. Above the ghat, several of Kashi’s most influential shrines are located within the tight maze of alleys of Siddha Kshetra (Field of Fulfillment). According to tradition, Agni, the Hindu God of Fire was born here. Hindu devotees propitiate at this place Vireshwara, the Lord of all heroes, for a son.

Maharaja Jai Singh II of Jaipur built the Mana-Mandir Ghat in 1770, as well as the Yantra Mantra equipped with ornate window casings along with those at Delhi, Jaipur, Ujjain, and Mathura. There is a fine stone balcony in the northern part of the ghat. Devotees pay homage here to the lingam of Someswar, the Lord of the Moon. Man Singh of Amber built Mana-Sarowar Ghat. Maharaja of Darbhanga built Darbhanga Ghat.

The late King of Nepal built Lalita Ghat in the northern region of Varanasi. It is the site of Ganga Keshav Temple, a wooden temple built in typical Kathmandu style, dedicated to Lord Vishnu. The temple also has an image of Pashupateshwar, a manifestation of Lord Shiva.

Local festivals including musical parties and games regularly take place at the beautiful Assi Ghat which is at the end of the continuous line of ghats. It is a favorite site of painters and photographers.

Devout Jains visit Bachraj Ghat in particular because it has three Jain temples near the river's banks.

Tulsidas wrote Rāmacaritamānasa at Tulsi Ghat.

[edit] Holy City

People performing Hindu ceremony at one of the ghats of Varanasi

Varanasi is a holy city in Hinduism, being one of the most sacred pilgrimage places for Hindus of all denominations. More than 1,000,000 pilgrims visit the city each year. It has the holy shrine of Lord Kashi Vishwanath (a manifestation of Lord Shiva), and also one of the twelve revered Jyotirlingas of Lord Shiva.

Hindus believe that bathing in Ganga remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Hindus regard Kashi as one of the Shakti Peethas, and that Vishalakshi Temple stands on the spot where Goddess Sati's earrings fell.[22]

Hindus of the Shakti sect make a pilgrimage to the city because they regard river Ganga itself as Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival. Vaishnavism and Shaivism have always co-existed in Varanasi harmoniously.

Varanasi is one of the holiest places in Buddhism too, being one of the four pilgrimage sites said to have been designated by Gautama Buddha himself (the others being Kushinagar, Bodh Gaya, and Lumbini). In the residential neighborhood of Varanasi lies Sarnath, the site of the deer park where Gautama Buddha is said to have given his first sermon about the basic principles of Buddhism. The Dhamek Stupa is one of the few pre-Ashokan stupas still standing, though only its foundation remains. Also remaining is the Chaukhandi Stupa commemorating the spot where Buddha met his first disciples (in the 5th century or earlier, BC). An octagonal tower was built later there.

Varanasi is a pilgrimage site for Jains along with Hindus and Buddhists. It is believed to be the birthplace of Parshvanatha, the twenty-third Tirthankar. Islamic culture has also had an influence on Varanasi. There has been some degree of continuous tension between different religious communities in the city.

[edit] Temples

Durga Mandir (temple) in Ramnagar in Varanasi

Varanasi is a city of temples. Almost every road crossing has a nearby temple. Such small temples form the basis of daily local prayers and other rituals. But there are many large temples too, erected at different times through out the history of Varanasi.

Kashi Vishwanath Temple, also called Golden Temple,[23] which in its present shape was built in 1780 by Maharani Ahilyabai Holkar of Indore, is located on the outskirts of the Ganga. This temple makes Varanasi a place of great religious importance to the Hindus, as Vishweshwara or Vishwanatha, the aforementioned Jyotirlinga of the Lord Shiva is enshrined here. It is said that a single view of Vishwanatha Jyotirlinga is considered to merit more than that of other jyotirlingas. A Naubatkhana was built up in front of the Temple by the collector Mohammed Ibrahim Khan at the instance of Governor General Warren Hastings in 1785. In 1839, Punjab Kesari, the Sikh Maharaja Ranjit Singh, the ruler of Punjab donated gold to cover the two domes of the temple. On 28 January 1983 the Temple was taken over by the government of Uttar Pradesh and its management was transferred to a trust with Late Dr. Vibhuti Narayan Singh, then Kashi Naresh, as president and an executive committee with Divisional Commissioner as chairman.[24]

The temple was once destroyed by the Muslim Emperor Aurangzeb who built a mosque over it. It was later resurrected at a location near the mosque.

Durga Temple, also nicknamed "Monkey temple," was built at some point of time in 18th century. The temple got the name 'Monkey temple' because of the presence of large number of monkeys in the temple. According to legends, the present statue of Goddess Durga was not made by man but appeared on its own in the temple. Thousands of Hindu devotees visit the Durga temple during Navratri and other auspicious occasions. Non-Hindus can enter the courtyard of the Durga temple but not the inner sanctum.

The architecture is of Nagara Style, which is typical of North India. The temple is accompanied by a rectangular tank of water called Durga Kund. ("Kund" meaning a pond or

pool.) The temple has multi-tiered spires[23] and is stained red with ochre, signifying the red colour of Durga. The Kund was earlier connected to the river itself thus refreshing the water. This channel was later closed, leading to locked water which is replenished only by rain or drainage from the Temple. Every year on the occasion of Nag Panchami, the act of depicting Lord Vishnu reclining on the coiled-up mystical snake or "Shesha" is repeated in the Kund.

Sankat Mochan Temple is dedicated to Lord Hanuman and is very popular with the local citizens. It is a place for many yearly religious as well as cultural festivals. On 7 March 2006, one of the three explosions carried out by Islamic militants hit the temple, while the aarti, in which numerous worshippers and wedding attendees participated, was in progress.[25]

The new Vishwanath Temple, called Birla Mandir, mainly funded by Raja Birla of the Birla family of industrialists, was built as a replica of the old Kashi Vishwanath Temple.[26] Planned by Madan Mohan Malaviya, the temple is part of the Banaras Hindu University, and stands for national revival. The temple is open to people of all castes and religions.

[edit] Art and literature

Architecture of the Vishwanath Temple in BHU

Varanasi has its own culture of fine art and literature. Great Indian writers have lived in this city from Kabir, Ravidas, Tulsidas who wrote much of his Ramayana here, Kulluka Bhatt who wrote the best known commentary of Manusmṛti here in 15th century[27] and Bharatendu Harishchandra, later writers have been Jaishankar Prasad, Acharya Shukla, Munshi Premchand, Jagannath Prasad Ratnakar, Devaki Nandan Khatri, Hazari Prasad Dwivedi, Tegh Ali, Kshetresa Chandra Chattopadhyaya, Vagish Shastri, Baldev Upadhyaya, Sudama Pandey (Dhoomil) and Vidya Niwas Mishra.

Art lovers and historians like Rai Krishnadasa, his son Anand Krishna, musicians like Omkarnath Thakur[28], Ravi Shankar, Bismillah Khan, Girija Devi, Siddheshwari Devi, Lalmani Misra and his son Gopal Shankar Misra, N. Rajam, Rajbhan Singh, Anokhelal,[29] Samta Prasad [30], Kanthe Maharaj, M. V. Kalvint, Sitara Devi, Gopi Krishna [disambiguation needed], Kishan Maharaj, Rajan and Sajan Mishra, Mahadev Mishra and numerous others have kept the city alive to the spiritual aspect of fine arts apart from their ability to entertain. Numerous festivals are celebrated that preserve traditional styles of classical and folk culture. All night, open music concerts like ones organised at Sankat Mochan Temple, Hori [disambiguation needed],

Kajari and Chaiti Mela, Budwa Mangal, are annual features that draw connoisseurs from all over.

Sushruta, the great surgeon and author of Sushruta Samhita, the Sanskrit text of surgery, also lived in Varanasi.[31]

[edit] Economy

Varanasi has several small cottage industries, including Banarasi Silk sari making, the production of textiles such as hand-woven carpets, and handicrafts. Banarasi paan (betel leaf) and khoa (a milk product) are popular, and the related small-scale industries employ many people.

Banarasi Silk is known all over the world for its finery and softness. Banarasi Sarees are adorned with intricate designs and zari embellishments making it popular during traditional functions and weddings. Earlier, the embroidery on sarees were often done with threads of pure gold.

Indian Railways runs a major diesel locomotive factory in Varanasi, Diesel Locomotive Works (DLW). The first Indian business house of Varanasi and Kanpur was the firm NihalChand KishoriLal established in the year 1857 which set up the fourth Oxygen plant in the country here by the name of Indian Air Gases Ltd.

According to Macaulay, Varanasi was the "city which, in wealth, population, dignity and sanctity was among the foremost in Asia". He described the commercial importance saying "from the looms of Benaras went forth the most delicate silks that adorned the halls of St. James and of Versailles."[22][32] Varanasi is a centre of Child labour. [33]

[edit] Demographics

The population of Varanasi urban agglomeration in 2001 was 1,371,749; the sex ratio was 879 females every 1000 males.[34] However, the area under Varanasi Nagar Nigam has a population of 1,100,748[35] with the sex ratio being 883 females for every 1000 males.[35] The literacy rate in the urban agglomeration is 77% while that in the municipal corporation area is 78%.[35] Approximately 138,000 people in the municipal area live in slums.[36] The crime rate in the city in 2004 was 128.5 per 100,000 which is higher than Uttar Pradesh rate of 73.2 but lower than the national rate of 168.8.[37]

[edit] Transport

Varanasi is well connected by air, rail and road with the major Indian cities like New Delhi, Mumbai, Kolkata, Chennai, Pune, Ahmedabad, Indore, Bhopal, Gwalior, Jabalpur, Ujjain, Jaipur etc. It is located at a distance of 776 km from Delhi. One of the major factors in Varanasi's sustained existence as an inhabited city is its role as an established transportation hub between different cities. Dating to the ancient times, the city was connected to cities like Taxila, Ghazipur, Pataliputra, Vaishali, Ayodhya, Gorakhpur, Agra etc.

[edit] Public Transport

Auto rickshaws and cycle rickshaws are the most widely available public transport within Varanasi. In outer regions of the city, mini-buses are common. Small boats and small steamers are used to cross the River Ganga.

[edit] Air

The Babatpur Airport (Lal Bahadur Shastri Airport) is located about 25 km from the city center and is well connected to Chennai, Delhi, Mumbai, Kolkata, Khajuraho and Nepal. All the major domestic Indian carriers including Air India, Jet Airways, Kingfisher Airlines, Indian Airlines, Spicejet, and Alliance Air operate from here.

[edit] Rail

The first railway line to Benares was opened from Kolkata in December 1862 and was built by the East Indian Railway Company.[38]

Varanasi Junction under the control of Northern Railways and Mughal Sarai Junction of East Central Railway are the two major railway stations within the city limit. Apart from these there are 16 other railway stations located within the city limits.

[edit] Road

Previously, the city was connected by a single road from Taxila going through Pataliputra during the Maurya Empire. This road was later renovated and extended by Sher Shah Suri during the 16th century and later came to be known as the famous Grand Trunk Road.[citation

needed]

The NH 2 linking Delhi-Kolkata passes through the city and NH 7 which is the longest National Highway in India connects Varanasi with the cities of Jabalpur, Nagpur, Hyderabad, Bangalore, Madurai and Kanyakumari.

[edit] Civic administration and utility services

Varanasi is governed by a number of bodies, the prime being the Varanasi Nagar Nigam (Municipal Corporation) and Varanasi Development Authority, which is responsible for the master planning of the city. Water supply and sewage system is maintained by Jal Nigam, a subsidiary of Nagar Nigam. Power supply is by the Uttar Pradesh Power Corporation Limited. The city produces about 350 million litres per day[39] of sewer and 425 tonnes per day of solid waste.[40] The solid wastes are disposed in one landfill site.[41] A huge amount of sewer flows into the river Ganga daily. Nagar Nigam also runs a bus service in the city and suburban areas. The city is within the Varanasi range of Varanasi zone of Uttar Pradesh Police. A Special Superintendent of Police is the highest ranking police officer in the city.[42] The city constitutes one parliamentary constituency. Bharatiya Janata Party won the constituency in Indian general election, 2009.

Varanasi was one the five cities where Ganga Action Plan was launched.

[edit] Education

Main article: Education in India

Banaras Hindu University is a major university in Varanasi

[edit] University education

Varanasi is the site of three public universities. Banaras Hindu University, which includes Institute of Technology and Institute of Medical Sciences , is among the top 3 largest residential universities in the world having more than 128 independent teaching departments.[43] Mahatma Gandhi Kashi Vidyapeeth and Sampurnanand Sanskrit University are the other two universities.

Banaras Hindu University (1916) was founded by Madan Mohan Malaviya with the cooperation of Dr Annie Besant. Its 1350 acre (5.5 km²) campus was built on land donated by the Kashi Naresh.

Governor General Lord Cornwallis establish the Sanskrit College (1791), which was the first college in Varanasi. The first principal of Sanskrit College was Sanskrit Professor J. Myor, ICS followed by Dr. J.R. Ballentien, RTH Griffith, Dr. G. Thevo, Dr. Aurthor Venice, Dr. Ganganath Jha, and Gopinath Kaviraj among others. After independence this college became Sampurnanand Sanskrit University.[44]

The Central Institute of Higher Tibetan Studies(Central University of Tibetan Studies) at Sarnath is a deemed university with a preference for the traditional Tibetan method of teaching within a framework of modern universities.[45] Udai Pratap College, autonomous college, is the center of sports and science study for the suburban students of modern Benares.Agrasen Mahila Mahavidyala is another autonomous college in the city. Varanasi has many private and public institutes that provide Hindu religious teaching. Since ancient times people have been coming to Varanasi to learn philosophy, Sanskrit, astrology, social science and religious teachings. In Indian tradition, Varanasi is often called "Sarva Vidya Ki Rajdhani" (capital of knowledge).[46] The city also has the Jamiah Salafiah, a Salafi Islamic institution.[47]

There are various degree colleges across the city like Agrsen degree College, Harishchandra degree college, Arya mahila Degree college, School of management Science. There are also

Hindi language learning opportunities. hinditeachervaranasi.blog.co.in provides various kinds of language learning course for beginners and advanced students.

[edit] Basic and special education

The schools are affiliated with the Indian Certificate of Secondary Education (ICSE), the Central Board of Secondary Education (CBSE), or the U. P. Board. Under the 10+2 plan, after completing their secondary education, students typically enroll in a 2 year junior college (also known as a pre-university) or in schools with a higher secondary facility. Students usually choose from one of three streams — liberal arts, commerce, or science, though vocational streams are also available. Upon completing the required coursework, students may enroll in general or professional degree programs.

From Bihar and eastern Uttar Pradesh, people come to BHU's Institute of Medical Sciences for treatment. 80% of its medical facilities are provided by private sectors.

[edit] Tourism

Probably due to its unique culture, Varanasi is a major tourist destination for foreign tourists in India. A number of 3, 4 and 5 star hotels are present in the city, as well as more efficient housing for Western student researchers. All sort of cuisines are available mostly as street food due to rich and hospitable culture of Varanasi.

Varanasi is a noted centre for Banarasi silk weaving and brassware. Fine silks and brocaded fabrics, exquisite saris, brassware, jewellery, woodcraft, carpets, wall hangings, lamp shades and masks of Hindu and Buddhist deities are some of Varanasi's shopping attractions. The main shopping areas include the Chowk, Godaulia, Vishwanath Lane, Lahurabir and Thatheri Bazaar.[22] Assi Ghat, a midway point between Godaulia in the heart of downtown and youth culture of Benares Hindu University, is the district where most young, foreign, long-term residents stay.

[edit] In popular culture

In the Rigveda, the city was referred to as Kasi or Kashi, "the luminous one" as an allusion to the city's historical status as a center of learning, literature, and culture.[48] Kasikhanda described the glory of the city in 15,000 verses in the Skanda Purana. In one verse, God Shiva says,

The three worlds form one city of mine, and Kasi is my royal palace therein.[22]

Another reference to Varanasi is found in a hymn by Sri Veda Vyasa:

Ganga-taranga-ramaneeya-jataakalaapam,Gauri-nirantara-vibhushita-vaamabhaagam.Narayanapriyam-Ananga-madaapahaaram,Varanasi-pura-patim bhaja Vishwanatham.

The film Banaras - A Mystic Love Story (2006), is based on Varanasi's history, and its role in Indian tradition.

In Kurt Weill's "Benares Song" in the opera Rise and Fall of the City of Mahagonny.

Bibhutibhushan Bandopadhyay 's seminal Bengali novel, Aparajito, was partly set in Benaras, which was further immortalized by Satyajit Ray in his Apu Trilogy. A part of the film was shot in Varanasi.

Ian McDonald 's novel River of Gods is partly set in Varanasi.

Satyajit Ray's Joi Baba Felunath was almost entirely set in Varanasi.

Song Khaike Paan Banaraswala from the 1978 hit film Don starring Amitabh Bachchan sang praises of the flavorful Banarasi paan.

In the composition by Pandit Vikash Maharaj called "Ganga" the documentary film called Holiwater.http://www.youtube.com/watch?v=Rx_kwqB_--Y

In a song by Krishna Das entitled "Kashi Vishwanath Gange" on the CD Breath of the heart.[49]

Geoff Dyer 's 2009 book: Jeff in Venice, Death in Varanasi is (as the name suggests) half set in Varanasi.

Vijay Singh's novel Jaya Ganga, In Search of the River Goddess and classic film Jaya Ganga is partly set in Varanasi. See excerpts with shots of the ghats[1]

[edit] Notable residents

Madan Mohan Malaviya , Founder of Banaras Hindu University Lal Bahadur Shastri , Prime Minister of India

Bismillah Khan , shehnai player, Bharat Ratna

Kishan Maharaj ,tabla player, Padma Vibhushan

Ravi Shankar , sitar player, Bharat Ratna

Siddheshwari Devi , khayal singer

Vikash Maharaj ,Sarod Maestro

Naina Devi , khayal singer

Bhagwan Das , Bharat Ratna

Shamta Prasad (Gudai Maharaj) tabla player, Padma Shri

[edit] See also

This article contains Indic text. Without proper

rendering support, you may see question marks or

boxes, misplaced vowels or missing conjuncts

instead of Indic text.

Varanasi district List of significant religious sites

Vishnu Sarma , author of the Panchatantra.

Sankat Mochan Hanuman Temple

Old Durga Mandir

Kashi Mutt

Dhamek Stupa at Sarnath.

Chaukhandi Stupa at Sarnath.

Roman Catholic Diocese of Varanasi

[edit] References

1. ̂ "Ranking of Districts by Population Size in 1991 and 2001". Government of Uttar Pradesh. http://www.upgov.nic.in/upinfo/census01/cen01-1.htm. Retrieved 2007-02-04.

2. ̂ "Ranking of Districts by Population Density". Government of Uttar Pradesh. http://www.upgov.nic.in/upinfo/census01/cen01-3.htm. Retrieved 2007-02-04.

3. ^ a b Lannoy, Richard (October 1999). Benares Seen from Within. University of Washington Press. Back Flap. ISBN 029597835X. OCLC 42919796.

4. ̂ "Varanasi". Encyclopædia Britannica. http://www.britannica.com/eb/article-9074835/Varanasi. Retrieved 2008-03-06.

5. ^ a b c d e f g h i j k l m n o p q r s Mitra, Swati (2002). Good Earth Varanasi city guide. Eicher Goodearth Limited. p. 216. ISBN 9788187780045.

6. ̂ "District of Varanasi - Sarnath". National Informatics Centre-Varanasi. http://varanasi.nic.in/tourist/tourist7.html. Retrieved 2009-05-01.

7. ̂ "Varanasi: The eternal city". Banaras Hindu University. http://www.bhu.ac.in/varanasi.htm. Retrieved 2007-02-04.

8. ̂ Twain, Mark (1898) [1897]. "L". Following the Equator: A journey around the world. Hartford, Connecticut, American Pub. Co.. ISBN 0404015778. OCLC 577051. http://www.literaturecollection.com/a/twain/following-equator/51/. Retrieved 2007-02-07.

9. ̂ www.ArunnGuptaa.com

10. ̂ Cunningham, Alexander; Surendranath Majumdar Sastri (2002) [1924]. Ancient Geography of India. Munshiram Manoharlal. pp. 131–140. ISBN 8121510643. OCLC 54827171.

11. ̂ M. Julian, Life and Pilgrimage of Hsuan Tsang, 6, 133, 2, 354.

12. ̂ "Varanasi Vaibhav ya Kaashi Vaibhav - Kashi Ki Rajdhani Varanasi Ka Namkaran" (in Hindi). Department of Information Technology, Government of India. 2003. http://tdil.mit.gov.in/CoilNet/IGNCA/kv_0002.htm. Retrieved 2007-02-04.

13. ̂ "Uttar Pradesh Tourism - Varanasi". Department of Tourism - Government of UP. http://www.up-tourism.com/destination/varanasi/intro.htm. Retrieved 2009-05-01.

14. ̂ "The religious capital of Hinduism". BBC. 7 March 2006. http://news.bbc.co.uk/2/hi/south_asia/4784056.stm. Retrieved 2007-02-04.

15. ̂ A review of Varanasi

16. ̂ Hindustan times, 10 May 2007

17. ̂ Bhatt, Sheela; Ahmad, Mukhtar (9 March 2006). "Little known group owns up Varanasi blasts". Rediff.com. http://ia.rediff.com/news/2006/mar/09varanasi.htm. Retrieved 2006-02-04.

18. ^ a b Singh, Rana P.B.. "Varanasi as Heritage City (India) on the scale the UNESCO World Heritage List: From Contestation to Conservation" (PDF). EASAS papers. Swedish South Asian Studies Network. http://www.sasnet.lu.se/EASASpapers/46RanaSingh.pdf. Retrieved 2006-08-18.

19. ^ a b "Varanasi". India-cities. Atrip4india.com. http://www.atrip4india.com/india-cities/varanasi.htm. Retrieved 2006-08-18.

20. ̂ "Varanasi tourism". DelhiTourism.com. http://www.delhitourism.com/varanasi-tourism/. Retrieved 2006-08-18.[unreliable source?]

21. ̂ "Austin Pick: Aboard the Mahabodhi Express". http://www.fudomouth.net/intertext/ap_subcontinent05.htm. Retrieved 2008-12-28.

22. ^ a b c d Ministry of Tourism, Government of India (March, 2007). "Varanasi - Explore India Millennium Year". Press release.

23. ^ a b "The religious route". The Times of India. 3 April 2003. http://timesofindia.indiatimes.com/articleshow/42205744.cms. Retrieved 4 December 2008.

24. ̂ "Shri Kashi Vishwanath Mandir Varanasi". National Informatics Centre, Government of India. http://varanasi.nic.in/temple/KASHI.html. Retrieved 2007-02-04.

25. ̂ Sengupta, Somini (9 March 2006). "Indian City Shaken by Temple Bombings". The New York Times. http://www.nytimes.com/2006/03/09/international/asia/09india.html?pagewanted=print. Retrieved 4 December 2008.

26. ̂ "Birla Temple (new Vishwanath Temple)". http://www.indnav.com/servlet/Browse?mt=goToName&name=Birla+Temple+(new+Vishwanath+Temple). Retrieved 2007-02-04.

27. ̂ The Indian Empire The Imperial Gazetteer of India, 1909, v. 2, p. 262.

28. ̂ "Omkar Nath Thakur". Culturopedia. http://www.culturopedia.com/personalities/indianpersonality-omkarnaththakur.html. Retrieved 2009-05-01.

29. ̂ [www.parrikar.org/vpl/profiles/anokhelal_profile.pdf "Anokhelal Mishra"]. Rajan Parrikar Music Archive. www.parrikar.org/vpl/profiles/anokhelal_profile.pdf. Retrieved 2009-05-01.

30. ̂ "Samta Prasad". kippen.org. http://kippen.org/t_masters/samtaprasad.html. Retrieved 2009-05-01.

31. ̂ Susruta The Imperial Gazetteer of India, 1909, v. 2, p. 570.

32. ̂ "Varanasi". Tourism of India. HinduNet Inc.. 2003. pp. 2. http://www.freeindia.org/dynamic/modules.php?name=Content&pa=showpage&pid=165&page=2. Retrieved 2007-03-07. "all along the shore lay great fleets of vessels laden with rich merchandise. From the looms of Benaras went forth the most delicate silks, that adorned the halls of St. James and of Versailles, and in the bazaars, the muslins of Bengal and sabres of Oude were mingled with the jewels of Golconda and the shawls of Cashmere"

33. ̂ Mike Davis: Planet der Slums, Assoziation A, Berlin, 2007, page 196

34. ̂ "Urban Agglomerations/Cities having population of more than one million in 2001". Census of India 2001 (Provisional). Office of the Registrar General, India. 25 July 2001. http://www.censusindia.gov.in/. Retrieved 2006-08-18.

35. ^ a b c "Population, Population in the age group 0–6 and literates by sex - Urban Agglomeration/Town: 2001" (PDF). Census of India 2001 (Provisional). Office of the Registrar General, India. pp. 53–54. http://www.censusindia.gov.in/. Retrieved 2006-08-17.

36. ̂ "Slum Population in Million Plus Cities (Municipal Corporations): Part A". Census of India 2001 (Provisional). Office of the Registrar General, India. 22 January 2002. http://www.censusindia.gov.in/. Retrieved 2006-08-18.

37. ̂ National Crime Records Bureau (2004). "Crimes in Mega Cities". Crime in India-2004. Ministry of Home Affairs. pp. 158. http://ncrb.nic.in/crime2004/cii-2004/CHAP2.pdf. Retrieved 2006-08-18.

38. ̂ Diaries of George Turnbull (Chief Engineer, East Indian Railway Company) held at the Centre of South Asian Studies at University of Cambridge, England

39. ̂ Bhargava, Gopal. "Scheme for Varanasi". The Tribune. http://www.tribuneindia.com/2000/20001025/mailbag.htm.

40. ̂ "Waste Generation and Composition". Management of municipal solid wastes. Planning Division, Central Pollution Control Board. http://www.cpcb.nic.in/pcpdiv_plan4.htm. Retrieved 2006-08-18.

41. ̂ "Status of landfill sites in 59 cities". Management of municipal solid wastes. Planning Division, Central Pollution Control Board. http://www.cpcb.nic.in/pcpdiv_plan4.htm. Retrieved 2006-08-18.

42. ̂ "UP Police Is divided into following zines consisting ranges & districts". UP Police. NIC. http://uppolice.up.nic.in/About%20UP%20Police.html. Retrieved 2006-08-18.

43. ̂ "Banaras Hindu University". SurfIndia. http://www.surfindia.com/travel/uttar-pradesh/banaras-hindu-university.html. Retrieved 2006-08-18.

44. ̂ Acharya Baldeva Upadhyay, Kashi ki Panditya Parampara, Vishwavidyalaya Prakashan, Varanasi, 1983.

45. ̂ "Central Institute for Higher Tibetan Studies". Varanasi City. http://www.varanasicity.com/education/tibetan-university.html. Retrieved 2006-08-18.

46. ̂ "Educational Institutes in Varanasi". Varanasi City. http://www.varanasicity.com/education/index.html. Retrieved 2006-08-18.

47. ̂ "Darul Uloom Jamia Rasheedia". Tipu Sultan Advanced Study & Research Centre (TSASRC). http://www.darulumoor.org/institutions.html. Retrieved 2007-03-07.

48. ̂ Talageri, Shrikant G.. "The Geography of the Rigveda". http://voi.org/books/rig/ch4.htm. Retrieved 2007-02-04.

49. ̂ "Text and Information". http://www.krishnadas.com/notes.cfm?CID=breathoftheheart&TID=breath4. Retrieved 2007-06-24.

[edit] External links

Wikimedia Commons has media related to: Varanasi

District Varanasi Official Website - Official website of Varanasi District and City Varanasi at the Open Directory Project

Varanasi travel guide from Wikitravel

Gallery of photos from Varanasi

State Government Tourism Website

http://www.holiwater.com

About Varanasi

Sadguru Prakatya Dham, Kabir Bhag. Lahartara .Varanasi

Varanasi Map All important temples & ghats are marked

Shots of Varanasi from Vijay Singh's feature film "Jaya Ganga"

[show]  

Links to related articles

[show] v • d • e

Hindu holy cities

[show] v • d • e

Cities and towns in Varanasi district

[show] v • d • e

Million-plus cities in India

[show]

v • d • e

 · State of Uttar Pradesh

Retrieved from "http://en.wikipedia.org/wiki/Varanasi"Categories: Holy cities | Cities and towns in Varanasi district | Hindu holy cities | Ancient Indian cities | Hindu pilgrimage sites | Indian Princely States | Shaivism | Varanasi | Shakti Peethas | Places of Indian Rebellion of 1857 | Varanasi railway division | Divisions of Indian Railways | North Eastern Railway (India) Zone | Buddhist holy sites | Ghats of India | Railway junction stations in IndiaHidden categories: All articles lacking reliable references | Articles lacking reliable references from February 2008 | Articles containing potentially dated statements from 2001 | All articles containing potentially dated statements | Articles containing Hindi language text | Articles containing Urdu language text | Articles with links needing disambiguation | All articles with unsourced statements | Articles with unsourced statements from March 2009 | Articles including recorded pronunciations

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Kingdom of KashiFrom Wikipedia, the free encyclopedia

  (Redirected from Kashi Naresh)Jump to: navigation, search

Kingdom of Kashi was the erstwhile Bhumihar Brahmin kingdom of the Maharaja of Kashi (Varanasi), who is also known as the Kashi Naresh. Following India's independence, the Kashi Naresh, like other rulers, was stripped of all executive powers and was reduced to no more than a figurehead. Nevertheless, the title still draws a lot of respect locally. The Ramnagar fort of the Kashi Naresh is situated to the east of Varanasi, across the River Ganges.[1] The other fort of the Kashi Naresh is the Chet Singh Palace, near Shivala Ghat, Varanasi, where King Chet Singh killed three British officers and more than 200 soldiers.[2] Ramnagar Fort and its museum are the repository of the history of the kings of Benares and since the 18th century has been the home of Kashi Naresh.[3] Even today the Kashi Naresh is deeply revered by the people of Benares.[4] He is the religious head and the people of Benares consider him the incarnation of Lord Shiva.[5] He is also the chief cultural patron and an essential part of all religious celebrations.[6]

Contents

[hide] 1 History 2 Kashi Naresh

3 History of Ramnagar

4 Ram leela at Ramnagar

5 All India Kashi raj Trust

6 Saraswati Bhawan at Ramnagar Fort

7 Vyasa Temple at Ramnagar

8 Notes

9 References

[edit] History

Main article: The Royal House of Benares

The family are of Bhumihar Brahmins clan; and their traditions go back to the year 1000, when a Bhumihar Brahmin ascetic of Utaria, a village near Benares foretold the succession of his posterity (descendants) to the dominions then governed by a Hindu raja.[7]

The Kashi Naresh is supposed to be a descendent of Lord Shiva. During the religious occasion of Shivratri, the Kashi Naresh is the chief officiating priest and no other priest is allowed entry into the garbhagriha or sanctum sanctorum. It is only after he performs his religious offerings that anyone else is allowed to enter.

The Kingdom of Kashi was founded by Khsetravridha, the son of Ayus, of the Somavansa dynasty of Pratishthana. It lost independence in 1194 and was eventually ceded by the Nawab of Oudh to the British in 1775 who recognized Benares as a family dominion. Benares acceded to the status of State in 1911. The ruling family claims descent from the God Shiva and benefited greatly from pilgrimage to Benares.

The governor of Benares gave most of the area currently known as Varanasi to Mansa Ram, a Gautam Bhumihar Brahmin zamindar of Utaria, in 1737 A.D. Balwant Singh, ruler of Utaria, later received territories of Jaunpur, Varanasi and Chunar in 1740 A.D. from Mughal Emperor of Delhi. Thus started the Kingdom of Benaras under the Mughal dynasty. Other places under the kingship of Kashi Naresh were Chandauli, Gyanpur, Chakia, Latifshah, Mirzapur, Nandeshwar, Mint House and Vindhyachal.

With the decline of Mughal Empire, in the area of south of Avadh, in the fertile rive-rain rice growing areas of Benares, Gorakhpur, Deoria, Ghazipur, Ballia and Bihar and on the fringes of Bengal, it was the 'military' or Bhumihar Brahmins who strengthened their sway.[8] What brought success to these Hindu prince lings was the strong clan organisation on which they rested.[9] There were perhaps as many as 100,000 Bhumihar Brahmin clansmen backing the power of the Benares rajas in what later became the districts of Benares, Gorakhpur and Azamgarh.[10] This proved a decisive advantage when the dynasty faced its rival and a nominal suzerain, the Nawab of Awadh, in the 1750s and the 1760s.[11] It was the capacity of the Benares ruler to mount an exhausting guerrilla war against the Avadh camp using his Brahmin clan levies which forced the Nawab to withdraw his main force.[12]

The kingdom was ceded by the Nawab of Oudh to the British raj in 1775, who recognized Benares as a family dominion. In 1911, it acceded to the status of State.[13] It was given the privilege of 13-gun salute.

According to Orthodox Brahmin traditions, nobody has seen Kashi Naresh have his food, and none of the kings have travelled abroad in keeping with strict Brahmin rules.[14] Kashi Naresh has played host to a list of dignitaries which includes Bishweshwar Prasad Koirala, Pandit Jawaharlal Nehru, Rajendra Prasad, Indira Gandhi, Queen Elizabeth, Nelson Mandela, Dalai Lama, President Kocheril Raman Narayanan and his Burmese wife.[14]

[edit] Kashi Naresh

The residential place of Naresh is Ramnagar Fort at Ramnagar near Varanasi, which is next to river Ganga.[1] Kashi Naresh holds the title of Chancellor of Banaras Hindu University.[15] This title has as such no executive powers, and all decisions are taken by Vice-Chancellor instead.[citation needed]

On January 28, 1983 the Kashi Vishwanath Temple was taken over by the government of Uttar Pradesh and its management was transferred to a trust with Late Dr. Vibhuti Narayan Singh, then Kashi Naresh, as President and an executive committee with Divisional Commissioner as Chairman.[16]

Following is the list of all rulers of Kashi:

List of Kashi NareshStart of

ruleEnd of

rule

Mansa Ram 1737 1740

Balwant Singh 1740 1770

Chait Singh 1770 1781

Mahip Narayan Singh 1781 1794

Maharaja Udit Narayan Singh 1794 1835

Maharaja Shri Ishwari Prasad Narayan Singh Bahadur 1835 1889

Lt.Col. HH Maharaja Shri Sir Prabhu Narayan Singh of Benares Bahadur

1889 1931

Capt. HH Maharaja Shri Sir Aditya Narayan Singh 1931 1939

Dr. Vibhuti Narayan Singh 1939 1947

Dr. Vibhuti Narayan Singh was the last Naresh to see kingship after Benares was ceded to the Union of India on 15th of Oct 1948. After his death in 2000, his son Anant Narayan Singh is the Kashi Naresh responsible for upholding the traditional duties of a Kashi Naresh.

The family of Maharaja Chet Singh is still there in Gwalior.History of Maharaja Chet Singh diverted towards gwalior where his own descendent are staying at renowned place called KASHI NARESH HOUSE.There is a long history from Varanasi till Gwalior which has not been exposed till now.This is his 8th generation which is running and still his chatri where he

had been cremated and his famous palace is known by the name of kashi naresh house in Gwalior.

[edit] History of Ramnagar

The Ramnagar Fort was built by Kashi Naresh Raja Balwant Singh with creamy chunar sandstone in the eighteenth century.[17] It is a typically Mughal style of architecture with carved balconies, open courtyards, and picturesque pavilions.[18]

[edit] Ram leela at Ramnagar

When the Dussehra festivities are inaugurated with a colourful pageant Kashi Naresh rides an elephant at the head of the procession.[19] Then, resplendent in silk and brocade, he inaugrates the month long folk theatre of Ramlila at Ramnagar.[20]

The Ramlila is a cycle of plays which recounts the epic story of Lord Rama, as told in Ramcharitmanas, the version of the Ramayana penned by Tulsidas.[21] The plays sponsored by the Maharaja, are performed in Ramnagar every evening for 31 days.[22] On the last day the festivities reach a crescendo as Rama vanquishes the demon king Ravana.[23] Maharaja Udit Narayan Singh started this tradition of staging the Ramleela at Ramnagar in mid-nineteenth century.[24]

Over a million pilgrims arrive annually for the vast processions and performances organized by Kashi Naresh.[25]

[edit] All India Kashi raj Trust

Serious work on the Puranas began when the All India Kashiraj Trust was formed under the patronage and guidance of Dr. Vibhuti Narayan Singh, the Maharaja of Kashi, which, in addition to producing critical editions of the Puranas, also published the journal Puranam.[26]

[edit] Saraswati Bhawan at Ramnagar Fort

A rare collection of manuscripts, especially religious writings, is housed in Saraswati Bhawan. It includes a precious handwritten manuscript by Goswami Tulsidas.[27] There are also many books illustrated in the Mughal miniature style, with beautifully designed covers.[28]

[edit] Vyasa Temple at Ramnagar

According to a popular Puranic story, when Vyasa failed to get alms in Varanasi he put a curse on the city.[29] Soon after, at a house where Parvati and Shiva had taken human form as householders, Vyasa was so pleased with the alms he received that he forgot his curse.[30] However, because of his bad temper Shiva banished Vyasa from Varanasi.[31] Resolved to be near at hand, Vyasa took his residence on the other side of the Ganga where his temple may still be seen at Ramnagar.[32]

[edit] Notes

1. ^ a b A review of Varanasi 2. ̂ Hindustan times, 10 May 2007

3. ̂ Mitra, Swati (2002). Good Earth Varanasi city guide. Eicher Goodearth Limited. pp. 216. ISBN 9788187780045.

4. ̂ Mitra, Swati (2002). Good Earth Varanasi city guide. Eicher Goodearth Limited. pp. 216. ISBN 9788187780045.

5. ̂ Mitra, Swati (2002). Good Earth Varanasi city guide. Eicher Goodearth Limited. pp. 216. ISBN 9788187780045.

6. ̂ Mitra, Swati (2002). Good Earth Varanasi city guide. Eicher Goodearth Limited. pp. 216. ISBN 9788187780045.

7. ̂ Lethbridge, Sir Roper (2005). The golden book of India: a genealogical and biographical dictionary of the ruling princes, chiefs, nobles, and other personages, titled or decorated of the Indian empire. Aakar Books. p. 584. ISBN 978-8187879541.

8. ̂ Bayly, Christopher Alan (1983). Rulers, Townsmen, and Bazaars: North Indian Society in the Age of British Expansion, 1770-1870. Cambridge University Press. p. 489 (at p 18). ISBN 9780521310543.

9. ̂ Bayly, Christopher Alan (1983). Rulers, Townsmen, and Bazaars: North Indian Society in the Age of British Expansion, 1770-1870. Cambridge University Press. p. 489 (at p 18). ISBN 9780521310543.

10. ̂ Bayly, Christopher Alan (1983). Rulers, Townsmen, and Bazaars: North Indian Society in the Age of British Expansion, 1770-1870. Cambridge University Press. p. 489 (at p 18). ISBN 9780521310543.

11. ̂ Bayly, Christopher Alan (1983). Rulers, Townsmen, and Bazaars: North Indian Society in the Age of British Expansion, 1770-1870. Cambridge University Press. p. 489 (at p 18). ISBN 9780521310543.

12. ̂ Bayly, Christopher Alan (1983). Rulers, Townsmen, and Bazaars: North Indian Society in the Age of British Expansion, 1770-1870. Cambridge University Press. p. 489 (at p 18). ISBN 9780521310543.

13. ̂ Benares (Princely State) - A Document about Maharajas of Varanasi

14. ^ a b Mark Manuel. "Nobody's Seen The Gourmet Maharaja Eating!". Upper Crust. http://www.uppercrustindia.com/6crust/six/banaras3.htm. Retrieved 2008-04-08.

15. ̂ [1] Short biography of Pandit Madan Mohan Malaviya. Look under the heading Important Dates.

16. ̂ Official website of Varanasi

17. ̂ Mitra, Swati (2002). Good Earth Varanasi city guide. Eicher Goodearth Limited. p. 216. ISBN 9788187780045.

18. ̂ Mitra, Swati (2002). Good Earth Varanasi city guide. Eicher Goodearth Limited. p. 216. ISBN 9788187780045.

19. ̂ Mitra, Swati (2002). Good Earth Varanasi city guide. Eicher Goodearth Limited. pp. 216 (at p 126). ISBN 9788187780045.

20. ̂ Mitra, Swati (2002). Good Earth Varanasi city guide. Eicher Goodearth Limited. pp. 216 (at p 126). ISBN 9788187780045.

21. ̂ Mitra, Swati (2002). Good Earth Varanasi city guide. Eicher Goodearth Limited. pp. 216 (at p 126). ISBN 9788187780045.

22. ̂ Mitra, Swati (2002). Good Earth Varanasi city guide. Eicher Goodearth Limited. pp. 216 (at p 126). ISBN 9788187780045.

23. ̂ Mitra, Swati (2002). Good Earth Varanasi city guide. Eicher Goodearth Limited. pp. 216 (at p 126). ISBN 9788187780045.

24. ̂ Mitra, Swati (2002). Good Earth Varanasi city guide. Eicher Goodearth Limited. pp. 216 (at p 126). ISBN 9788187780045.

25. ̂ Banham, Martin (second edition, 1995). The Cambridge Guide to Theatre. Cambridge University Press. pp. 1247. ISBN 978-0521434379.

26. ̂ Mittal, Sushil (2004). The Hindu World. Routledge. pp. 657. ISBN 978-0415215275.

27. ̂ Mitra, Swati (2002). Good Earth Varanasi city guide. Eicher Goodearth Limited. pp. 216 (at p 129). ISBN 9788187780045.

28. ̂ Mitra, Swati (2002). Good Earth Varanasi city guide. Eicher Goodearth Limited. pp. 216 (at p 129). ISBN 9788187780045.

29. ̂ Mitra, Swati (2002). Good Earth Varanasi city guide. Eicher Goodearth Limited. pp. 216 (at p 129). ISBN 9788187780045.

30. ̂ Mitra, Swati (2002). Good Earth Varanasi city guide. Eicher Goodearth Limited. pp. 216 (at p 129). ISBN 9788187780045.

31. ̂ Mitra, Swati (2002). Good Earth Varanasi city guide. Eicher Goodearth Limited. pp. 216 (at p 129). ISBN 9788187780045.

32. ̂ Mitra, Swati (2002). Good Earth Varanasi city guide. Eicher Goodearth Limited. pp. 216 (at p 129). ISBN 9788187780045.

[edit] References

Diana L. Eck, Banāras, City of Light, Knopf, 1982. Swati Mitra, Good Earth Varanasi city guide, Eicher Goodearth Limited, 2002, isbn =

9788187780045.

Christopher Alan Bayly , Rulers, Townsmen and Bazaars. North Indian Society in the Age of British Expansion, 1780-1870, Cambridge University Press, 1983.

Retrieved from "http://en.wikipedia.org/wiki/Kingdom_of_Kashi"Categories: History of Uttar Pradesh | Indian Princely States | Hindu monarchs | Hindu scholars | Ruling Hindu clans | Indian maharajas | Brahmins | History of VaranasiHidden categories: All articles with unsourced statements | Articles with unsourced statements from February 2007

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Varanasi, or Benaras, (also  known  as Kashi)  is  one  of the oldest living cities in the world. Varanasi`s Prominence in Hindu mythology is virtually unrevealed. Mark Twain, the English author  and  literature,  who  was  enthralled  by  the  legend  and sanctity of Benaras,  once wrote : "Benaras is older than history, older than tradition, older even than legend and looks twice as old as all of them put together" .  According to the ‘Vamana Purana’, the Varuna and the Assi rivers  originated  from  the  body of  the primordial Person at the beginning of time itself. The tract of land lying between them is believed to be ‘Varanasi’, the holiest of all pilgrimages.

The word ‘Kashi’ originated from the word ‘Kas’ which means to shine. Steeped in tradition and mythological legacy, Kashi is the ‘original ground ‘ created by Shiva and Parvati, upon which they stood at the beginning of time. Varanasi is the microcosm of Hinduism, a city of traditional classical culture, glorified by myth and legend and sanctified by religion , it  has  always  attracted  a  large  number  of pilgrims and worshippers from time immemorial. To be in Varanasi is an experience in itself…. an experience in  self–discovery… an eternal oneness of the body and soul.

To every visitor; Varanasi offers a breathtaking experience. The rays of the dawn shimmer -ing across the Ganges… the high-banks ;  the temples and shrines along the banks bathed    in a golden hue …soul stirring hymns and mantras alongwith the fragrance of incense filling the air…and the refreshing dip in the holy waters gently splashing at the Ghats. Varanasi – the land where experience and discovery reach the ultimate bliss.

Varanasi is also renowned for its  rich tapestry of music, arts, crafts and  education.  Some of the world renowned exponents India has produced in these fields were schooled in Varanasi’s cultural ethos. Luminaries apart, Varanasi abounds in the  art of silk weaving, an exotic work of  art  which  manifests  itself  in  precious  Banarasi Silk Sarees  and Silk brocades which are cherished as collector’s items across the world today.

         HOME

LOCATION

Sarnath renowned for ancient remains of  Bhuddhist  stupas,  monasteries  and  temples, is situated at a distance of 6 kms. to the north of Varanasi city witch is well connected by road,  rail & air.

          HISTORY

Sarnath is  one of the four most important Bhuddhist   pilgrimage  centres  of   India. Bhudda,  the  great  sage , after   attaining enlightenment (Bhudda-hood) at Bodh Gaya came to  Sarnath  and  delivered  his   first sermon to  five  disciples  (i.e.  Kaundinya, Bashpa, Bhadrika, Mahanaman and Ashvajit) for redeeming humanity. It is this place where foundation of a new order of monks (Sangha) and  a  new  order  of   religious   doctrine (Dhamma) was laid. Sarnath is also sacred to the Jains because they look upon it as the site of asceticism and death of Shreyamshanath, the 11th

Trithankara.

In ancient  Bhuddhist  literature  the  place  finds  mention  as  Rishipatna  and  Mrigdava  or Mrigadaya. The place was called Rishipatna , as it was here the bodies of five hundred Pratyeka Bhuddhas or Rishis(Sages) fell after their attainment of nirvana (Salvation). According to the Jataka, in one of his previous births Bhudha as aleader of a herd of deer,for saving life of a doe, appeared before the king of Benaras who relished on the flesh of a deer everyday. On being moved by his sacrifical zeal the king made the place a free roaming ground, thus it was known as mrigadava (deerpark). The inscriptions of early medieval period found from Sarnath referred to this place as Dharamchakra or Sadhamacharka pravartana vihar. The mordern name Sarnath seems to be a contraction of Saranganath (Lord of deer) still borne by the

Lord Shiva enshrined in a temple nearby.

Sarnath pased into oblivion in the 13th cent. and veil was lifted in 1798 when Mr. Duncan , the resident of Benaras gave an account of a casket of green marble inside a stone box exposed by the workmen of Jagat Singh, Dewan of Raja Chet Singh of Benaras while dismantling the Dharmaralika stupa in order to procure building materials. This discovery had created wide interest about Sarnath.

Later on excanvations were conducted at the site by Sir Alexander Cunningham (1835-36), Major Kittoe (1851-52), Mr.C. Horne (1865), Mr. F.O. Oertal (1904-5), Sir john Marshall (1907), Mr. H. Hargreaves(1914-15), and Mr. Daya Ram Sahni (1927-32).

Archaeological excavations have brought to light about a dozen carved railing pillars ascribable to the Shunga period (2nd –lst cent. B.C.).

With the advent of the Kushana (1st –2nd cent. A.D.) in north India Bhuddhism witnessed a new phase of Religious and artistic activities. Though Mathura was the centre of this renaissance, but Sarnath also flourished and new monuments were raised. The colossal image of Bodhisattva imported form Mathura in the 3rd regnal year of Kanishka is now exhibited in the museum.

During the Gupta period (4th-6th century A.D.). Sarnath became a main centre of structural and artistic activities. Several structures including Mulgandhakuti, the chief shrine of the Buddha were erected during this period. The Dhamekh stupa is the best preserved and most impressive edifice at Sarnath. It is a cylindrical tower 28.50 mts. In diameter at base and 33.53 mts. In height. Fa-Hien the Chinese pilgrim visited Sarnath at the time of Chandragupta ll (376-414 A.D.) and saw here four stupas and two monastteries.

The reign stupas and Harshavardhan (606-47 A.D.) must have initiated fresh religious activity and restorations of the earlier building at Sarnath. Hiuen-Tsang visited Sarnath during the time and left a vivid descriptinued of its monuments.

This place continued to flourish during the reign of the pala kings. But the monuments of Sarnath experienced a reverse, when Benaras suffered under the spearhead of Mahmud Ghajni’s invasion which is inferred from a record of the time of Mahilala, datable to 1026 A.D.

Kumar Devi, wife of Govindchandra (1114-1154 A.D.) of the Gahadavala dynasty built a large monastery at Sarnath which is probably the last impressive monuments raised here and after which the architectural and artistic activitivs came to a halt. The glorious heritage remained hidden for a larger period and waited for the archaeological spade to uncover it.

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THE MUSEUM

Archaeological museum Sarnath is the oldest site museum of Archaeological Survey of India. In order to keep the antiquities found from the site, a decision was taken in 1904 by the Government to construct a site museum adjacent to the excavated site at Sarnath. It was due to initiative of Sir John Marshall., the then Director General of Archaeology in India, that this museum was created. The plans were prepared by Mr.James Ramson, the then consulting Architect to the Government of India. The building was completed in 1910 to house, display and study the antiquities in their right perspective. The building forms half of a monastery (Sangharam ) in plan.

There are five galleries and two verandahs on the museum to display the antiquities ranging from 3rd century B.C.to 12the century A.D. found at Sarnath

The galleries have been christened on the basis of their contents, the north most gallery is Tathagata while next one is Triatna. Mainhall is known as Shakyasimha gallery and adjacent to it on south is named as Trimurti. The southern most is Ashutosh gallery, the verandahs on northern end southern side are Shilparatna respectively. Entrance to the museum is obtained through the main hall, The Shakyasimha gallery displays the most prized collections of the museum. In the centre of this gallery is the Lion Capital of the Mauryan pillar. It is 2.31 mts. In height. The lustrous polish is a special feature of the Mauryan art which has not yet been noticed in the later monuments. The capital consists of an inverted lotus, circular abacus and the crowning quadripartite semi-lions on top. The most portion was crowned with a dharmachakra with thirty-two spokes since broken. The abacus is adorned with the figures of a lion, an elephant, a bull and horse each separated by a smaller wheel or dharmachakra consisting twenty-four spokes. The four crowning lion seated back and four animals in relief. Are wonderfully vigorous and true to nature and are treated with simplicity and reserve which is the keynote of all great masterpieces of plastic art and highest achievement in sculptural art of India.Today on its won virtue this lion capital has become "National Emblem" of India.

The exact significance of depiction of four animals on the abacus is uncertain. Some ascribe them with great events in the life of the Buddha while other believe, they represent the four noble animals of the Buddhists. The most plausible explanation perhaps lies in the theory that they denote the four directions as laid down in Buddhust literature in connection with the Annotate lake in which Buddha used to bathe. The same animals have been depicted on pillar at Anuradhapur (Srilanka).

The inscribed colossal standing image of a Bodhisativa in red sand stone is representative of Mathura school of Art. It was dedicated by monk Bala in the 3 rd

regional year of the Kushana ruler Kanishka. The octagonal shaft now set up behind the statue once carried a beautifully carved monolithic parasol exhibited at the northern side of the hall. It is a full bloomed lotus bearing auspicious signs.

Sarnath became a prominent centre of Buddhism in the Gupta period. It has been eloquently told by the profusion of exquisitely carved sculptural art which got a new dimension in the hands of the Gupta artists and it became a main centre of Gupta art. The Sarnath School of Art is known for its elegance, simplicity of forms and sublimity. The images of Buddha, displayed in Shakyasimha gallery, represent this

school of Art.

Standing figure of profusely ornamented Tara is one of the best specimen of Late Gupta sculptural art of Sarnath. Tara is derived from the root ‘tar’ ( to cross). She helps to cross the ‘Ocean of Existence’. Tara holds a position of considerable eminence in the Buddhist pantheon. She is Savior Goddess, a Deliveries and shakti of Avalokiteshvara.

To the north of main hall is Triratna gallery which exhibits images of Buddhist deities and some associated objects

A standing image of Siddhaikavira, a form of Manjushri, god of wisdom and knowledge is one of the earliest images of this deity.

Standing Tara, holding in hand a pomegranate which has burst upon to reveal a row of seeds is a fine example of the sculptural art of fifth century. The weight of the body is thrown gently on the right leg. The jewelry is rich, yet delicate and consists of a multi stranded girdle, festooned armlets, and a series of three necklaces. Large circular earrings adorn the ears. Although the face is damaged, the gentle meditative expression remains. The elaborate coiffure consists of several rows of ringlets and curls arranged over the forehead and to the side of head, all topped by large bun.

Leograph, a mythical animal, seated Bodhisattva Padmapani with a stem of full bloomed lotus, stele depicting miracle of Shracasti where Buddha multiplied himself in many forms in order to defeat heretical teachers, pot ballied Jambhala, god of wealth and prosperity alongwith his female consort Vasudhara, Ramgrama stupa being protected by nagas and inscription of Kumardevi, queen of Govindchandra of Knnauj which refers to construction of the Dharmachakra Jinavihar by the queen, at Sarnath are some of the important antiquities displayed in the western side of the gallery.

Stele depicting ashtamahasthana (eight great places) or, four main and four secondary events in the life of Buddha is a remarkable piece of art which include nativity or birth of Buddha at Lumbuni (Nepal), enlightenment at Bodhgaya, preaching of first sermon at Sarnath and great demise at Kushinagar. Apart from these, Buddha descending from Trayastrimsha heaven at Sankisa after preaching his mother, miracal performed at Shravasti, honey offering by a monkey at vaishali and subjugation of mad elephant Nalagiri before Buddha at Rajgir are four events depicted in the same stele.

Railings and pillars representing Shunga art of the first century B.C. decorated with various sacred symbols like Bodhi-tree, Dharmachakra, Triratna, Stupa and human, animal and fabulous figures are interesting.

Image of Shadakshri Lokeshvara with Shadakshri Mahavidya on left side and Manidhara on right side is displayed in the showcase. All the three deities are seated cross-legged and shown with folded hands. Apart from the above objects, heads of the images of Buddha and Tara are also displayed in the gallery.

Tathagata gallery displays images of Buddha, Vajrasattva, Bodhisattva Padmapani with stem of full bloomed lotus in hand, Neelkantha Lokeshvara with a cup of poison

in hands and Maitreya standing and holding a nectar case in left hand and rosary in right hand with a stupa in the headdress.

The most notable sculpture of the Sarnath School of Art in the museum is undoubtediy the image of preaching Buddha. The fingers of hands are hold near the chest in a special position known as Dharma-chakra-Pravartana ( Turning the wheel of Law) Mudra. This image is a remarkable example of the form of compassionate one in its spirituality and inner-bliss. The calm, relaxed and introspective face with the gentlest smile playing on the sensuous lips, drooping eyes, aquiline nose, gently curved eyebrows joined with each other, ear with distended lobes, rows of curls covering the head end sacred cranial protuberance (Ushnisha) that project from it. The halo is carved with a pair of celestial fighters and conventionalized floral scroll-work. The Dharmachakra occupies the central position of the pedestal on both side of which have been placed the figure of deer, denoting the place as Mrigdava (deerpark). The figures of five disciples to ehom Buddha preached first sermon are depicted alongwith a lady and child on the lower part of the image. The lady with a child provably donor of the sculpture. Image of seated and standing Buddha in different postures displayed in the gallery are also very remarkable.

On the southern side of main hall os Trimurti gallery. Pot ballied seated Yaksha figure exhibited here reminds us Pitalkhora (Maharastra) Yaksha of early lst Century B.C. Trimurti (Brahma, Vishnu and Mahesh) is also an impressive sculpture. Brahmanical deities such as Surya, Saraswati, Mahishmardini also find place in the showcase. Some secular objects like figures of birds, animals, male and female heads ranging from 3rd century B.C. to 12th century A.D. are displayed in a different showcases exhibits iron implements while stucco heads, terracotta's, baked decorative tiles. Pots and pottery attract from other showcase Benevolent and malevolent figures of Kirtimukha (face of victory) are utilized as doorkeepers for the Ashutosh (Shiva) gallery.

Ashutosh gallery exhibits Brahmanical deities like Shiva (in different forms), Vishnu, Ganesh, Kartikeya, Agni, Parvati, Navagrahas (Nine Planets) with Ganesh Laksmi and Saraswati. A panel depicting Navagrahas with Brahma, Vishnu and Mahesh is also remarkable.

Shiva as Bhairava (aggressive form of Shiva) is one of the finest Brahmanical images found at Sarnath.

A colossal Andhakasuravadha (killing of demon Andhaka) image of Shiva in his terrific form is an unfinished sculpture. It is a specimen of early medieval sculptutal art of Sarnath. Bearded ten armed standing Shiva is shown killing demon Andhaka with a trident.

Two verandahas, Vastumandana and Shilparatna exhibits mostly architectural members. A large lintel depecting story of Shantivadina Jataka is a beautiful piece of Art.

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SARNATH IN BENARES GAZETTEER 1922

Sarnath is situated some four miles north of Benares, not far from the high road to Ghazipur .. A more direct route, of which traces are still extant, seems formerly to have connected the city with Sarnath . Starting from the centre of Benares near the Pachganga-ghat, where Aurangzeb’s mosque forms’ a conspicuous landmark, this

road led due north past Lat Bhairon and crossed the Varna river at Purana Pul by a bridge, Some remains of which can still be seen a little distance above the viaduct of the mertre-gauge railway to Ghazipur. At the end of the eighteenth century a ruined Mughal bridge of three spans occupied the site. As the nearer abutment had been damaged by floods Mr. Jonathan Duncan, the then Resident of Benares had the bridge dismantled and used the stone for a new bridge over the same river near the present Bank of Bengal. Some further materials for Duncan’s bridge, as we shall see later on, were obtained from the ruthless spoliation of the ancient Sarnath building.

In the earliest period of which we have any record Sarnath was known as the "deer Park"(Mriga-Dava) or "Above of sages"(Rishipatana). It plays a prominent part in one of the Jataka or birth stories of the Buddha, the legend, as generally accepted, being as follows:--In one of his previous existences (Nigrodha-Miga-Jataka)the Buddha roamed the wood near Benares as the king of a heard of deer. The Raja of Banares, who was fond of sport, had slaughtered so many deer that the king of the deer demonstrated with him and offered to furnish him with one deer daily throughout the year if he would give up slaughtering them for sport. The Raja consented. After some time, when it came to the turn of a hind, big with young, to be presented to the Raja, she objected that, although if might be her turn to die, yet the turn of her little one could not yet have arrived. The king of the deer (that is, the future Buddha)was struck with compassion, and offered himself to the Raja in place of the bind. On hearing the story the Raja exclaimed:" I am but a deer in the form of a man, but you are a man in the form of a deer:" He at once gave up hiss claim to the daily gift, and made over the park for the perpetual use of the deer, on which account it was called the "Deer Park."

At the time of Buddha the Deer Park presumably was a favorite resort for those engaged in religious devotions. At least the story goes that Ajnata Kaundinya and the other four early attendants of the Buddha retired there for meditatioin after forsaking their master in Uravilva. However this may have been, the Deer Park early became celebrated among the followers of the Buddha; for it was here that the master first made known his doctrines to the world, and the spot where on he sat and preached has ever been revered as holy ground by the Buddhists.

Practically all that we know of Sarnath up to the fifth century of our era is derived from the monuments that have been unearthed there, and will be recounted below. From the fifth century on wards we possess much other information furnished by the in valuable accounts of Chinese pilgrims to India, Particularly by those of Fa-Hien and Hiuen Thsang, the former of whom visited the site in the beginning of the fifth century, the later between the year 629 and 645 A.D. Fa-Hien’s chronicle is very concise. "Rather more," He says, "than ten li to the north-east of the city, he found the vihara in the park of the ‘Rishi’s Deer-wild.’ In this park there formerly resided the Pratyeka Buddha, with whom the deer were regularly in the habit of stopping for the night. When The world-honored one was about to attain to perfect Wisdom, the divas sang in the sky ‘The son of king Suddhodana, having quitted his family and studied the Path (of Wisdom) will now in seven days become Buddha. The Pratyeka Buddha heard their words, and immediately attained to Nirvana; and hence this place was named ‘The Park of the Rishi’s Deer-wild.’ After the world-honored one had attained to perfect Wisdom, men built the vihara in it." Fa-Hien tells us, further, of Buddha’s meeting with Kaundinya and his four companions in the Park, and speaks of four topes which he saw—one to mark the spot where the five companions rose to salute the Buddha; a second where the master "turned the wheel of the Law …" a third where he delivered his prophecy concerning Maitreya; and a fourth where a certain naga, named Elapattra, questioned him. Fa-Hien also mentions two monasteries as existing in the Deer Park.. Hiuen Thsang’s description is much fuller than his predecessor’s and no doubt, in his day the buildings in the Deer Park were far more numerous and splendid, and the number of bhikshus far greater than when Fa-Hien visited it. We shall have to refer so frequently in the following pages to Hiuen Thsang, that it will be as wel at the outset to quote his description at some length."To the north-east" he says, "of the river Varana, about ten li or so, we came to the

sangharama of Lu-ye (stag Desert). Its precincts are ivied into eight portions(sections) connected by a surrounding wall. The storeyed towers with projecting eaves and the balconies are of very superior work. There are fifteen hundred priests in this convent who study the little vehicle according to the sammatiya school. In the great enclosure is a Vihara about 200 feet high; above the roof is a golden covered figure of the Amra (An-mo-lo) or mango fruit. The foundations of the building are of stone, and the stairs also: but the towers and niches are of brick. The niches are arranged on the four sides in a hundred successive lines, and in each niche is a golden figure of Buddha. In the middle of the Vicar is a figure of Buddha made of teou-shin (native copper). It is the size of life, and he is represented as turning the wheel of the law (preaching). To the south west of the vihara is a stone stupa buillt by Asoka-raja. Although the foundations have given way, there are still 100 feet or more of the wall remaining. In front of the building is a stone pillar about 70 feet high. The stone is altogether as bright as jade. It is glistening and sparkles like light; and all those who pray fervently before it see from time to time, according to their petitions, figures with good or bad signs. It was here that Tathagata (ju-lai), having arrived at enlightenment , began to turn the wheel of the law (to preach)."

After mentioning a multitude of other stupas and memorials Hiuen Thsang speaks of three lakes to the west and north of the monastery, and of a number of other monuments outside it, and then proceeds to describe the most magnificent stupa of all, 2or 3 li to the south-west of the sangharama. This stup was about 300 feet high. "The foundations," he states, "are broad and the building high, and adorned with all sorts of carved work and with precious stages (to this building) with niches and although there is a standing pole erected above the cupola (fau-poh), yet it has no encircling bells.

For how long after Hiuen Thsang’s visit Sarnath continued to flourish is not definitely known, but the evidence of monuments and inscriptions proves that it was still thriving at least in the twelfth century A. D. and it is probable that it owed its downfall to the iconoclastic Moslems under Qutb-ud-din Aibak, who devastated Benares in 1194 A.D.; for the condition of the excavated ruins proves that a violent catastrophe, accompanied by willful destruction and plunder, overtook the place. Certain it is that after the overthrow of Buddhism in India Sarnath was completely deserted and all its buildings, with the exception of one magnificent stupa, became buried in the heaps of their own accumulated debris. Indeed, so completely leveled did the site become that is was only a fortuitous discovery at the close of the 18th century that drew the attention of archaeologists to it and subsequently led to its exploration. But before proceeding to narrate the history of this exploration, it will be conferment to describe in detail the stupa already referred to.

Locally known as the Dhamekh tower, this stupa is situated a little to the north-east of the modern Jain temple. It consists of a stone basement, 93 feet in diameter and solidly built, the stones being clamped together with iron, to the height of 43 feet Above that it is in brickwork rising to a height of 104 feet above the terrace of the temple, and 143 feet including its foundation. Externally the lower part is relieved by eight projecting faces, each 21 feet 6 inches wide and 15 feet apart. In each is a small niche, intended, apparently, to contain an image, and below them, encircling the monument, is a band of sculptured ornament of the most exquisite beauty. The central part of this band consists of geometric patterns of great intricacy, but combined with singular skill, while above and below are rich floralarabesques, the whole being peculiarly characteristic of the art of the imperial Guptas. The carvings round the niches end in the projections have been left unfinished, and judging by the absence of any fragments, either in stone or brick or plaster around the stup, it seems not improbable that the upper part of the tower was never completed.

In his examination of this tower General Cunningham found, buried in the brickwork, an inscribed stone with the Buddhist formula "Ya dharmma hetupra-bhava, etc. said to be in characters of the seventh century : and there can be little doubt that this

record is contemporary with the last with the last rebuilding of the stupa. It is noteworthy also that General Cunningham found that at a depth of 110 feet from the top the stonework gave place to brickwork made of very large bricks, such as are commonly employed in the earliest class of structures in India, and there is every reason to believe that this lowest stratum of brickwork, represents the first stupa on this spot which was afterwards builds over and enlarged to the dimensions which we now see. To return, however, to the discovery referred to above. In 1794 some workmen of Jagat Singh, the Diwan of Raja Chet Singh of Benares, were digging for bricks on the site of Sarnath when they accidentally struck upon the treasure chamber of large brick stupa with a heavy stone box inside, which they proceeded to rifle of its contents. green marble casket with a few charred bones, pearls, rubies and gold leaves found its way into the hands of Mr. Jonathan Duncan. The inner marble casket has disappeared, but the outer stone box was left in its original position, where it was rediscovered by Sir Alexander Cunningham in 1835. He sent it to the Bengal Asiatic Society, and it is now in the Indian Museum at Calcutta. A Buddha image which was discovered on the same occasion but not apparently in the relic chamber, was recovered, in 1849, by Major Kit toe,. Only the broken base of it is left, but fortunately the inscription, which is very important, is still legible. This fragment and several other sculptures originally collected by Major Kit toe at the Queen's college, in Benaras ,have now found their way to the Lucknow Provincial Museum.

The monument where these discoveries were made has since been known at the Jagat Singh stupa, and the this title we may still continue to designate it. It is nothing more than a more shell, all the core having been removed. This shell consists of concentric rings of brickwork laid in clay and faced with plaster, which mark the successive periods at which the stupa was enlarged. The innermost existing ring has a diameter of 44’3" , but it is impossible to say whether or not there were other and smaller rings inside it, or whether the whole of the core that has been demolished represented the original stupa. It is noticeable that the outer terrace, surrounding each successive ring, is higher than that of the preceding one. This fact is easily accounted for when one remembers that in process of time, as ring after ring was added to the stupa, the ground around rose and the floors of the later structures would thus be considerably above the original floor level.

Following on the discovery of the Jagat Singh stupa Sarnath became a favorite hunting-ground for treasure-seekers, and cartloads of images and terra-cottas are said to have been carried away. The first excavations, however, of which we have any record were those carried out by Colonel C. Mackenzie in 1815. The next explorer on the scene was General Cunningham, who, in 1835-36, unearthed a monastery and shrine of a late period on the high ground rather less than a hundred yards north-east of the Jagat Singh stupa, and a few feet, north of the latter a large collection of statues and bas-reliefs, which he presented to the Asiatic Society of Bengal. Twelve years later the work of exploration was taken up by Major M. Kit toe, who was than holding the position of "Archaeological Enquirer" to Government. Major Kit toe exposed the foundations of numerous stupas and shrines around the Dhamekh tower, besides a building to the west of the tower, which he called hospital, but which was no doubt a monastery, and a second monastery west of the Jain temple. Unfortunately for archaeology Major Kit toe died before publishing an account of his discoveries, and all his notes and memoranda have been lost though a large volume of his drawings is still extant in the India office library. Muchof the stonework excavated by Major Kit toe was used by him in the erection of the Queen’s College at Benares, but all the more important sculptures and carvings were collected together at the college, whence they were afterwards transferred to the Lucknow provincial Museum or returned to Sarnath. Major Kittoe’s excavations of the monastery west of the Jain temple were resumed in 1853 by Mr. E. Thomas, and afterwards by Dr. F.Hall of Queen’s College, who collected numerous sculptures and small objects, a number of which are to be found at the Sarnath museum. Dr. Butter obtained permission to continue Dr. hall’s work, but, if he did so, no account of his operations survives. About 1865 Mr.C.Horne did some vicarious dogging at Sarnath and send his finds to the Indian Museum, Calcutta. Lastly, we hear of Mr. Rivett Carnao digging up a

Buddha image at Sarnath in 1877, but what became of it is not known.

TOP

RAMNAGAR

14 km. from Varanasi , on the opposite bank of river Ganga Ramnagar lies. The fort at Ramnagar houses a museum displaying the Royal collection which includes vintage Cars, Royal palkies, an armoury of swords and old guns, ivory work and antique clocks. The Durga Temple and Chhinnamastika Temple are also Located at Ramnagar. The VedVyasa temple is also there inside the premises of Ramnagar fort , and a temple of DakshinMukhi Hanuman is there.  Ramnagar is also famous for the RAMLILA , which  is performed every year during the month of October.

 

THE KASHI VISHWANATH TEMPLE     *   ANNAPURNA TEMPLE     *   SANKATHA TEMPLE     *   KALBHAIRAV TEMPLE     *   MRITUNJAY MAHADEV TEMPLE        *   NEW VISHWANATH TEMPLE     *   DURGA TEMPLE     *   TULSI MANAS TEMPLE     *   SANKATMOCHAN TEMPLE     *   BHARAT MATA TEMPLE

 

THE KASHI VISHWANATH TEMPLE Also known as the Golden Temple, it is dedicated to Lord shiva, the

presiding deity of the city. Varanasi is Said to be the point at which the first jyotirlinga, the fiery pillar of light by which shiva manifested

has supremacy over others gods, broke through the Earth’s crust and flared towards the heavens. More than the Gaths and even the Ganga, the Shivalinga installed in the temple remains the devotional focus of Varanasi.

 

ANNAPURNA TEMPLE Near the Kashi Vishwanath temple, there is a nice temple of Devi Annapurna ,

believed as  the "Godess of Fooding".                                            

                                                                                                              

SANKATHA TEMPLE Near the Sindhia Ghat , there is a important temple of "Godess of Remedy"  Devi

Sankatha. Inside its premises there is a huge statue of a Lion. Also there is nine temples of nine planets nearby to this temple.

 

KALBHAIRAV TEMPLE It is the ancient temple of Varanasi near the Head Post Office, VishesharGanj. God

KalBhairav is believed as "Kotwal Of Varanasi" , without his permission no one can stay in Kashi.

                                                                                                                       

MRITUNJAY MAHADEV TEMPLE On the route of Daranagar to Kalbhairav temple this

temple of Lord Shiva is  situated .  Just besides this temple there is a Well of much religious importance , whose water is said to be mixture of several underground streams  and good for eliminating several diseases.

NEW VISHWANATH TEMPLE

Situated in the premises of Banaras Hindu University, a modern place of worship planned by Pandit Malviya and built by the Birlas. Open to all, irrespective of caste or creed.

 

 

 

DURGA TEMPLE Commonly called the ‘Monkey temple’, it was built in the 18 th century. Although it is

one of the best-known temple. There is nice stonework done of the temple , it is the nice example of NAGRA Shilp.  Godess DURGA is believed as the symbol of Strength and Power which govern the entire world.  There is a pond adjacent to the temple called "Durgakund".

                                                                                                        

TULSI MANAS TEMPLE Constructed by family of Varanasi, this modern temple is dedicated to Lord Rama. It

is situated at the place Where Tulisdas, the great medieval seer, lived and wrote the epic "Shri Ramcharitmanas", which narrates the life of Lord Rama, the hero of the Ramayana. Verses from Tulidas’s epic are inscribed on the walls. It is just nearby to Durga Temple.

 

SANKATMOCHAN TEMPLE Besides the Assi river stream, on the way of Durga Temple to Banaras Hindu Temple

this well known temple of Lord Hanuman is situated. Lord Hanuman is also known as "Sankatmochan" the god who protects from the troubles. This temple is founded by Goswami Tulsidas. This temple is also known as "Monkey" temple, as lot of monkeys are there inside the premises.

 

BHARAT MATA TEMPLE This Temple was inaugurated by Mahatma Gandhi in 1936 and houses one perfect

relief maps of India carved out of marble.The Temple was gifted by the nationalists Babu Shiv Prasad Gupta (Barat Ratana ) and shri Durga Prasad Khatri, leading numismatists and antiquarians.

                                                                                                                    

1. ASSI GHAT

Assi Ghat an important ghat of Varanasi traditionally constitutes the southern end of conventional city. Numerous References about this ghat are found in early literature Particulalry in matsypurana, again purana, kurma purana, padma purana and kashi khanda. According to a belief goddess Durga after slaining demon Shumbha- Nishumbha had thrown her sword. The place, where sword (Khadga) had fallen resulted in flowing of big stream known as asi river. The on confuewce place of river Ganga and Asi known as Asi or Assi ghat. In Kashi Khand it is referred as Asi "Saimbeda Tirtha" one gets punaya of all the Tirthas ( religious places) by taking a dip here. Infact this ghats was extended from Assi to Bhaidaini ghata ealier . In Gaharwal Danpatra(11th 12th cent.) reference of Lolark ghat is given As famous Aditya Pitha (place of sun worksing).During 16th , 17th Cent. .A.D.Sant Tulasi Das has written Ramcharitmanas here, After 19th Cent.A.D.Asi Ghat was divided in five Ghats i.e.Asi, Gangamahal (First) Rewan, Tulasi and Bhadaini. Followers of Hindu relegions , take sacred dip here, particularly in Chaitya (March/ April) and Magh (Jan/Feb.). Other important occasion are soler/ lumar eclipse, Ganga Dashahra. Probodhoni Ekadashi, Makar Shankranti, etc.

 

2. GANGA MAHAL GHAT(I):

Ganga Mahal Ghat is named after a palation building of ex. Maharaja of Banaras to wards the northern end of Asi ghat. Infact Ghat has a little cultural significance except the Beautiful carvings depiction the Rajput and local architectural grandeur of 16th cent. A.D. However the palace was built in the first half of 20th cent. A.D.

3. REWAN GHAT:

Rewan Ghat is an extended part of Assi Ghat and its building was constructed by Lala Mishir, royal purohit of King Ranjit Singh of Punjab. It was know as Lala Mishir Ghat. But in 1879 it was purchased by Maharaja Rewan. To save from Currents of Ganga, Ghat has pucca stairs and both the corners of stairs have ‘Ast pahal’ (a type of construction). In the later half of 20th cent. Maharaja Rewan had donated . This building to Banaras Hindu University. There is very little signifcance of cultural and social activity here.

4. TULSI GHAT:

It is named affter the great poet Tulsi (1547-1622 A.D.) who wrote Ramcharitmanas. Earlier it was know as Lolark ghat as evident in Gaharwa Danpatra and Girvanapadamanjari (17cent.A.D.). Letter in 1941 Baldeo Das Birala Made this Ghat pucca. This Ghat is associated With a number of important activities such as bath of Lolarkkunda (to get sons and their long life), bath to get rid of leprosy, During Hindu lunar month of Kartika(Oct./Nov.) Krishna lila is also performed here with great conventional Rites, Music concerts, Wrestling, and spiritual discourses are regular features here.

5. BHADAINI GHAT:

The earliest reference of this Ghat is given by Greves(1909). It has a huge pumping set of waterworks which supply water to whole city. This ghat has standing wall constructed by brick and stone. Bathing or religious activities are not performed here.

 

6. JANAKI GHAT:

In 1870 A.D. Maharani Kunwar of Sursand(Bihar) made this Ghat. Earlier it was know as "Nagamber ghat". After picca Constructions it is know as Janaki ghat. It has a little Religious important but people bath since it is safe and Clean.

7. MATA ANANDAMI GHAT:

Earlier it was know as ‘lmalia Ghat’ in 1944 Mata Anandamai purchased this area from British. She made this ghat pucca in addition to run a Ashrama. This Ashrama is involved in performing a number of religious activities here.

 

8. VACCHARAJA GHAT :

It is made pucca by a ‘merchant named Vaccharaja during later half of 18th cent. It is believed that seventh Jain Firthankar of Suparshvanatha was born nearby. At present most of Jain families live here. Upgoing stairs from Ganga river bank to street have three niches consist of Siva, Ganesh and beautiful ganga image riding on her vehicle crocodile. Occasional cultural programmes, bhajan and kirtans are organised here. It is a comfortable ghat for local people to take bath and do exercise.

9. JAIN GHAT:

Before 1931 Jain ghat was the part of Vaccharaja ghat. Later Jain community made a pucca ghat and named it as Jain ghat. On the southern end Jain communities take bath and perform their regular activities, but on the northern end Mallaha (boatman) families are living giving it a different look.

 

10. NISHAD GHAT:

Earlier it was a part of Prabhu Ghat till first half 20th cent. Now a large number of boatmen with their small boat & nets can be seen hear. Ghat has one Nishad raj Temple which in fact was constructed by boatmen families only a few year back.

11. PRABHU GHAT:

This Ghat was made in the early part of 20th cent by Nirmal Kumar of Bangal. Most of boatmen families are living here. Normally washermen washes clothes here. Ghat has very little social cultural significance.

12. PANCHKOTA GHAT:

On the northern end of Prabhu ghat a palatial building and a ghat was constructed by King of Panchakola (Bengal) in the later half of 19th cent. A.D. A series of thin stairs from ghat lead to palatial building where two temples are situated. Ghat is pucca but the place is of lesser importance.

13.CHETA SINGH GHAT:

It is a historical fortified ghat. The place has witnessed a fierce battle between the troops of Warren Hastings and Chet Singh in 1781. A.d/ The fort and ghat has been taken from British by Maharaja Prabhu Narayan Singh in the later half of 19th cent.

Originally this Ghat was know at ‘Khirki Ghat; Now it has four parts known as Cheta Singh, Niranjani, Nirrvani and Shivala.

Ghat has three Shiva Temple belonging to 18th cent. Till first half 20th cent. It was culturally quit important. The famous Budhwa Mangal festival which was celebrated for seven days had been organised here. Due to sharp current of Ganga people avoid bathing here. This Ghat has been rejuvenated by state govt. in 1958.

14. NIRANJANI GHAT:

This Ghat belongs Naga Saints who established ‘Niranjani Akhara’ in 1897. Originally it was a part of Cheta Singh Ghat. Now there are four temples consisting of paduka (footprints) of Niranjani Maharaj Durga Gauri Shankar and ganga images. The people do not take bath here owing to lesser religions importance. The ghatabhere rejoined in 1948 by state Govt.

15.MAHANIRVANI GHAT:

It is situated on north end of Nirvani Ghat. It is named after Mahanirvani sect of Naga Saints . the famous Akhara is situated here. It has four small Shiva Temple made by Nepal’s Maharaja. It is legendary that Acharya Kapil Muni of Sankhya philosophy fame lived here during 7th cent.A.D. Near Mahanirvani Akhara Mother Teresa’s Home is situated.

16.SHIVALA GHAT:

It has been important ghat in early times. In mid nineteenth cent. It was separated into some small Ghat. At present one witnesses a colossal building constructed by Nepal King Sanjay Vikram Shah (19th cent ,A Shiva Temple and one Brahmendra Math established by Kashiraj. There is no significant cultural activities here. Only some of pilgrims and local inhabitants take bath.

17. GULARIA GHAT

This Ghat was named after a huge Gular tree which is not here at present. It was constructed Pucca by Laloo Ji Agrawal. This Ghat has a very little significance Debries of old houses are scattered On top of stairs.

18. DANDI GHAT

It is referred by Sherring (1968). It was made pucca by Lalooji Agrawal. This ghat is predominated by the Dandi ascetics carrying stick in their hand. This ghat is quit clean and worth taking bath.

19. HANUMAN GHAT

It is believed that grat saint Tulsidas has established a Hanuman Temple here during 18th cent. A.D. which made is famous as Hanuman ghat. The ancient name of this ghata was Ramesvaram ghat which was established by lord Ram himself. At present it is inside boundary of Juna Akhara. Many vairagi ascetics live in the temples. The neighborhood is dominated by south indian residents.

20. PRACHINA (OLD) HANUMANANA GHAT:

Both of the above (nos.19,20) ghat are made pucca y mahant Hariharanath in c.1825. This Ghat had affinity with a great bhakti saint Valabha (C.E.1479-1531), who laid the philosophical Foundations for a great resurgence of Krishna bhakti (Eck 1882: 223). His birth day is celebrated Here on 11th dark-half of aisakha (April-May). The temple of

Rama consists of five Siva Lingams named after Rama ( Ramesvara), his two brothers (Laksmansevara and Bharatsvarar), His wife (Sitesvara) and his monkey- servant (Hanumadisvara).

21. KARNATAKA GHAT:

This ghat was build by the state of Mysore (now know as Karnataka) in early twentieth century (c.1910). There lies a site are shrine. There also is a shrine of Ruru (" the Dog") Bhairava, one of the 8th Bhairavas protecting the city from 8th directions .

22. HARISH CHANDRA GHAT:

This ghat is name after a mythological King Harish Chandra, who once worked the cremation ground here for the preservance of truth and charity but at the end the Gods rewarded him and restored his lost thorn and his dead son to him. This is one of the two cremation ghat, and some times referred as Adi Manikarnika (" the original creation ground", cf.KKm 2.225-26), still there exists Adi Manikarnika Tirtha. In 1986-87 an electric crematorium is opened here, how ever side – by – side funeral of wood – fire is continuing . This also the seat of old Harampapa water – tirtha. At the top in the temples there are images of Harischandrsvara, Rohitesvara, Adi Manikarnikesvara & Vrddha Kedara. In c. 1740 Narayana Diksit, a religious guru of pesavas renovated this ghat and made this partly pucca.

23. LALI GHAT:

In c. 1778 this ghat was built pucca by Raja of Banaras. At the upper side there are temple of Lambodara Cintamani and Jyestha Vinaykas, Kiratesvara, Jayanta Siva Lingam and Maha Laksmi. The vicinity is dominated by washermen.

24. VIJAYANAGARAM GHAT:

This was made pucca in c. 1890 by the Vijayanagaram State of South India. At the top of it is Svami Karapatri Asrama. Close by to this building are the shrines of Nilakantha (1) and Nispapesvara.

 

25.KEDAR GHAT :   

This ghat is meticulously eulogized in the KKh ( 77.8-10,47-54:also KKm). This is the site of Haramapapa Tirtha.  At the top exists the temple of Kedaresvara, the patron

deity of the southern sacred segment.                                  The attached shrines and sacred sites are: Tarakesvara, Gauri Kunda and Vitanka Nrsimha. In late Sixteenth century Kumarasvami, a devotee of Dattatreya made a monastery attached to the Kedaresvara, temple. According to a

Gahadavala inscription ( c.C.E.1100). Svapnesvara Ghat wad existing close by  this ghat, but now it has no representation.

26. CAOWKI GHAT :

This ghat is famous for the huge pipala (Ficus religiosa) tree at the top of the Steps which shelters a great array of stone figures of snakes, nagas. Havell (1905 : 118-119) described this Ghat: "under a fine old pipala-tree, there is a small shrine and a great number of old carved stones, some of Snakes, twined together like Mercuty’s caduceus, with some fine figure sculptures let into the upright face of the platform which surrounds the tree are probably reclis of the early Buddhist period". Closeby to this tree is the shrine of Rukmangesvara, and at some distance lies Naga Kupa ("Snake Well"). On the occasion of festival honouring snake, Naga Pancami, falling on the 5th light helf of Sravana (July –August), these shrines are especially worshipped. This ghat was built in c. 1790.

27. KSEMESVARA / SOMESVARA GHAT :

Its old name was Nala Ghat, and was built in early eighteenth century. The followers of Kumarasvami made a monastery in 1962 at the upper – side of the steps. The shrines of Kesemesvara and Ksemaka Gana are at the top portion of the steps. The neighborhood is dominated by Bengali residents.

28. MANASAROVARA GHAT :

At the top of this ghat there is a secred pond, in replicated from representing the famous sacred lake of the same name lying in Tibet. This ghat was built by Raja Mana Singh of Jaipur in c. 1585, and was rebuilt in c. 1805. The shrines of Rama, Laksamana, and Dattatreya are in the vicinity.

29. NARADA GHAT :

The old name of this ghat is Kuvai Ghat. This was constructed by Dattatreya Svami, a monastery chief, in c. 1788. The four important images in the upper- side are Naradesvara, Atrisvara, Vasukisvara and Dattatreyesvara.

30. RAJA GHAT :

Formerly known as Amrita Rao Ghat, this was firstly made by the first Maratha chief Gajirao Balaji in c.1720. This was rebuilt with stone slabs by Amrita Rao Pesac\va during 1780 – 1807. At the top of lofty stone steps he established four temples of Amritesvara, Vinayakesvara, Nayanesvara and Gangesvara and four auxiliary shrines, and also renovated the Prabhasa Tritha in 1780.

31. KHORI GHAT:

Also known as Ganga Mahala Ghat, this was made pucca in late nineteenth century by Kavindra Narayana Singh. At the top a compound of five temples presents a magnificent view.

32. PANDEY GHAT:

In c. 1805 this ghat was built in honour of a famous wrestler who established a wresting site (Akhara) there: his name was Babua Pande. The shrine of Somesvara exists closeby to it. In its vicinity lies the old site of Prabhasa Tirtha, but presently it is spatially transposed at Raja Ghat.

33. SARVESVARA GHAT :

Of course, this site had reference in a very early seventeenth century digest, however the overall ghat was erected under the patronage of Mathura Pandey in late eighteenth century. The Ganga Kesava

Tirtha and Servesvara image are near the Ghat.

34 DIGPATIA GHAT :

This was erected in c.1830 Raja of Digpatia (Bengal). The beautiful building along the ghat now known as "Kashi Ashram".

35. CAUSATTHI GHAT :

This ghat is described in the KKh (61.176-177) with respect to yogini Tirtha and Agatsya Tirtha. The number 64 (Causatha) is attributed to directional symbolism and also association between mother-goddesses and their assistant- goddesses, of course there are other interpretations too. This ghat had privilege to provide shelter to a great Sanskrit scholar, Madhusudana Sarsvati (c.e.1540-1623). Above the ghat there is temple of causatthi Devi, but only 60 images of yogonis are there, the rest four are at different places. In c. 1670 King of Udaipur (Rajasthan) renovated this ghat, and jater it became pucca On 12th dark-half of caitra (March-April) many pilgrims pay visit to the yogini temple and take ritual bath at this ghat.

Another important occasion of attraction is the evening on the day of Holi-a colourful festival showing start of Caitra-1, when homage ritual is performed at the ghat.

36. RANA MAHALA GHAT :

In fact, this is a extended part of the preceding ghat, and also made by king of Udaipur in c.1670. At the top there is shrine of Vakratunda Vinayaka, one among the fifty-six.

37. DARABHANGA GHAT :

Together with magnifivent building along the ghat and a grand Siva temple in Nilakantha area, the king of Darabhanga (Bihar) made them in 1915. The building along the ghat shows a massive Greek pillars style. The shrine of Kukutesvara lies at the top.

38. MUNSI GHAT :

The ghat was built by Sridhara Narayana Munsi a finance minister in the State of Darabhanga, in 1912 as an extended pare of Darabhanga Ghat. After his death in 1924 this portion ghat named in his honour.

39. AHILYABAI GHAT :

At the place of an old site of Kevelyagiri Ghat, in c. 1778 queen Ahilyabai Holkar of Indore made this a pucca ghat. For the first time name of a person was added after the ghat. She was also responsible for re-building the Visvesvara temle, as exists at present, in 1777.

40. SITALA GHAT :

In c. 1740 pt. Narayana Diksit the preceptor of Bajirao Pesava-1, made this ghat pucca. In fact, this is the southern extension of Dasasvamedha Ghat, where exists Dasasvamedha Tirtha and images of Dasasvamedhesvara and Dasaharesvara. After the famous sitala temple there, this ghat is called after. On the 8th light- half of lunar months of Caitra, Vaisakha Jyestha and Asadha (march – July ) and Asvina (Sept –Oct.

) people celebrate the festival of Sitala Asthami ("8th day" ). The same fastivities also occur at (adi) Sitla Ghat in the north. Another important occasion at this Ghat is the special worship after the newly marriage, the couples and close family members come here for the Ganga worship ritual followed by rituals in the Sitala temple.

. DASASVAMEDHA GHAT

This is the most busiest and the ancient most referred ghat. According to the myth related to Divodasa, Lord Brahma (" the creator" in the Hind trinity gods) performed the ten-horses sacrifice (dasa-asvamedha) at this site. The historical sources infer that at this site the revivalist Hindu dynasty of the second century, the Bhara Siva Nagas had performed ten-horses sacrifice. The KKh (52.1-10:61.38) records many verses describing glory of this ghat. The temple of Sulatankesvara, Brahmesvara, Varahesvara, Abhaya Vinayaka, the Ganga ("goddess"), and Bandi Devi are closeby at the top of the ghat. These shrines are linked to several important pilgrimage journeys.

The southern part of the ghat was made pucca in 1740 by Bajirao Pesava-1, and late in c.1774 by Ahilyabai Holkar of lndore.

42. PRAYAGA GHAT :

This ghat (old Prayaga Tirtha) together with shrine of Prayagagesvara replicates the existence of Prayaga/ Allahabad in Varanasi. Prayaga, known as "Tirtharaja" (king of Tirthas), lies at the confluence of the Ganga, the Yamuna and the invisible Sarasvati rivers. It is commonly believed that doing rituals and taking sacred bath here provide exactly the same religious merit as those at Prayaga (80 km away in the west). The merit of this ares is eulogized in the KKh (61.36-38). About the present condition, Eck (1982.228) remarks that "Today, however, the name Prayaga Ghat, while it is painted boldly on temple that sits between the two branches of Dasasvamedha, is not commonly used. And even the temple there is utterly defunct, used only by boatmen who store their gear in its sanctum". The temple and the ghat-area were reconstructed by queen of Digpatia state (West Bengal). For the whole month of Magha (Jan-Feb.) devotees, mostly, use to take bath at this site.

43. RAJENDRA PRASASA GHAT :

In 1979 in memory and honour of the first president of India (1950-1962). Rajendra Prasad (1884-1963) this ghat was renamed, and made pucca by the Municipal Corporation of Varanasi.

In fact, this ghat was northern extension of Dasasvamedha Ghat. And until late nineteenth century a stone statue of horse was at the ghat witnessing the "ten-horses sacrifices" performed by Bhara Siva Nagas in second century, that is how the old name "Ghoda Ghat" ("Horse Ghat"). It is believed that same horse image is shifted to Sankatmochana temple. The myth refers that servants of Bhara Siva Nagas taken bath here.

44. MANA MANDIRA GHAT :

The old name of this ghat was Somesvara, but in c.e. 1585 when Raja Savai Mana Singh (of Amber) made his palace and ghat this is named after him. This ghat is "known primarily for the magnificent building with exquisite, ornately carved window

carvings" (Eck 1982:228). On the top of the floor is a Hindu Observatory built by Savi Ji Singh-11 (1686-1743: the other places where he established such observatories are Jaipur, Delhi, Mathura and Ujjain. Under the direction of this astrologer-minister, Jagannatha, the king built this observation during the period of 1710-1737. There are four main astronomical instruments and renovation were made in 1850s and again in 1912 under the patronage of the King of jaipur.

The closeby shrines at the top of the ghat are Somesvara, Dalabhesvara, Remesvara and Sthuladanta Vinayaka. In the river lies the Prabhasa Tirtha. On the occasion of Holi the festival of colour, falling on the last day of Phalguna (Feb.-Narch), people perform celebration at the Dalabhesvara shrine.

45. TRIPURA BHAIRAVI GHAT :

This ghat is named after the Tripura Bhairavi Shrine, a female partner of Tripuresvara whose image also exists there. Another important shrine is of Varahi, one of the nine mother-goddesses. In late eighteenth century king of Banaras and pt. Mayananda Giri had patronize to make this ghat pucca.

46. MIRA GHAT :

This ghat represents two old sites of Jarasandhesvara and Vrdhaditya, which were converted by Mira Rustam Ali in 1735. Presently, in the name of these two shrines pilgrims throw flowers and raw-rice in the Ganga and remember them. The shrines and images in the vicinity are Vrdhaditya, Asa Vinayaka, Yajna Varahaand Visalaksi("The Wide-Eyed ", one of the 52 Sakti-pithas of goddesses.) another important site is Dharmakupa consisting of a sacred well surrounded by five temple, and also Divodasesvara lingam. The temple of Dharmesa is associated to the myth of Yama's (Lord of Death) power over the fate of the dead everywhere on the earth, except in Kashi.

With the notion that due to entrance of low castes ("untouchables") the temple of Visvesvara/ Visvanatha became impure, Svami Karapatri-Ji, a very conservative Brahmin and a cult-chief, has established a " New Visva’natha Temple" in 1956 at top of the ghat. On the steps, under a pipala tree, the water- pouring ritual in honour of ancestors in performed.

47. PHUTA/ NAYA GHAT :

This was and old site of Yajnesvara Ghat and was made pucca by Svami Mahesvarananda in mid nineteenth century. In the closeby stream lies the Visala Gaja Tittha.

48. NEPALI GHAT :

Havell 1905:130) described this ghat: "where, recessed in the stone embankment, and completely covered by the river in the rainy season, is a pretty little shrine of Ganga, the Ganges, represented as a female figure seated on crocodile. Above it a stair- case leads to the Nepalese temple, a very picturesque building, half-hidden by magnificent tamarind and pippal trees. It is built chiefly of wood and brick; the double-storied roof, with great projecting eaves supported by brackets, is characteristic of the architecture of Nepal and of other sub-Himalayan districts".

The great is patronized by a Nepalese, and was built pucca in c.1902 by Nanhi Babu. The area is dominated by Nepalese residents (Nepali Khapra).

49 LALITA GHAT :

This ghat is named after the famous goddess Lalita in Kasi and also in Prayaga. The well known lingam of Ganga Kesava and shrines of Gangatitya, Kasi Devi, Lalita Devi

and Ghagirath Tirtha are affiliated to this site. People believe that a glimpse of Lalita Devi brings the same revard as circumambulating the entire world.

At the top of the ghat, close to the Nepali Ghat, as described earlier, lies the Nepali Temple built in c. 1841 under the patronage of king of Nepal and assumed that the lingam there replicates the famous Pasupatisvara at Kathmandu. The temple has some wooden carving of the erotic scenes, and all the four gateways and doors are fully decorated with geomagnetic architectural frame.

50. BAULI/ UMARAOGIRI/ AMROHA GHAT :

The old name of this ghat was Raja Rajesvari Ghat and was made in early nineteenth century by a rich merchant, Babu Kesava Deva. In the nearby stream lies the Bramhanala tirtha.

51. JALASAYI GHAT

Somehow in diverted from this ghat is also called as Jalasen Ghat. In fact and the followed one both are part of the cremation ghat. The name it self indicates "putting dead body into water" as part of ritual before putting the corpse on the funeral pyre. In the mid- nineteenth century the nearby building and the ghat were built.

52. KHIRKI GAHT :

The name of the ghat literally means "the windows" (Khirki) from where attendants can watch the cremation. Close to in 1940 Baldeo Dasa Birla has built a pilgrims rest house. Under a deserted pipal tree there are five Sati shrines.

Presently both of the above ghats are defuntional and present a view of nuisancesmoke-scape and deathscape!

53. MANIKARNIKA GHAT :

Two ancient sacred waterfront sites make this ghat, viz Sidha Vinayaka and Swargadvaresvara. Among the is popularly called as " the great cremation ground" (Mahasmasana). A myth mentions that Lord Siva gives Taraka mantra ( "Prayer of the crossing") in the ear of the dead, therefore the form of Siva as Tarakesvara, (the temple is at the ghat), is propitiated whenever a Hindu dies. The name Manikarnika derives its origin from the dropping rings of Siva dyring His transcendental dance here. The historical sources mention this site in the Gupta inscriptions of C.E.4th century. This is the first ghat made pucca by the two king brothers in C.E.1302; and was rebuilt and repaired in 1730 under the patronage of Bajirao Pesava, and in 1791 Ahilyabai Holkar rebuilt the entire ghat. Again in 1872 repairing and renovations were done.

In the vicinity are shrines of Manikarnikesvara (a little far in the upper side of the lane), Mahesvara (open air lingam at the ghat) and Siddha and Manikarna Vinayakas. The temple of Manikarnikesvara is the approachable from the ghat by taking a steepy ascending lane south of the Kunda. "The lingam of this temple-set dramatically underground at the bottom of a deep shaft – could at one time be reached by a tunnel originating on the ghat".

There also exists a sacred pond, Cakra- Puskarini Kunda ("Discus Lotus- Pool") and Visnu’s feet impression Carana Paduka. According to puranic myth long before the Ganga arrived at the heels of Bhagiratha, the Cakra-Puskarini Kunda was present. Says the KKh(60.137-138) . For the benefit of the three world king Bhagiratha brought the Ganga to the place where Manikarnika is –to Shiva’s Forest of Bliss ("Annandavana"), to Visnu’s Lotus Pool (Chakra-Puskarni Kunda). Presently the Kunda surrounded by a cast-iron railing , is some (60 ft) at the top, narrowing to about (20ft) it) at the water’s edge (Eck 1982: 239). Visnu and Laksmi images are located in the small shrine inside the Kunda on the western wall; while a series of dozen small niches containing Siva lingams also exit there. Along the sacred route, on the ghat itself, are the symbolically

footprints of Visnu (Carana Paduka), set in a circular marble slab. For 7,000 years Visnu was said to have performed tapas on this spot, and through the centuries millions of Hindus have sprinkled it with the holy Ganga water and adorned it with flowers. A plate from Prinsep’s which the subtitle calls "The holiest spot in the sacred City".

The closeby place to this holy spot has been reserved for the cremation of a few selected, especially the Maharajas of Kasi (Eck 1982: 246 ).

This ghat area has ancient reputation as a cremation ground; saya Lord Siva: Having become Time itself, I destroy the world here, O Goddess !" (Padma Purana 1.33.14). However, it is not clear when this site was fully accepted for cremation. Moreover, the NP(11.48.67), the MP (182.23b-24) and the KKh (30.84-85) describe its glory in terms of cremation and death rituals. The raised platform attached to the ghat is used for death anniversary rituals. Between Jalasayi and Manikarnika ghat in the stream lies fourteen watertrithas, among which important are Visnu, Bhavani, Skanda, Taraka, Avimuktesvara and Pasupati.

Towering over Manikarnika ghat, there is a Siva –Durga temple of Raja of Amethy (Oudh; now Uttar Pradesh), built in c. 1850 which is distinct with its five deep- red spires and gilded pinnacles. Havell (1905: 169) describes.

"It is built on a terrace overlooking the river, and is approached by one of those steep, staircased streets, leading from the ghats up into the city, which suggest a town of southern ltaly or Spain. Clambering up a side staircase, you pass under the Naubata Khana, where musicians are chanting praises of the goddess with strange but not unpleasing accompaniments. On the right side of the entrance is a fine bronze lion of Durga, and on the left Siva’s bull. The quiet and cleanliness inside are a relief from the bustle, sloppiness, and dirt, and the somewhat sordid atmosphere of more popular Benares shrines".

54. BAJIRIO GHAT :

Bajiriao Pesava built this ghat in c. 1735, that is how it is named after him, and also a palace. Havell ( 1905:138) has described the condition as: " Before the basement had been raised many feet, the tremendous weight of the massive masonry caused a landslip, which made the whole fabric topple over, so that the work had to be abandoned. The unfinished façade and the ghat steps still remain…". In fact the entire structure sunk several metres into the earth since its erection (Sherring 1868: 72). Later in 1830 queen Baijabai of Gwalior get it repaired and rebuilt ; she had also erected the colonnade around the Jananavapi well. In the up stream part there is a temple of Dattatreyesvara, so that this was referred as Dattatreya ghat. Presently this is assumed to be a patr of the Scindhia ghat.

55. SCINDHIA GHAT:

Formerly it was known as Viresvara Ghat, after the temple of same name lying at the top. In 1780 Ahilabai Holker of Indore made the ghat pucca. In 1829 queen Baijabai had get it repaired and remodeled; and again in 1937 Daulatarao Scindhia made the entire ghat pucca. The shrines of Vsistha and Vamadeva, and Atmaviresvara are at the top. The Paravata tirtha lies in the close by Ganga river.

56. SANKATHA GHAT:

Its old name was Yameshvara Ghat after the name of the shrine. At the top in the lane lies temples of Yameshvara and harischandresvara which might be thought of the old cremation area; still at present on the ossasion of Yama Dvitiya devottees take sacred bath. In late 18th cent. king of Baroda made this ghat, but 1825 Beniram Pandit’s widow,

known as "Panditain", and nephews built this ghat pucca together with a building structure of the temple of Sanktha Devi. At the top of the ghat towards the city there shrines of Katyayini and Siddhesvari goddesses; three Vinayakas: Hariscandra, Cintamani and Mitra; and Vasukisvara. A new image of Santosi Mata (" Mother of Satisfaction") has recently also been built at the top. Between the Manikarnika and Scindhia Ghats there exist three water-tirthas, Viz, Uma, Sarasvata and Kamblasvetara.

57. GANGA MAHAL GHAT (2):

This is a another ghat of the same name. This, in fact, is an old part of Yamesvara Ghat. King of Gwalior had built it in early 19th cent., and lather on repaired and rebuilt by Govinda Bali Kiratankara.

58. BHONSALA GHAT:

In c. 1780 Maratha king ‘Bhonsala’ of Nagpur made this ghat, and lather in 1795 this was a made pucca together with the establishment of the temple of Laksmi narayana and a place. Two important shrines near by to the palace are of Yamesvara and Yamaditya.

59. NAYA GHAT:

In Prinsep’s map of 1822 this was named as Gularia Ghat and perhaps was made only a few years before. This was made pucca in c. 1960.

60. GENESA GHAT:

This was formerly known as Agnisvara Ghat after the Agni Tirthan in the stream. After passage of time after Pasava’s Ganesa temple this is known by this name. Important shrines at the top are Bhadresvara and Nagesa Vinayaka. Another important water-tirtha in the stream is Iksavaku Tirtha. During 1761-1772 Madhorao Pesava made this ghat fully pucca and also done extensive repairing. In puranic description this ghat is referred as Vighnesvara Ghat. On 9th dark-half of Bhadrapada (Aug.-Sept.) a special celebration held here.

GHATS OF VARANASI

61. MEHTA GHAT:

Formally this saw part of the preceding ghat, but after the construction of V.S.Mehta hospital (1962)this is known to the name of latter one. The Varanasi Municipal Corporation made this ghat pucca in 1960s. there are three water-tirth as along this ghat: Maitravaruna, Marutta and Iksavaku.

62. RAMA GHAT:

This ghat has association with the Rama Tirtha and the shrine of Vira Ramesvara. Two other closeby water-tirth as are Kala Ganga and Tamra Varaha. The famous Vedic school of its own kind, the Sanga Veda School, is situated closeby where on the occasion of Rama's birth on 9th light-half of Chitra(March-April) and Ganesa's birth on 4th dark-half of Bhadrapada(Aug.-sept.) special celebrations are performed. The temple of Rama and Badi-Narayana is also a notable shrine at the ghat.

63. JATARA GHAT:

64. RAJA GWALIOR GHAT:

Both of these ghats and also Rama ghat were erected by the patronage of Madhorao Pesava in c. 1766. In fact, they are the two ends of the same ghat.

65. MANGALA GAURI GHAT:

This was built by Balaji Pasava-I in 1735, after whom this is also known as Bala Ghat. Later in c.1807 Lakmana Bala of Gwalior repaired and renovated this ghat. In a mid-seventeenth century it has a reference. At the top of the ghat in temple compound there are images of Gabhastisvara, Mangala Gauri and Mangala Vinayaka. Mangala ("Auspiciousness") Gauri is one among the nine motherly white Goddesses (cf.KKh 100.68-72.At the ghat there are shrines of typical covered structure of Raghavendresvara, and Carcika Devi.

66. VENIMADHAVA GHAT:

This is the part of the Pancaganga Ghat and also known as Vindu Madhava Ghat after the name of the famous tenth century temple. This has been eulogized in the KKh (59.120-121; also 61.243-244). The Vindu Madhava temple which was in ruin since AD 1496 was rebuilt by Maharaja of Amber in 1585 together with a alace at mana Mandira Ghat (cf.motichand 1985;226). But in 1669 the temple was demolished by the order of Aurangazed and concerted into a mosque (still serves as landmark at this site). The image of Vindu has been re-established in the upper storey of Laksmanabala building and still it attracts a thousand of devotees and pilgrims for glimpse and worship.

67. PANCAGANGA GHAT:

This is one of the five water-front sacred most sites, and believed To be the meeting point of five drains,viz. The Ganga, the Yamuna, the Sarsvati the Kirana and the Dhupapapa, among which only the first one is visible and rest are vanished, or assumed in the form of manifestation. The merit and glory of this ghat are described in an eleventh century text and also in the KKh (59;116-144). This was the chief resort of a great teacher of Vadanta, Ramananda (CF 1299-1411) to whom Kabira (1398-1623) a great reformist bhakit poet, accepted as guru. Ramananda's monastery is still there. Tulsi (1547-1623) was initially living (c.1580s-1590s) at this ghat where he composed the famous writing, the Vindu-patrika ("The petition to Rama"), describing the glory of Vindu Madhava temple (VP 61-63,see allchin 1966;129-132, compare KKh 60,61).

The ghat was made of stone steps in 1580 by Raghunatha Tandan (Todara Mala?), the finance secretary of the Mughal King Akbar. In c. 1735 Bajirao Pesava-I together with Sadasive Naik rebuilt and repaired it. Again in 1775 renovations and repairing were done by Sripatirao Pesava, and Pant Pririnidhi of Andha. There are eight water-front sacred tirthas at the ghat: Pippalada, Vindu Makha, Mayukharka, Jnanahrda and Pancanada. There are two monasteries at the ghat, viz. Sri and Ramannada.

At the ghat, close to the riverfront, there are "the dozens of three-sided cubicle shrine rooms that open out into the river. Some contains a lingam or an image, such as the lanky bara and used primarily for yogic exercises and meditation". Sherring has vividly described this ghat:

"The ghat is broad and deep,and exceedingly strong. Its stairs and turrets are all of stone, and from their great number, afford accommodation to a multitude of worshippers and bathers. The turrets are low and hollow, and are employed as temples and shrines. Each one contains several deities, which are, mostly, emblems of Siva. An ordinary observer would be in ignorance of the fact these are filled with idols, and would scarely imagine that he was walking upon the top of a long succession of shrines, and over the heads of hundreds of gods. He would have to descend several steps, before discovering the sacrilege which he was ignorantly committing; but having done so, he would at once perceive that the turrets are open towards the river, and are, therefore, very convenient for devotional purposes".

The Ganga -arati (offering oil lamps) at the time of sun rise and sun set is the most attractive site and scene at this ghat, which is performed is honour of the Ganga. The shrine of the goddess Ganga is also here. During the month of Vaisakha (April-May)& Karttika (oct.-Nov.), devotees, mostly ladies,use to take sacred bath in the morning at this ghat special festivity and sacred bathing are performed here on the birthday of the Ganga,i.e. Vaisakha (Apr.-May), on the 7th light-half. In the month of Karttika(Oct.-Nov.) ritual of offering oil lamps to ancestors, arranged in the sky with the bamboo stands, is performed by the ghatiyas (ghat-triests) on behalf of the devotees who patronize the cost, or materials and rewards (in cash, or kinds, or both) for the service. There is a stone pillar with a thousand sockets stone made structure to hold the lamps lighted on the night of full moon in the month of Karttika.

68. DURGA GHAT:

The name derived its association with the Brahmacarini Durga temple. In 1772 Narayana Diksit, a guru of Pesavas, had purchased land from local resident fishermen and built two ghats: Durga and the succeeding one, Brahma Ghat. This was rebuilt and repaired in c. 1830 by Nana Phadanavisa, a Divana of Gwalior State, whose building at the top of the ghat is know as Phadanavisa Wada. At the ghat exist Marakandeya and Kharva Nrsimha Tirthas, and at the there is a shrine of Kharva Nrsimha. On the full-moon day of the month of Karttika youngmen make show fighting and mettle.

69. BRAHMA GHAT:

This is named after the temples of Brahma and Brahmesvara. The other notable tirtha and shrine are of Bhairava Tirtha and Vindu Madhava. At the ghat exists a monastery seat,viz. Kasi Matha Sansthana:Sudhindra Tirtha Svami.

70. BUNDI PARAKOTA GHAT:

Formerly it was known as Raja Mandira Ghat. In c. 1580 king of Bundi, Raja Surajana Hada made this ghat; and it was made pucca in mid nineteenth century. In its vicinity at the top exists the shrines of Sesa Madhava, Karnadity and Laksmi Nrsimha.

71. (Adi)SITALA GHAT:

This is an extended part of the preceding ghat, also made by Hada in c. 1580, but later in 1772 was repaired and rebuilt by narayana Diksit. This ghat is named after the old temple of Sitala, known as "Badi" (elder) sitala. The other goddess-shrines in the vicinity are of Nagesvari Devi ("Snake Goddess") and Narayani. Karanaditya Tirtha at the bank and Sankha Madhava are other sacred spots. There are there Sati stones of memory in the vicinity. Like that of the earlier Sitala Ghat, on every 8th light-half of the months of Caitra, Vaisakha, Jyestha and Asadha (March-July) festivities take place in honour of mother goddess.

72. LALA GHAT:

This ghat was erected by a rich merchant in c. 1800 after whose name it is now known. As part of this ghat in 1935 Baldeo Das Birla has built a small ghat called as Gopi Givinda Ghat at the top of which exists a pilgrims'rest house made by him.

73. HANUMANAGARDHI GHAT:

This was perhaps founded in late nineteenth century. It represents the famous site of Hanumanagadhi in Ayodhya (the birth palce of Rama). Hanumana is the monkey assistant to Lord Rama. The Ganga Akhara (wrestling site), and a Sati-stone are along ghat. The other shrines in the vicinity are Gopi Govinda and Gopreksevara.

74. GAYA/GAI GHAT:

This ghat records a reference in a 17th century txxt, the Grivana Manjari. In 12th cent. Varanasi this was considered to be the southern limit of the city; in the vicinity still exists the symbolic relic of that period, Patana Darvaja. At the ghat there is a huge image of a cow (gaya/gai), symbolizing the earth, that is how the ghat is known as Gaya Ghat. In early 19th cent. the ghat was made pucca by Balabai Sitole of Gwalior. At the top of the ghat, closeby there are four images : Bagesvari Devi, Nagesvari Devi("Snake Goddess"), Mukarnirmalika Devi("Pure-Faced Goddess") and Samhara Bhairava.

75.BADRI NAYARANA GHAT:

This ghat was earlier known as Mahatha/Matha, or Balabai Ghat Balabai of Gwalior had patronize to make this ghat pucca in early 19th century. Later on the Municipal Corporation of Varanasi had get it repaired and renovated. The associated sacred shrines are nagesavara tirtha, Nagesvara, Nagesa Vinayaka and Nara-narayana Kesava. The last shrine is originally at Badrinatha, that it how the name of ghat derives: Badri (the site)and Narayana (the deity). On the occasion of full-moon day of pausa(dec.-jan.), a special festivity in honour of Visnu in the form of Nara-Narayana is celebrated. Also, on 3rd light-half of Vaisakha(Apr.-May) there takes a sacred bath ceremony.

76.TRILOCANA GHAT:

The name derives after famous image of Shiva, Trilochana ("Three-Eyeed"), whose lingam is known as Trilocanesavara. The KKh (75.12., 18-10, 72-74) and other contemporary digests have composed many metres in glory of this ghat and its associated water tirtha, Pilapippala Tirtha. In the Gahadavala rule, c.C.E. 1100, this was a very famous site for sacred bath and rituala. The renovations and repairings were done by Narayana Dixsit in c. 1772. Later around 1795 Nathu Bala of Pune made the ghat pucca.

77. GOLA GHAT:

Since late 12th cent. this site was used as ferry point and was also known for a number of granaries(gold), from where the name Gola Ghat devired. However, after opening the bridge at Raja Ghat in 1887 the site had lost its importance. At this ghat there is a Puranic reference of Pisegila Tirtha, while at the top exits the shrine of Burgu Kesava (Visnu).

78. NANDESAVARA /NANDU GHAT:

This ghat in early 20th cent. by the local neighbourhood residents. There appears an Akhara (wrestling site) of the same name.

79. SAKKA GHAT:

It has reference to late 18th cent., and it has a reference of an old water-front sacred spot, Pranava Tirtha. Close to the ghat towards the top is HaridashanSavasrama Trust (Mukimgung). Most parts of the ghat are occupied by washermen.

80. TELIANALA GHAT:

It has reference to late 18th cent.; and known for an ancient sacred spot, Hiranyagarbha Tirtha. Legends say that the area was dominated by the oilpressing caste (Teli) settled along a small drain (nala) meeting here, that is how the name derived.

 

81. NAYA/PHUTA GHAT

In medieval digests a sacred water-front site, Gopratara Tirtha, and an image of Gopratatesvara are referred at this ghat. During 18th century the ghat – area became deserted (Phuta), but later on it was renovated. This way the ghat was formerly known as phuta, and later as Naya. In 1940 Narsingh Jaipala Chainput-Bhabhua(Bihar) made this ghat pucca.

82. PRAHALADA GHAT:

This is the named after Prahalada, a great mythological devottee of Lord Visnu. In 11 th-12th cent. the Ghadavala inscriptions mentioned this ghat. This is spread over a longer distance. In 1937 with the construction of a new Nisada Ghat in the centre (where exists Satsanga Akhara), now the ghat is divided into two parts : the southern and northern. In the southern part exists the shrines of Prahaladesvara, Prahalada Kesava, Vidara Narsimha, and Varada and Picindala Vinayakas. Around the northern site exists Mahisasura Tirtha, Svaralingesvara,Yajna Varaha and Sivaduti Devi.

On 14th light- half of Vaisakha (April-May), a grand festive celebration to honour the appearance of Nrsimha ("Lion-Man" incarnation of Lord Visnu; i.e. 4th among the ten) is performed on massive scale in the temple of Prahaladesvara.

83. RAJA GHAT:

Upto 1887 this was a famous ferry ghat. On 1st jan. 1887, Lord Duffrin bridge (road-cum-rail) was made and its importance as ferry points had lost. The bridge is named as Malaviya Bridge in 1948 after the founder of Banaras Hindu University, Pt. Madan Mohan Malaiya. In the Gahadavala inscriptions (c. 1100) this ghat is mentioned many times in terms of its glory and merit. There are four water-trithas affiliated to this ghat: Sankhya,Uddalaka, Hayagriva and Nilagriva.

84. ADI KESHAVA GHAT:

In Ghadavala inscription (c. C.E. 1100) this ghat was referred as Vedesvara Ghat. This is assumed to be the oldest and the original (Adi) site of Lord Visnu ( Kesava). The temple complex of Adi Kesava has a pleasant pastoral setting on he bank above the confluence of the Varana and the Ganga rivers. Among the oldest puranic listings of sacred sites in the city, this is one of them. This sacred spot is fully eulogized in the MP (185-68), the VP (3.34-50), the KKh (84.109; see also 51.44-82). This was the most favourite holy site of the Gahadavala kings, as evident from the Gahadavala inscription that" a great number of regal ritual occasions in Varanasi included the worship of Adi Kesava or a dip in the Ganga at the Varana confluence: (Niyogi 1959: app. B as in Eck 1982:233). The ghat was made pucca in 1790 by a Divan of Scindhia State.

According to a flok legend the five most sacred water-fron holy spots represent the bodily parts of the Lord:" Asi is the head; Dasasvamedha is the chest; Manikarnika is the naval; Pancaganga is the thighs; and Adi Kesava is the feet" (Eck 1982:233). This reminds that Vianu first placed his holy feet here in Varanasi. His foot prints (Carana Paduka) in the Adi Kesava temple symbolize that occasion; another foot prints are at Manikarnika Ghat.

Bathing at confluence of the Varana and the Ganga and paying visit to Sangamesvara ("Lord of Confluence") give a special religious merit, as referred in the Linga Purana (92.87-89):

"An excellent lingam has been installed by Brahama at this confluence. It is know in the world as Sangamesvara. If a man shall become pure taking his bath at the confluence of the divine river and then worship Sangamesa, whence need he fear rebirth".

The Sangamesvara lingam is located in temple attached to Adi Kesava; and from the pavilion of Adi Kesava, one can look down into the courtyard of the Sangamesvara. Closeby to it is the Brahmesvara lingam (a four- faced lingam) and believed to be established by Brahma ("The Creator").

Between Prahalada and Adi Kesava Ghat (from south to north) there are ten water-tirthas lying along the bank: Sankha Madhava, Sasa, Laksminrsimha, Gopigivinda, Vindara Nrsimha, Yajna Varaha, Mara- Narayana, Vamana, Pranava and Dattatreyesvara. And between Adi Kesava Ghat and confluence of the Varana there are twelve water-tirthas: Aditya Kesava, Ambarisa, Narada, Garuda, Mahalaksmi, Padma, Gada, Cakra, Sankha, Ksirabdhi, Svetadvipa and padodaka.

In the vicinity of Adi Kesava temple are located two Vinayakas: Cinatamani ("relieving worry") and Kharva ("the dwarf"), and jnana Kesava ("wisdom"), P/rayaga lingam and Kesavaditta ("Kesava-Sun").

The barth day of Vamana ("the Dwarf"; 5th incarnation of Visnu among the ten) is celebrated on massive scale in the Adi Kesava temple on 12th light- half of Bhadrapada (Aug. Sept.).

At the time of sunrise and sun set both, one can see the natural beauty of reflecting colourful light in the Ganga, in the morning the reflection of sunlight on the palatial buildings and in the evening the shadows of those building in Ganga make the scene unique which is more an aspect of experience than reading about it.

 

MUSIC is the soul of life, OM or PRANAV is supposed to be the root of creation. SAMVEDA, one of our earliest scriptures is also our earliest music. Later SAMGAAN developed into various forms and styles of music.it is known that every land has its own music. These are called after the place as for example Karnatak Music or Pahari Music. Similarly a person of a group develops its own style and that becomes a school or Gharana of Music.

Kashi-Varanasi- Banaras is the oldest living city of the world and no wonder it has its own rich history and treasure of music.

When and in what form music developed in this area, it is difficult to say. When Renu (son of Vishwamitra) and Mahagovind founded this city, they also brought with them the Aryan traditions and the Vedic culture. It can therefore, safely be coneluded that during the Vedic period SAMGAAN must have echoed

everywhere. The presiding diety of this city is Shiva- Mahadeva, the lord of Dance and Music (Natraj). Naturally the city worshipped him with Taals, Songs and Dance. This city has been called the capital of all learning and the Goddess Saraswati must have played her Veena here. Pauranic tales describe the Apsaras, Gandharvas and Kinnars lived here and made the city musical.

Jatak tales narrate the story of Veena competition in the "Sudershan" city. Ashwaghosh in his famous work "Sunnderanand" describes GANIKAS of kashi. During the Mahajanpada period we have a glimpse of Banarasi way of life full of Fairs and Fastivals with Music & Dancing. Guttal Jatak tells us that Kashi was the centre of Music and there was lot of Dancing and Singing in the temples.

During the Goiden Age of Guptas, we find Kashi vibrating with the poems of great poets like Kalidas and with Dhruvagayan & Prabandh Sangeet. The "Chatrurbhani" of the fifth century shows us a "Gayika"of Varanasi playing "Pichola" standing in a window in Ujjain. Excavations at Rajghat have given us a marvellous terracota wherein two musicians are playing percussion instruments with intense joy & pleasure.

During the nineth century Damodar Bhatt in his famous work "Kuttanimattam" Faithfully describes the "Shringar Heat" of Kashi and tells us of Music and Drama during Sheo Puja Krishna Mishra in "Prabodh Chandrodaya" describes the "Rasiks" ( Music-lovers) of Varanasi. The 12th century scholar Hemchandra describes "Banarasipan". Jin- prabha Suri in his Vividh Teerth Kalpa "describes"MADAN VARANASI". "Vikrant Kauravam" is a drama written in the 14th century buy Hastimal and here we find a beautiful description of Banarasi Music.

Fifteenth Century is the age of "Bhalci Movement" (Age of Devotion). Great saint Shri Chaitanya Mahaprabhu came to Kashi and made the city "Kirtanmaya". Mahaprabhu Vallabhacharya settled in Varanasi and the Vaishnava temples echoed with "Haveli Sangeet". Saints like Sur, Kabeer, Raidas, Meera, Tulsi made rich and valuable contributions to the Devotional Music and their Bhajans are still very popular. Ascetics of Banaras sing Nirgun Bhajans on Khanjari or Ektara.

During this period music took a new turn and developed DHRUPAD GAYAKI. We have a galaxy of great Dhrupadias like Swami Haridas. Baijiu, Tansen, Gopal Nayak who made the country vibrate with there music. Dhrupad had four schools: Dagar Bani, Gobarhaar, Noharbani and Khanhaar Bani. And Banaras was a centre of this Dhrupad style. Do you know Makrand pandey, father of great Tansen, breathed his last in Kashi?

In the 16th century Govind Chandra ruled Varanasi and during his reign Dhrupad was the royal music. With Dhrupad came its associates- the Dhamar, Hori & Chaturang and they still are a speciality of Banarasi Music.

This is the period when one ofthe great trios of Karnatak Msuic-Sri Muthuswami Dixitar lived here on the banks of Ganges for five years. Great writers of this are Ganapati in his "Madhvanal Kamkandha" and Damoodar in "Unkti Vyakti Prakaranam" give us a glimpse of music, Puppetry, Bhand plays. Similarly Banarasi Das in his "Aardh Kathanak" describes these very colourful music of Banaras.

During this period Jaunpur a city adjacent to Kashi had a Musical King the "Sharki" and he gave us "Jaunpuri", "Hussaini Todi" Almost during this period

Indian Music took another turn and "Khayal" became the latest style. Sadarang and Adarang gave new dimensions to Khayal "gayaki" with slow and rapid speed. RABAB and SURBAHAR were great instruments the day.

While Nirgunias of Kashi sang the Famous Assarwari "Ghunghat ke pat Khol...", Nababs Awadh ruled Varanasi and the turbulent 18th century saw Meer Rustom Ali ruling Banaras as its Subedaar. Meer became a true Banarasi and patrnised Music Festivals like Jhoola, Jhoomar, Kajri, Birha, Dangal, Gulab Bari and Music Festivals on Boats. Soon a new Banarasi style emerged. Banaras bade tearful farewell to Meer and Raja Balwant Singh became Kashiraj. In his court we find great Kalawants like Jagraj Das, Khusal Khan and others.

He was succeeded by Raja Chet Singh and his court honoured musicians. Budhwa Mangal received Royal patronage and Dulari, Kajjan, Kishori, Rukmini,Chittan sang on the waves of Ganges.

In the court of Raja Maheep Narayan Singh, Tansen's sons Jivan Shah and Pyare Khan were appointed as the court singers. Next came Raja Udit Narayan Singh and during his reign Jahandar Shah ll- the Moghul prince came and stayed at Raja's palace in Shivala and in the retinue of Shah there were a number of Court Mussicians of Delhi.

Nabab Asafudaula was a music-lover and he gave a new turu to "Besarageeti" and called it "Tappa". Now the great savant of Tappa was Shori Miya. His disciple Gammu Khan with his son Shade Khan came and settled in Banaras and gave a new form to Tappa called "Banarasi Tappa". Shade Khan's disciple Nagendra Nath Bhattacharya taught this Tappa style to two of his worthy students-Chitra and Imambardi and when they sang in Calcutta, Tappa became a craze of the country.

Later in Kashiraj Darbar we find many musicians of Senia Gharana (of Tansen) like Zafar Khan, Basat Khan, Umrao Khan, Mohammed Ali and others.

In Nineteenth century we see Kali Mirza Mahesh Chandra in the darbar of Maharaja Ishwari Prasad Narayan Singh. Thakurdayal Mishra, a disciple of Adarang-Sadarang, and his two sons Prasiddhu-Manohar called "Shrutidhars" won acclaim all over the country. They were the music teachers of the last Moghul King Bahadur Shah Zafar. Nineteenth century of Banaras had great musicians like Badku, Rasulbux, Manju Khan, Mithai Lal, Dargahilal and other. There was a pair nicknamed "Demons of Music" the great Shiva- Pashupati, who had no equal in the country.

This century also saw a great galaxy of Gayikas Suggan, Maina, Tokhi, Gaffuran, Munna, Rajeshwari,Husna and others. Bhaiya Saheb Ganpatrao of Gwalior, great Harmonium player and Music Guru settled in Varanasi and his court we find Shyamlalji, Gauharjaan, Malka, and the phenomenal musician the doyen of Banarasi Thumri Moijuddin Khan and with him was the King of Banarasi Thumri Jagdeepji.

In the present era Maharaj Prabhu Narayan Singh gave shelter to Bahadur Shah's court Musicians like Waris Ali, Akbar Ali, Nisar Khan, Sadiq Ali and great Ashiq Ali Khan. Ali Mohammad and Ali Bux the sons of Basat Khan were considered the "jewels" of Kashiraj Darbar.

This galaxy of great musicians gave Banaras a place of pride in the country. Banaras developed unique Banarasi Thumri, Dadra, Chaiti,, Hori, Bhairavi, Kajri,

Tarana, Ghato and what not, There was now less known, Tirwat, Sadra, Khamsa, Lavni,, Chaturang,, Sargam, Ragmala, Kirtan, Qauwali, Kathagayan, Bhajan, Ramayan and Birth and all of these reigned supreme.

Banaras has a very rich store of Folk Music like Bedesia, Pitma, Lachri, Badhaiya, Pujaiyao Geet, Fauwara, Gauri, Ghori, Nahchu, Alha, Sohar, Chandini, Nirwahi, Lachchan, Barahmasa, Maand, Sawani< Kajri etc. Before the Aryan settlement the local tribals must have had their own Music and some research scholar must peep into these foktunes and find out their indigenous character.

Banaras not only sings, it plays also. Shehnai and its Maestro U. Bismillah Khan are now famous all over the world. "Tabla" has become "Banaras Baaz". Ram Sahai was a disciple of Maudu Khan,, the Tabla player in the court of Wazid Ali Shah. Later Ram Sahay ji developed his own style and this has now become the "Banaras Baaz". This school has produced great percussion masters like Bhairo Sahay, Janki Sahay, Bhairo Prasad, Maulvi Ram, Bachha Maharaj,, Suraj, Kanthe Maharaj, Biroo, Gama, Anokhelal, Samta prasad, Kishan Maharaj, Sharda Sahay, Ishwari prasad, Ramji, Chhotelal, Maisi and a host of others.

Other percussion instruments are Pakhawaz and Mridangam and Banaras Masters have left their imprint on these instruments, Famous among these are Madan Mohan, Bhola Nath, Pathak, Mannuji, Amarnath Mishra,, Brindwan Das,, Ramdeo, Subodh Babu etc.

Banaras is proud of its Harmonium players and famous among them were Ganpatraoji, Shyamlal, Biroo, Harendra, Ishwari Lal and others. Dhruvaji at present is the torch bearer of this tradition. Among the Flutist names of Shyamlal, Raghunath and Tarak Nath are famous. Banarasi Veena vaadaks like santu Babu and Lalmani Mishra are always remembered.

Would you believe that famous Sitar Maestro Pandit' Ravi Shankar was born in Banaras. Ustad Mustaq Ali was also Banarasi. We remember Ustad Ashiq Ali Khan the great Sitar player in the days of yore. Jyotin Bhattacharya and Rajesh Moitra are Banarasi Sarod players. Dr. (mrs) N. Rajam is a rekniwned Violinist of Banaras.

But one instrument which is truely Banarasi in nature is "Saarangi" We had great Sarangias like Sohnisiddh,, Tamakuji, Shambhu- Sumer, Birai Ganesh, Sursahai, Aashiq Ali, Munshi Ram, Siyaji, Pannalal, Gopal Mishra, Maulvi Mishra, Sarju and Baijnath. Hamuman ji, Narayan Vinayak and other still represent Banaras school of Sarangi.

Though Banaras never had a Devdasi tradtion yet Gayikas on their own sang in the temples on special occasions.Present list of Vocalist is quite big and to name a few we have had Gayikas like Rasoolan,Vidyadhari,Badi motia, Siddheshwari,Girja Devi etc.We are proud of Jaikaranji,Akhoji,Bade Ram Das, Chhote Ram Das,Hari Shankar,Mahadeo,Rajan-Sajan and so many others.

Banaras is called Mini India and artists from all over India have made it their home.In this list we have Pt.Omkar Nath Thakur,Rama ji and other from Gujrat,Pt.Vishnu Digambar,Bhaave Bua Hirlekar, Bhaiyaji Lande, Phadke, Kalwint, Belsare, Tambe, Patekar, Sapre, Damle and others from Maharashtra. Bengal gave us Aghor Chakravorty, Upendra Babu, Suren Ganguly, Hari Narayan, Rakhal Das, Santu Babu, Harendra Nath and others. There had been musicians from other provinces also.

Dance is an integral part of Music. Banaras developed its own school of Kathak Dance. Here we had Jagdeepji, Ayodhya Prasad Babu Ram, Kalika Prasad brothers of great Kathak Maestro Binda Deen was known as "Banaras wale". Even our present maestro Birju Maharaj is related to Banaras. The main architect of Banaras school of Natwari Nritya was Sukhdeo Maharaj whose daughters and grand children Tara, Sitara, Alaknanda, Gopi Krishna, Mohan, Madhavi, Ram Krishna, Durgalal, Mala sisters have put Banaras in the Dance Map of Banaras. Do you know Natraj Uday Shankar belonged to Banaras? Similarly Bharat Natyam exponent Prof. C.V.Chandrashekhar has close association with Banaras.

So this is in short a glimpse of Banarasi Music and its history. Even today the City boasts of its artists and also its elite learned listners. In the present day noisy, discordant, dishamonius, non-musical atmosphere the true Banarasi still drinks Gangajal and murmurs the famous Bhairavi.

PROMINENT IN MUSIC & DANCE

Pandit Gudai Maharaj

  Pandit Hanuman Prasad Mishra

Pandit Mahadev Mishra

Alaknanda

Bismilla Khan

 Gopi Krinshna

Pandit Birju Maharaj

Pandit Ravishanker

Pandit Kishan Maharaj

Pandit Vikas Maharaj

Smt. Girja Devi

Smt. Sitara Devi

Smt. N. Rajan

Rajan-Sajan Mishra

Anadi Nagar Nad-

  Srishti/Brahma-OM-Kashi-Bramhavdan

Shiva- Damaru-Swer, Tal

2. Samgan- In Gyanpuri3. City of Gandhava & Kinnar  

4. Lavkush- Katha Gayan, Kathak/Kathkali, Harikatha Gayan

5. Mahajanpad Yug- Utasav, Rasik, Garikayen

6. Buddha- Theory of sang Veena-Vadan,

Murtiya- from Rajghat "Terakota" Musical 

Gutthil Jatak- Kashi is centre for Sangit Vidaya

7. Natyashashtra- Dhruva Gayan8. Music & Dance in Temples-  

9. Chaturbharni- Garika 0f Kashi along with musical insument Pichhola

10. Gupta Yug (Kalidas)- Singing a song in Lanes & arranged music

11. Damodar Bhatt- Kuttani Mattam-Sringar Hat, Dance with music, Veena, Banshi12. Parabodh Chandrodaya- Sri Krishna Mishra- Rasikata

13. Hemchandra- Banarasipan

Jinprabha Suri- Madan Varanasi

14. Hastimal- Vikrant Kaurvam(Natak), Music

15. Dhrupad- Tansen-Chaitanya Mahaprabhu in Kashi- Kirtan

Vallabhacharya- Haweli Music

16. Govindchand-Dhrupad, Dhamar, Hori, Chaturag, Mridangvadan, Kathaputali, Bhand

Banarasi das- Ardha Kathanak, Rag-rangSur, Kabir, Mira, Tulsi & Ravidas Bhajan

Tulsi- Ramlila-Ramayan Gayan, Khajari, Ektara, Thol, Manjira

17. Sharki-Khayal Gayan-Jaunpuri, Husaini Tori, Sdarang-Adarang, Rabab, Surmandal

Muhamad Shah- Banarasi Khayal, Banarasi-Nirgun

18. Avadh Ke NaVab-  

Mirrustam Ali-Banarasipan, Holi-Budwa Mangal, Jhula-Jhumer, Birha, Kajali, Gulabbadi

Balvant singh-Musician- Chaturbihari Mishra, Jagraj das, Khushal Khan Kalavant

Raja Chet Singh- Budwa Mangal-Dulari, Kishori, Kanjjan, Rukmani, Chhittan

Mahdeep Narayan Singh- Kalvant jivan Sah, Parae Khan

Mugal Janhadar Shah-II Gumman Khan, Shade Khan (Banarasi Tappa)Udit Narayan Sigh- Rabab Vadan, Veena Vadan- Jafer Khan, Pyarae Khan, Bsat

Khan, & Muhamad Ali

19. Ishweri Narayan Singh-

Kali Mirza, Jafer Khan, Pyarae Khan, Basat khan, Veenakar Mahesh Chandra Day

20. Prabhunarayan Singh-Musicial Varis ali (Veena), Akaber Ali (Tappa), Nisar khan (Drupad), Sadik Ali (Khayal), Aashik Ali (Sitar)

21. At end of 19th Century-

Badaku Miya, Bsat Khan, Ali Bakhsha, &  Rasul Bakhsha (Drupad), Daulat Khan & Manju Khan (Sarod),  Tasdduk Husain, Sadik Ali, Nisar Ali, Mohamad Ali Khan (Rabab), Mithayi Lal (Veenakar), Dargahi Lal, Vajir Khan (Dhrupad)

In Period of Shah Alam-II Pyarae sahab, Ashil Ali (Khayal), Chhunnu Miya, Jangi Khan

Female SingersSuggan, Badi Maina, Mangu Bai, Sarwsti, Rajeshwari, Tokhi, Gafuran Munna, Husna

22. 20th. Century-Bhaiya Sahab-Ganpat Rav (Harmonium), Bsheer khan (Sarangi), Shyam Lal Ji (Harmonium)

  Jagdeep Ji ( Banarasi Thumari )

 

Maujiddin- By birth musician (Banarasi Thumari, Chaiti-Kajari, Ghato, Hori, Dadara, Bhairawi, Tarana, Jhumer-Jhula, Shahnayi, Birha, Dhrupad, Dhamar, Kabira Tirvat, Sadara, Khamasa, Lawani, Chaturang, Sargam, Ragmala, Kirtan, Kauwali Katah-Gayan, Bhajan, Ramayan, Gajal, Birha)

Folk Sangs-Nirgun, Bideshiya, Pitam, Lachari, Badhaiya, Pujaiya, Geet, Fauvara, Gari, Ghori, Nahachhu, Nadaamkkad, Alha, Sohar, Chandaini, Nirvah, Lakshan geet, Barahmasa, Mand, Swani

Sahanayi- Bishmilla Khan

Tabala-

Ram Sahay, Bhairav Sahay, Kanthe, Beru, Gama, Anokhae, Janki Sahay, Bhairav prasad, Maulavi Ram, Bachcha Mishra, Suraj, Samata Prasad(Godai Maharaj), Kishan, Ishweri(Lallu), Sharda Sahay, Ramji, Chhotae Lal, Maesi, Panchu, Ashutosh Bhattacharya.

Pakhavaj-Madan Mohan, Bhola Nath Pathak, Munnaji, Amernath Mishra, rindavan Das, Ramdev panday, Subodh Babu.

Harmonium-Ganpati Ji, Shyam lal, Harendra, Biru Bhattacharya, Dhruva Ji, Ishwer lal Nepali.

Bansuri- Shyam Lal,  Raghunath, Tarak Nath.

Veena- Santu Babu, Lalmani, Gopal

Sitar-

Pandit Ravi shanker, Mustak ali, Ashik Ali Khan, Noni Gopal, Moti Lal, Gullu Maharaj, Ram Chakrawerti, Krishna Chakrawerti, ShivNath, Ram Ganguli, Vimal Chatarji, Rajbhan Singh, T.N. Nagar.

Sarod- Jyotin Bhattacharya, Bhola Nath, Rajesh Maitra

Vaylin- N. Rajam, Gopinath swami, Bhagavatji, V.J. Jog.Sarangi- Sohani Sidha Tamakuji, Chand-suraj, Shambhu Sumer, Birai,

Ganesh, Sursahay, Munshi ram, Ashik Ali, Sarju, Siyaji, Maulavi

Mishra, Panna Babu, Gopal Mishra, Hanuman, Baijnath, Narayan, Bade Gopal, Bhawani, Ganga prasad, Sikander Ali, Vinayak.

Female Singers-

Janki Bai (Chhappan Chhuri), Jeenat, Gulbadan, Sukhbadan, Bhagavati, Menhdi, Badi Maina, Chhoti Maina, Tokhi, Husna, Jaddan, Kaiser, Jwaher, Chanda, Kashi Bai, Shahjanha, Tami, Gauher, Serswati, Rajeshweri, Kamleshweri, Vidyadhari, Sidhaeshweri, Rasulan, Girja, Hira, Ratna, Bageshweri, Naina, Shivkuwer, Badi Moti, Mohani, Mahalka.

Male Singers-Jaikaran Ji, Bade Ramdas, Chotae Ramdas, Kamta, Jwala Prasad, Shivarayan Guru, Harishanker, Mahadev, Amernath, Pashupati Nath, Rajan, Sajan, Chhannu Lal, Jalpa Mishra.

 

Bangali, Marathi, Gujarati, Shouth Indian- Omkar Nath Thakur, Ramji, Vishnu Digamberji, Pathak ji, Bhawaybua, Hilenker, Bhaiyaji Landay, Somnath Gujerkar, Somnath Bandray, Narayan Fadakae, Madhav Kalvint, Madhavji Spray, Baelsaray, Tambay, Pataeker, Dalmalae, Bhagavatji, Aghor Chakrawerti, Upendra babu, Suren Ganguli, Hari Narayan, Pran Krishna, Rakhal Babu, Santu Babu, Direndra Chakrawerti, Harendra bhattacharya, Subodh babu, Bhola Bhattacharya.

Dance-

Jagdeep ji, Ayodhya prasad, Babu Ram, Ahobal Shastri(Mayur Dance), Kalika Prasad(Banaras Walae), Sukhdev Maharaj, Birju Maharaj, Tara, Sitara, Alaknanda, Gopi, Chturbhuj, Ram, Annpurna, Mohan, Madhav, Durgalal, Jayanti mala, Udai Shanker, Chandrashekhar.

1. Importance of Banaras in India and especially for Hindus; various aspects of Banaras, its many names and what makes it the cultural capital of India.

2. Archaeology, Mythology, Geography, and History of Banaras- its unique situation on Ganges, and its journey through the history of India, and quest to know what makes it oldest living city.

3. Religious Varanasi- Many religions, place and types of worship, a religious place and institutions. You will find that even Primitive worship cults are still practiced in this city. Discover the city of Buddha, Jain Tirthankars, Shaiva and Vaishnava saints or Devoted saints like Kabir and Tulsi.

4. Arts, Crafts and Architecture of Banaras: You will be amused to see that Varanasi is a Museum architectural designs. It presents changing patterns and movements in course of history. It has a rich and original variety of paintingand sculptor styles and equally rich treasures of folkart. During the ages Varanasi has produced master craftsmen and Varanasi has earned name and fame for its Sarees, handicrafts, textiles, Toys, ornaments, metal work, clay and wood work, leaf and fibre crafts. With ancient crafts, Banaras has not lagged behind in Modern Industries.

5. Discover Ganga- the holiest of the holy river- its mythology, geography, socio- economic aspects, its monumental ghats and their story and the present condition of pollution.

6. The Capital of all knowledge- Discover the most ancient seat of education in India World the famous scholars and their `Shastrarthas', the great scholars, universities, college, schools, Madarsas and Pathshalas and Guru Shishya traditions, the epics, famous literary works, languages and dialects, journalistic traditions- newspapers and magazine, and famous libraries.

7. Discover the social and cultural fabric- Organisation of sacred complex and social spaces, the cultural pluristic, linguistic and ethnic groups. Discover the  city of affluence, intellectuals, oral traditions, castes and customs, personalities, professions, communal harmony . Discover the rural Varanasi. And finally (and with deep insight) peep into, the pleasure of Pans, Thandai, Gamcha, Bahri Alang and Mauj Masti.

8. The City of Music and Drama and Entertainment: Banaras has been famous for its Music both vocal instrumental, it has its own dance tradition. Add to this a very rich stock of folk Music and drama (esp. Ramlila), the tradition Musical soirees, fairs and festival the rich tradition of Akharas, games and sports. Add to this classical Banaras Transport vehicles like Ekka and Modern Traffic Jam.

9. Industrial City: Discover the fast developing city of heavy, light and cottage industries, local handicrafts and other small scale industrial units. ( DLW, BHEL, Electric, Cycle,Pumps, Paper, Glass, Fertilizer etc.)

10. Medical World of Varanasi: Discover the ancient College of Plastic Surgery, Sushruta, Dhanvantri (God of Medicine), Divodas, and practice of all the ancient and modern systems of medicine in action.

11. The Unseen Banaras: Discover the spots around Varanasi, instituions, story of freedom struggle and the martyrs, history of Kashiraj, history of Sarnath, history of Bhadohi (Carpet town), of Mirzapur, of Ghazipur, know about the famous travellers and tourists, of the `Nijam'. And finally having seen the Panorama of Banaras, its continuity of culture, discover the identity of Banaras.

BUDDH PURNIMA - SARNATH

This festival celebrates the birth of Lord Buddha with trditional religious fervour. A large fair is held at Sarnath and the relice of the Buddha are taken out for public display in a procession on this day.

 

           RAMLEELA- RAMNAGER

The unique Ramleela of Ramnager performed in the pageant style, was started about 1830 by Maharaja Udit Narayan Singh of Banaras, and has today become famous the world over. Thousends gather to see the enactments during months of sep.- oct.

          DHRUPAD MELA

A five days music festival of Dhrupad is performed by renowned artistes at Tulsi Ghat. It is very popular among foreign tourists.

          HANUMAN JAYANTI

Jannotsav of Lord Hanuman is celebrated at Sankat Mochan Temple for five days with cultural & musical programmes by artistes from all over India.

          BHARAT MILAP (at Nati Imli)

Celebreting Lord Ram’s return to Ayodhya after 14th

years of exile and his reunion with his brother Bharat, this festivel is held the day following Dussehra. Attended by the Kashi Naresh resplendent in regal finery, the festival attracts a large number of devotlees.

 

          NAKKATAYYA (At Chet Gang)

Showing a story from Ramayan in which Surpanakha- the sister of Ravan- comes to entice Ram and then Lakshman. But Lakshman cuts her nose and she goes back crying. This act is enacted as a stage- play during mid oct. in the locality of Chetgung. Numerous processions and tableaux are also carried out on the occasion.

          NAG NATHAIYA LEELA

In a performance, Lord Krishana jumps into Ganga for Nag Nathan at the local Tulsi Ghat. It is famous as Nag Nathaiya Leela . Many people congregate to see this event, held during the months of Nov.-Dec.

 

 

          MAHASHIVARATRI

On this day every Shiv Mandir is decorated. In Varanasi a marriage procession of Lord Shiva is taken out starting from Mahamrityunjaya Temple, Daranagar to Kashi Vishwanath Temple via Chowk.

 

 

          PANCH KOSHI PARIKRAMA

It has a special importance in the ancient Parikrama of India, starting and finishing at ManiKarnika Ghat. Each Parikrama passes through five places: Kardmeshwar, Bhimchandi, Rameshwar, Shivpur & Kapil Dhara.

          GANGA MAHOTSAV

Ganga Mahotsav, the tourism festival of Varanasi is celebrated every year from Prabodhani Ekadashi to Kartik Purnima in the

month of Oct.-Nov. The festival celebrates the rich cultural heritage of Varanasi.

Apart from the excelent cultural programmes and country boat race, displaying of marital arts also takes place. The concluding day coincides with the unique traditional festival of Dev Deepavali (light festivel of Gods), when more than a million erthen lamps (Diyas) are lit on the Ghats of Ganga.

TOP

LIST of Fairs & Festivals in Banaras

Chaitra:- Bhadra:-

New-year(Vikram), Navratri Started Bheemchandi Darshan, Vishwalakshi Yatra

GunGaur, MatasyavtarKajari Teel Bahula Chautha(manasa Devi Puja)

Ram Raja MahotsavLalahi Chhatha, Halkhashthi-Balram Mahotsav

Suryakhashthi, SkandkhashthiKrishna Janashtami okulashtami, Nandotav, Durvashtami

Oli(Jain) Barah Awtar, Hartalika Teej, Barah Jainti

Ramnavami Thelwa Chautha, Ganesh utsaw

Mahavir Jainti (Jain) Rishi panchami, Bhartendu Jainti,

Hanuman JaintiLolarak Khashthi, Dev Khashthi, Krikunda Kajari Fair

Bashakh:-Sarohiya Fair, Sri Chadra Jainti, Dashawer vrata

Panchkroshi Yatra Vaman Dradawsi

Kachchap JaintiAnnat Chaturdasi, Ramleela Started, Ratan Trayvrata

Maha Prabhu Ballabhacharya JaintiNanadi Sradh, Lokpal Puja, UmaMaheshwer Vrata,

Amavas SatudanPritpaksh, Vishwakarma Puja, Lalita devi Yatra,

Chhatrapati Shiva Ji JaintiJeevit Putrika Vrata, Maha Lakshmi Darshan, Matri Navami,

Akshay Tritiya, Parshuram Jainti, Jhanjhaer Kshata Dan

Pritra visarjan, Mhalaya

Adi Shankeracharya Jainti Aswan:-

Ramanuja Charya Jainti Shardiya Navratri Started, shailputri Darshan,

Ganga Spatami, Shahanai DangalBraham Charani Darshan, ChitraGhanta Darshan,

Janki Jainti, Kuwer Singh Jainti Kushmada Darshan.

Narsingh Chaturdashi Skanda Mata Darshan, Upang Lalita Vrata,

Badhha Jainti, Kurma Jainti, Sarnath-Fair, Buddha Purmina

Katyayani Darshan, Akal Bodhan Puja, Kal Ratri darshan,

Jyeshtha:-Durga-Puja Utsav, Mahanisha Puja, Maha Gauri Darsha,

Fair- Jangi MiyaDurga-ji Fair, Sindha Puja, Sidhidhtri Darshan Mahanavami

But-Savitri, Briksh Puja, Badasait VrataVrata, Vijaya Dashami, Nilkantha darshan Shashtra Puja,

Ganga Dashahara, Birthday of Gaga, Gudia Visarjan

Shami puja, Ravan Badh, Durga Pratima Visarjan,

Nirjal Akadashi, Gangotsav, Deepotsav, Nakali Lathi Yudha

Madhwacharya Jainti, Dashahara, Bharatmelap

Bheemaseni (chhata, Juta, phal, Patra Dan)Kojagari, Maharas, Kaumuri Mahotsav, Sharad Puja,

Sant Kabir Jainti Balmiki Jainti, Lakshami Kuber Pujan.

Ashath:- Kartik:-

Rathyatra -Fair, Shankudhara-FairKarva Chautha, Nakkataiya (chetganj), Ahoi Ashtami,

Vishnu Shayani, Ekadashi, Guru Purima, Vedbyas darshan,

Radha Jainti, Krinshna Lela At Assi Ghat, Goverdhan Puja,

Shivashayanotsav.Dhanterash, Dhanwantri Jsinti, Kameshwer Jainti,

Shravan:-Samundra Manthan, Narak Chaturdashi, Kali Chaturdashi,

Thakurain TeejHanumant Jainti, Kedar Gauri Vrata, Devali, Lakshami Puja,

NagPanchamiMahavir Nirvan Divas, Annakuta Goverdhan Puja,

Balmik JaintiRamdwitiya, Bhaiyaduja, Chitragupta Puja, Suryakhashthi

Tulsi Jainti, Putra Akadashi, JhulontsavDala Chhatha, Nag-nathaiya at Tulsi ghat, Gopashtami,

Kajali Purima, Rakshabandhan, Akshya Navami(kahada Dan), Nagar Prikarama, Tulsi Byah,

Sarnath-Fair, Durga Ji-FairHari Prabodhani Akadashi, Devuthauni, Bhisham Panchak,

Marg-Shirsha:-Mahavinshnu Puja, Kartik Purima, Tripurotsav, GuruNanak

Guru Tej Bahadur Sahadat, Ram Vivah, Skand Khashthi,

Jainti, Rath-yatra(Jain), Mukki Dangal, Devdevali.

Champa Khashthi, Mitra Spatami, Surya Sptami, Nanda

Falgun:-

Navami, Gita Jainti, Lata Bhanta Fair, Dattatray Jainti,

Maha Shivratri, Rangbhari Ekadashi, Swarn Annapurna

Panchkroshi Yatra, Nagar PrikarmaDarshan, Govid Drawadashi, Holika Dahan, Holi Yatra,

Pausha:- Chaita:-

Parshwanath Jainti, Guru Govinda Sigh Jainti, Shakambhari

Dhul Vandan, Holi, Chausathi Darsan, Rang Panchami,

Jainti, Badri Narayan Puja, Veda byas Fair, Ganesh Chautha

Buthawa Mangal Fair, Gulab Vari Chaiti Mahotsav,

Bada Ganesh Fair, Ramanucharya Jainti, Vivekanand Jainti.

Vahji Fair-Varuni, Mahavirji, Maha Maha Varuni

Mauni Amawsaya.

Magh:-

Kunr Chauth, Timul Chauth, Basant Panchami, Sri Panchami

Serswati Puja, Takshak Puja, Basantotsav, Ratikamotsav,

Vagishweri Jainti, Achala, Spatmi, Rath Sptami,Bhanu Sptami

Maha Nanda Navmi, Hersubarm Fair, Lala Rajpath Rai Jainti

Guru Ravidass Ji Jainti, Maghi Purima, Kalpvas

 TOP

Varanasi has, since times immemorial, been hailed as a premier centre for some of the finest handicrafts. The most renowned craft of the city is Silk weaving. ‘Banarasi Sarees’ produced by local craftsman are among the most preferred, not only in India but across the world. Brassware, copperware, ivory work , glass bangles, wood, stone and clay toys and exquisite gold jewellery are some of the other crafts the city is famous for. Bhadohi Carpets and musical instruments are among the other shopping attractions.

 

 

 

 

 

    

 

List of Craftsman(Wood & Stone Works)

Name & Address of Craftsman Name of Product 2nd Floor, Vishwa Sadan Building

Janakpuri, New Delhi - 110 058 (INDIA) Phones : 91-11-25504163, 25504164, 25510223Fax: 91-11- 25504162, 25510917, 25526549 

Banaras Beads

E-mail : bbl@vsnl.com,bbil@bblindia.com    Website :http://www.bblindia.com/ 

Yogesh Agarwal , Varanasi Art Gallery  , Assi (Near Bhaidaini Puming Station) Varanasi        

 

Brass Works, Copper Works, Ivory, Stone Works

 

Ram Khelawan Singh, State Award, B-24/92 Kashmiri Ganj, Varanasi, Tel. 0542-2313004

Wooden Toys

Rameshwer Singh, B-24/49, Kashmiri Ganj, Varanasi, Tel. 0542-2310559 Wooden Toys

Sri Ram Prasad Prajapati, Merit Award, b-22/271-1, Kirahiya, Khojawa, Varanasi, Tel. 0542-2313049

Wooden Toys

Sri Godawari Singh, B-24/100, Kashmiri Ganj, Varanasi, Tel . 0542-2312184 Wooden Toys

Sri Ashok Kumar Singh, Merit Award, B-24/47-A, Kashmiri Ganj, Khojwa, Varanasi, Tel. 0542-2313479

Stone Works

Sri Shivpujan Jaiswal, B-22/19, Khojwa, Varanasi, Tel. 0542-2315247 Stone Works

Sri Govind Prasad, D-53/14-A-5B-2, Luxa, Varanasi, Tel. 0542-2359079 Stone Works

 HOME

BANARAS SARI AND BROCADES

      *  BROCADE

      *  BANARAS SILK JAMDANI

      *  JANGLA SAREE

      *  JAMAWAR TANCHOI SARI

      *  TISSU SAREE

      *  CUTWORK SAREE

      *  BUTIDAR SAREE

      *  DIVERSIFICATION OF TRADITIONAL PRODUCT

      *  MANUFACTURERS & DEALERS OF BANARASI SAREE Banaras is one of the rich weaving craft centre of India, famous for Brocade saris and

allover dress material. Exclusive varieties of the saris are Jangla, Tanchoi, Vaskat, Cutwork, Tishu, and Butidar which are made of silk warp and silk weft, on plain/satian ground base, brocaded with extra weft patterns in different layouts introducing Buties, Bells, creepers, Buttas in ground, border and Anchal for getting glamours appearance.

As in the History of the India Banaras is known since regveda about 1500 year 2000 year BC and also a period of Ramayana and Mahabharat come to know identical reference about the fame of Banarasi Sharee and Fabrics as known Hiranya Vastra (Putamber Vastra).

In the ancient time Banaras was famous for the weaving of cotton saree and dress materials, but slowly switched over to silk weaving, during the Moghal period around 14th century weaving of brocades with intricate designs using gold & Silver threads was the speciality of Banaras.

          BROCADE :-

Brocade refer to those textiles where in patterns are created in weaving by transfixing or thrusting the pattern-thread between the warp. In regular weaving the weft thread passes over and under the warp thread regularly. But when brocade designs in gold, silver silk or cotton threads are to be woven, special threads are transfixed in between by skipping the passage of the regular weft over a certain number of warp threads (depending upon the pattern) and by regularising the skipping by means of pre-arranged heddles for each type of patterning. There may be several sets of heddles so arranged that on different occasions, they raise and depress irregular number of threads in turn, as required by the exigencies of the pattern.

Zari-brocades-When gold and silver threads are use along with or without silk-threads, thrust either as special weft or warp to create glittering raised or-namentation. We have the Zari brocade kind of fabrics. When we talk of gold or silver threads. It is to be under stood that the gold,threads are actually only silver threads with gold polish and that these threads are obtained by closely winding extremely fine gold or silver wire around a silk thread.

According to Sir George Watt, When the gold and silver threads were used so densely that the ground was hardly visible, the material was kinkhab proper and was too heavy for clothing, it was therefore used for trappings, hangings and furnishing. Only that material in which the Zari patterns were scattered was true brocade. This was used for clothing.

          BANARAS SILK JAMDANI :-

The silk Jamdani, a technical variety of brocade or the 'figured muslin' ,traditionally woven in Banaras may be considered to be one of the finest products to come out of   the Banarasi loom. Here silk fabric is brocaded with cotton and rarely with zari threads. jamdani is woven by transfixing the pattern thread between a varying number of warp threads in proportion to the size of the designed then throwing the shuttle to pass the regular weft. By repeating this process, where in the size and placing of the cut-thread is in accordance with the character of the pattern, the Jamdani weaver produces arrange of intricate designs.

Some of the traditional motifs of Jamdani included Chameli (Jas mine), panna hazar (Thousand emeralds) genda buti (marigold flower)pan buti (leaf form) tircha (diagonally striped) etc. The most attractive design feature of the Jamdani sari was konia or a corner-motif having a floral mango buta.

It has own special character of (URTU) Binding in the figured disignes on ground fabrics using extra weft designs thread dampatch technique for the or namentation of the sharee. It is silk x silk base fabrics or-namented with extra looking and technique of weaving in karhuwan.

          JANGLA SAREE :-

Brocade weavers of Banares have often endeavoured to add a sense of gaiety and festivity by brocading patterns in colourful silk threads amidst the usual gold and silver motifs ;of the brocade convention. The present sari is an example in which muga

silk motifs have been in laid. Jangala wildly scrolling and spreading vegetation motif is among the eldest in Banares brocades. This old rose sari is embellished with beautifully contrasted gold-creepers and silver flowers of the Jangala motif.The borders have brocaded running creepers in muga silk and gold and silver-Zari threds.The end panel is a combination of motifs of the borders and condensed Jangala of the field. Muga silk brocading in-hances the beauty of the sari while reducing the cost. All over Jal Jangla design to get the stylish work of the sarees and also used mena work for the decoration of the fabrics. The exclusive design saree has time taking skilled work, costly fabrics are widely accepted during the wedding occassion.

          JAM WAR TANCHOI SARI :-

Using a technique similar to that of brocade, weavers of Banaras weave saris using colorful extraweft silk yarn for patterning . This varietyis known as tanchoi. This maroon-coloured sari in satin weave is brocaded with elaborate motifs from the Jamawar shawl tradition from Kashmir, the characteristic feature of which was paisley motif, often elaborated into a maze which would look kateidos-copic in character. The field has a densely spread minute diaper of Jamawar style paisley. The end panel has large motifs of multiple paisley forms-one growing out of the other. The border, as well as the cross-borders of the end panel, have miniature paisley creepers. Tanchoi fabric has remarkable fame in the India as well as all over in the world widely acceptable to all kind of the people.

          TISSU SAREE :-

The renowned Zari brocade weavers of Banaras has evolved a technique of weaving tissue material which looked like golden cloth. By running Zari in weft a combination of Zari and silk in extra-weft (pattern thread) and silk in warp, the weave of this sari has densely patterned with golden lotuses floating in a glimmering pond.The 'drops of water' are created by cut work technique. The borders and the end panel have a diaper of diamond patterns enclosed by a border of running paisley motifs. Tissue saris are most popular as wedding saris among the affluent. Tissue sari has glazed, shining character due to the use of real gold Zari/Silver Zari in weft on silk worp ground are ornamented with the particulars traditional design such as Jangla Butidar, Shikargah menadar etc.

          CUTWORK SAREE :-

This type of saree prepared by cut work technique on plain ground texture after removing of the floated thread which are not design (Woven) during the weaving process which provide good transparent look.

Cut work is the cheaper version of the Jamdani variety. In cut work the ;pattern is made to run from selvage to selvage letting it hang loosely between two motifs and the extra-thread is then cut manually, giving the effect of Jamdani.

          BUTIDAR SAREE :-

The most striking feature of this dark blue silken saree is that it is brocaded with pattern threads of gold, silver and silk. Due to darkar shade of gold and lighter of silver this variety of patterning in brocade is conventionally known as Ganga-Jamuna, indicating the confluence of these two river whose waters are believed to be dark and light receptively. The end panel has a row of arches, in each of which a bouquet of flowers is placed. A slightly smaller and variegated bouquet is diapered all over the field.

The butidar saree is a rich kind of the Banaras Saree in high traditional pattern and motiff of the design locally popularised such as Angoor Bail, Gojar Bail, Luttar Bail, Khulta bail, Baluchar bail, Mehrab bail, Doller butti,Ashraffi Butti, Latiffa Butti, Reshem Butti Jhummar Butti,Jhari Butta, Kalma Butti,Patti Butti, Lichhi Butti, Latiffa Butta, Kairy Kalanga Thakka Anchal, Mehrab Anchal, Baluchar Butta with the use of real gold and silver Jari and Katan silk in the weft.

          Diversification of Traditional Product:

Keeping in view to get global market, the need for the diversification of traditional Varanasi Sarees and dress material was felt long ago. Slowly but standly production of these items are gaining momentum. The main item which have been diversified are named below:-

1. Stole 22"*72"

2. Scarf 45"*90", 36"*36", 36"*90"

3. Muflar 11"*72", 10"*60"

4. Mats 16"*16", 18"*18"

5. Dress material Running

6. Furnishing Running

7. Wall Hanging Various diamention

8. Made ups like Curtain, cussion cover, Table cover, Napkins, Runners etc.

Since the fashion of the international Consumer changes time to time. Therefore making pace with the same the Handloom weavers have to switching over to the new type of products, keeping alive their traditional skills, for earning comparatively better wages. In the Banaras following localty are famous for weaving of different traditional Diversified products.

Madanpura, Reori talab, Bajardeeha, Ram Nagar, Lohta, Bari Bazar, Pili Kothi, Chittanpura, Doshipura and Lallapura etc.

Angika Hathkargha Vikas Udyog Sahkari Samiti Ltd.

      MANUFACUTERS & DEALERS of : BANARASI SILK SAREES & DRESS MATERIAL Address. 1/88. Gola Ghat, Ramnagar Varanasi-221008 Banarasi Silk Saree Tanchhua

Patola Warp - Katan ( Mulbery Silk) 20*22 Width - Katan ( Mulbery Silk) 20*22 Length of Saree - 5.50Mts-5.65Mts. Width of Saree - 45"-46" Colour - Fast Price - Rs.2700.00

Banarasi Silk Saree Tanchhuai Patala Warp - Katan ( Mulbery Silk) 20*22 Width - Katan ( Mulbery Silk) 20*22 Length of Saree - 5.50Mts - 5.65Mts Width of Saree - 45"-46" Colour - Fast Price - 2700.00

Silk Durje/ Table Cloth Warp - Katan (Mulbery Silk)  - Art Silk, Zari Length - .80Cm. Width - .75Cm. Colour - Fast Price - 400.00

Banarasi Silk Saree Patola Booti Warp - Katan (Mulbery Silk) 20*22 Width - Zarjet Length of Saree - 5.50Mts-5.65Mts Width of Saree - 45"-46" Colour - Fast Price - 1600.00

Diamand Silk Co-operative Society Ltd. Development Commissnor for Handioom Govt. of India (Ministry of Textiles) (Under Export Promotion Plans) Add. (Handloom Complex) J.11/63-101.Nati Imli Bunkar Colony Varanasi-221002

GRAND INDUSTRIAL CO_OPERATIVE SOCIETY ltd. Phone:2331555,2336036,2336376,-A.26/1-A-11.Hasanpura,Varanasi-221001.

M/s J. R. Ivory, Arts & Curios, D-20, Vishvanath Gali, Varanasi

M/s Chaudhary Brothers, Thatheri Bazar, Varanasi

M/s Mahalaxmi Sari House, 10, Chandrika Nagar Colony, Sigra , Varanasi

M/S Bhagwan Silks, S-10/86, Sarnath, Varanasi

1. Hand Embroidery with Brocaded Scarves 22"*72" Price - 450.00 P.M.

2. Banarsi Scarves 22"*72" Price - 400.00

3. Banarasi Scarves 22"*72" Price - 475.00

4. Crushed Tissue Scarves Length - 2.40Mts. Width - 36" Price - 475.00

5. Banarasi Scarves 22"*72" Price - 625.00

Diamond Silk Cooperative Society Ltd. Handloom Complex J.11/63-101 Nati Imli Bunkar Colony Varanasi-221002

Geographical Location:        Longitude: 83.0                 Latitude: 25.20

Geographical Area( 2001) in Sq. Km. : 1535 

Average Rainfall (2006): 244 m.m.   Actual

Temperature(2004-05) in Celcius       :       Max.:  47           Min.:4.5

Population(2001):Total: 31.3867 Lakhs         

          Urban: 12.6057 Lakhs      Rural: 18.7810 Lakhs  

Literacy (2001) in Lakhs :  Total:16.9440        Male: 10.5061       Female: 6.4379

No. of Tehsils:  Two   (Varanasi Sadar & Pindra)

No. of Development Blocks: Eight  (Kashi Vidyapeeth, Cholapur, Badagoan, Chiraigoan, Harahua, Pindra, Arajiline and Sevapuri)

No. of Naya Panchayat: 108       No. of Gram Panchayat : 696

Total Village: 1327             Habited: 1289           Inhabited : 38           Forest Village: 0

Town & Town Area:  11      Nagar Nigam: 1        Nagarpalika: 1         Cantt. area: 1

Nagar Panchayat : 2         Census Town: 6

Police Stations(2006-07): 25   Urban: 18                  Rural: 7

Post Offices(2006-07): 280          Urban: 135               Rural: 145   

Nationalised Bank branches (2006-07): 163           Others: 28                     Gramin Banks: 36      Co-operative bank: 14

 Education:(2006-07)

          University: Three (B.H.U., S.S.U. & K.V.P.)        

          Polytechnic: One (Govt. Girls Polytechnic)    

          Degree College: 14      Post Graduate College: 8      

          Higher Secondary School: 279     Senior Basic School: 662      Primary school: 1404     

          Industrial Training Institute : 3 (ITI, Chauka ghat Girls, boys & Karaundi)

          Teachers Training Institute : 1

Health (2006-07)

         Allopaethic Hospital:80              Aryuvedic Hospital:26          Unani Hospital:1                     

         Homeopathic:13

         Community Health Centre: 6      Primary Health Centre:30     Family welfare Centre: 41 

         Family welfare sub-centre:305

         Special Hospital:-      T.B. Centre: 2        Leprosy: 1          Infectious Disease : 1 Electrified Village( 2006-07): 911

Theaters (2006-07):22                    T.V. Centre: 1                     

 Ganga Aarti at Dasaswamedh ghat, close to Kashi Vishwanath Temple, is one of the prime

attractions of Varanasi. It starts just after sunset, with a bunch of young men choreographing to the

chantings, holding the lamps.

Preparations are on for the evening aarti

People start arriving at the ghats as early as 5pm. Dasaswamedh ghat becomes a hub of activity, with

people sitting and waiting for the aarti, buying flowers and other things from nearby shops or

performing pooja. I sat listening to an attractive old man who narrated Ramayana to a bunch of

tourists who were listening keenly. Several babas sat near the ghats, looking for donations.

Also see:

* Ganga Aarti in Rishikesh

* Ganga Aarti in Varanasi

People wait for the aarti to begin

As the aarti begins, men take their positions at the platform and begin swinging the lamp to the tune of

chantings.

Big lamps look beautiful after darkness sets in.

The choreography is excellent and worth seeing. But it also feels artificial in a devitional context. Like

anywhere else in India, loudspeakers rob the pleasantness of the evening.

Varanasi, the aged Kashi, is a city of pundits in orange shawls and wooden sandals; a city where the smoky haze

of funeral pyres blends with the sound of temple bells. For Varanasi is ground zero for Hindus who come here to

die in the hope of breaking out of the cycle of karma and re-birth. Carved out along the banks of river Ganges at

precisely the only place along its course where the river flows from the South to the North (in Hindu mythology

towards the abode of the Gods and hence the sanctity of the place). If Varanasi is the mortal frame of salvation,

then undoubtedly the stepped Ghats, nestling along the shimmering waters of Ganges, are its soul. People

define all the Ghats on the holy river as points on the divine cosmic road guiding to a hallowed destination. The

spectacular 4 km sweep of the Ghats is a unique sight, best viewed at dawn, in the soft first light, when the river

drenching the feet of these solitary stairs have a timeless appeal. A panorama unfolds from dawn to dusk, as a

steady stream of devotees  swelling to thousands on festival days  perform rituals by the Ganga. Indeed, if you

plan to spend your next holidays in India, blend yourself with the spiritual aroma of the revered Ghats of Varanasi

and add cream to your vacation cake.

Wrap Yourself In A Spiritual Shawl

Evening Ganges Aarti at dasashwamedh ghat, varanasi

Get up early and try to be at the Ghats at daybreak. The sight of the sun rising over the Ganga is spiritually

exhilarating. The Ghats are best approached by Dashashwamedha Ghat , where boats are available on hire.

Enjoy a boat cruise on the holy waters of Ganga to reach the nearby Manikarnika Ghat, one of Varanasi’s two

burning ghats (Harishchandra Ghat is the other one). It’s permanently lined with funeral pyres and bodies in

shrouds awaiting the final rites. Here the sacred waters is decorated with marigold flowers and ashes of sacred

hearts. If you haven’t had your fill of ghats, don’t worry  there are about a hundred ghats to choose from.

Hire a boat and start to Asi Ghat, where you can see the confluence of Asi and Ganga rivers. Close by is one of

Varanasi’s oldest ghats, named after Sant Tulsidas, composer of the great Indian epic, Ramcharitmanas and

near the great sage’s home. Puranic tales describe that the Apsaras, Gandharvas and Kinnars lived here, and

musical shows were held for the Gods. It is also believed that the Ramlila (story of Lord Rama's life) was staged

here for the first time. Cruise ahead to reach the Man Mandir Ghat, built by Sawai Jai Singh II of Jaipur. You can

check out one of his four Jantar Mantars and the massive sun dial, that might tell you your auspicious time.

In the evening, absolutely don’t miss the grand ‘aarti’ at Dasaashwamedh Ghat, conducted every sunset by five

white-robed priests. These five young men sway in seemingly choreographed movements, worshiping the river

goddess with incense, camphor, flowers and earthen lamps. Thousands of illuminated lamps are immersed in the

waters of the holy Ganges and the floating lamps add a divine look to the river at dusk. Sit with some ‘sadhu’ and

enjoy knowing their lifestyle from close proximity. You might even run into some one who is more than 100 years

old! The Ghats also provide a good option for photography with serene temples and their bustling courtyards

creating a perfect backdrop.

Culture of Varanasi

The art and culture of Varanasi is exceptional. To be in Varanasi is an experience in itself and experience in Self

discovery an ethereal oneness of the body and soul. To every visitor, Varanasi offers a breathtaking experience. It is the rich cultural tradition of Varanasi that makes it the cultural capital of India. A combination of archaeology, mythology, geography, art and history makes Varanasi a great center of Indian culture.

Varanasi is associated mainly with Hinduism and Buddhism but one can find glimpses of many other religious beliefs, types of worship and religious institutions at Varanasi. It is amazing to see the primitive worship cults being practiced at Varanasi.

Varanasi is a storehouse of Indian art and culture. It has a rich and unique style of art forms and folk art. Varanasi is the land where experience and discovery reaches the ultimate bliss. Varanasi is also renowned for its rich tapestry of music, arts, crafts and education. Some of the world- renowned exponents India has produced in these fields were schooled in the Varanasi tradition and origins. Varanasi is home to numerous universities, college, schools, Madarsas and Pathshalas. Varanasi presents a unique social and cultural fabric. Cultural and linguist pluralism and various ethnic groups are so very eternal to the holy city, Varanasi. At Varanasi one gets to explore the city of affluence, intellectuals, oral traditions, castes and customs, personalities, professions and communal harmony.

The culture of Varanasi is deeply associated with the river Ganga and its religious importance. It is considered to be the holy river which can wash away your sins.Music, drama and entertainment are all synonymous with Varanasi. Benaras has long been famous for its music, both vocal and instrumental and has its own dance traditions. Varanasi also has a very rich stock of folk music and drama, fairs and festival and the rich tradition of akharas, games and sports.

Probably due to its unique culture, Varanasi is a major tourist destination for foreign tourists in India