Travel Bucket List: India – Consolidated List of all States

As I started planning my travel, I started relying on my research for where to go and found it slightly ungainly to search through all the material I have to reach a specific destination. So here’s a consolidated list of all Indian states, in alphabetical order with the cities and towns next to each part which makes it easier to get to the place you are interested in.

Photo by Ravigopal Kesari on Unsplash

Andaman and Nicobar Islands
Part 1 – Introduction and Overview
Part 2 – Port Blair
Part 3 – Corbyn’s Cove Beach, Wandoor Beach, Viper Island, Ross Island, North Bay Island, Red Skin Island, Middle Andaman Island, Long Island, Baratang Island, Parrot Island, North Passage Island, Guitar Island
Part 4 – Aves Island, North Andaman Island, Diglipur, Stewart Island, Ross & Smith Island, Jolly Buoy Island, Havelock Island
Part 5 – Neil Island, South Andaman Island, Rutland Island, Little Andaman Island, Cinque Island, Barren Island, Narcondom Island, Kathchal Island, Campell Bay & Indira Point
Part 6 – Mahatma Gandhi Marine National Park, Chidiya Tapu, The Chidiya Tapu Biological Park, Mount Harriet National Park, Saddle Peak National Park, Campbell Bay National Park, Galathea National Park, Middle Button Island National Park, North Button Island National Park, South Button Island National Park

Photo by Gowrisha CV on Unsplash

Andhra Pradesh
Part 1: Introduction and Overview, Vishakhapatnam
Part 2: Araku Valley, Vizianagaram, Annavaram, Samalkot, Kakinada, Rajahmundry
Part 3: Amaravathi, Vijayawada, Machilipatnam
Part 4: Guntur, Chirala, Nagarjunakonda, Srisailam, Cumbum, Nellore
Part 5: Kurnool, Mantralayam, Gandikota, Tadipatri, Anantapur, Puttaparthi
Part 6: Lepakshi, Horsley Hills, Chittoor, Srikalahasthi, Tirupati

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Arunachal Pradesh
Part 1: Introduction and Overview, Itanagar, Bhalukpong
Part 2: Bomdila, Tawang
Part 3: Ziro, Yinkiong, Mechuka, Roing, Tirap
Part 4: Khonsa, Changlang, Miao, Anini, Pasighat, Aalo, Daporijo, Anjaw, Tezu

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Assam
Part 1: Introduction and Overview, Guwahati, Dispur
Part 2: Kokrajhar, Bongaigaon, Goalpura, Barpeta, Nalbari, Hajo, Sualkuchi
Part 3: Darrang, Mayong and Morigaon, Nagaon, Tezpur, Jorhat
Part 4: Sivasagar, Majuli, Dhemaji, Dibrugarh, Tinsukia, Digboi
Part 5: Sadiya, Haflong, Jatinga, Diphu, Karimganj, Hailakandi, Silchar
Part 6: Raimona National Park, Manas National Park, Orang National Park, Kaziranga National Park, Nameri National Park, Dibru Saikhowa National Park, Dihing Patkai National Park

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Bihar
Part 1: Introduction and Overview
Part 2: Patna
Part 3: Hajipur, Nalanda
Part 4: Rajgir, Sasaram, Kaimur
Part 5: Bodh Gaya, Vaishali
Part 6: Muzzafarpur, Sitamarhi, Madhubani, Lauriya Nandangarh, Bhagalpur, Valmiki National Park Tiger Reserve and Wildlife Sanctuary

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Chhattisgarh
Part 1: Introduction and Overview, Raipur, Champaran
Part 2: Bhilai, Durg, Rajnandgaon, Chirmiri, Madku Dweep, Bhoramdeo Temple, Guru Ghasidas National Park
Part 3: Achanakmar Tiger Reserve, Bilaspur, Raigarh, Korba, Ambikapur, Barnawapara Wildlife Sanctuary, Mainpat, Malhar
Part 4: Mahasamund, Sirpur, Rajim, Jagdalpur, Dhamtari, Dhamtari, Dantewada, Kanger Ghati National Park

Dadra and Nagar Haveli and Daman and Diu
Part 1: Introduction and Overview, Daman
Part 2: Diu
Part 3: Dadra and Nagar Haveli

Delhi
Part 1: Introduction and Overview, India Gate, Red Fort, Qutub Minar, Jantar Mantar, Rajghat
Part 2: Iron Pillar, National War Memorial, Rajpath, Rashtrapati Bhavan, Agrasen Ki Baoli, Ghalib Ki Haveli, Alai Darwaza/Minar, Bhool Bhulaiya ka Mahal, Purana Qila,
Part 3: Tughlaqabad Fort. Siri Fort, Feroza Kotla Fort, Swaminarayan Akshardham Temple, ISKON Mandir, Birla Temple, Chhatrapur Temple, Kalkaji Temple, Kali Bari Temple, Yogmaya Temple, Sri Digambar Jain Lal Mandir, Lotus Temple
Part 4: Jama Masjid, Quwwat-ul-Islam Mosque, Fatehpuri Masjid, Jamali Kamali Mosque and Tomb, Nizamuddin Dargah, Humayun’s Tomb, Safdarjung’s Tomb, Isa Khan’s Tomb, Hijron ka Khanqah, Nicholson Cemetery
Part 5: Gurudwara Bangla Sahib, Gurudwara Sis Ganj Sahib, Rakab Ganj Gurdwara, Sunder Nursery, Lodhi Gardens, Garden of Five Senses, National Rose Garden, Mehrauli Archaeological Park, Pradhanmantri Sangrahalaya, National Museum, Nehru Memorial Museum and Library, Rashtrapati Bhavan Museum, Indian War Memorial Museum, National Handicrafts Museum
Part 6: Indira Gandhi Memorial Museum, Sanskriti Museums, Charkha Museum, Sulabh International Museum of Toilets, Shankar’s International Dolls Museum, Museum of Archaeology, National Railway Museum, Museo Camera, National Gallery of Modern Art, Kiran Nadar Museum of Art, Museum of Illusions, National Zoological Park, National Bal Bhavan, Connaught Place, Chandni Chowk, Dilli Haat, Sarojini Market, Lajpat Nagar, Majnu ka Tila, Pragati Maidan

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Goa
Part 1: Introduction and Overview
Part 2: North Goa, Vagator Beach, Anjuna Beach, Calangute Beach, Sinquerim Beach, Candolim Beach, Arambol Beach, Mandrem Beach, Morjim Beach, Miramar Beach, Siridao Beach, Bogdeshwara Temple, Mangeshi Temple, Mahalaxmi Temple, Fort Aguada, Chapora Fort, Reis Magos Fort, Basilica of Bom Jesus, Church of Our Lady of Immaculate Conception, Chapel of St. Catherine, Church of Mae De Deus, Goa State Museum, Houses of Goa Museum, Museum of Christian Art, Casino Palms, Chorao Island, Harvalem Waterfalls
Part 3: South Goa, Butterfly Beach, Betalbatim Beach, Agonda Beach, Mobor Beach, Hollant Beach, Palolem Beach, Cansaulim Beach, Colva Beach, Talpona Beach, Kakolem Beach, Benaulim Beach, Our Lady of Remedios Church, Saviour of the World Church, St. Alex Church, Shantadurga Temple, Tambdi Surla Mahadev Temple, Chandreshwar Bhoothnath Temple, Naval Aviation Museum, Goa Chitra Museum, Big Foot Museum, The Grande Island, Pequeno Island, Bhagwan Mahaveer Wildlife Sanctuary, Netravali Wildlife Sanctuary, Cotigao Wildlife Sanctuary, Dudhsagar Falls, Bamanbudo Waterfalls, Netravali Bubbling Lake, Cabo de Rama Fort, Chandor

Gujarat
Part 1: Introduction and Overview
Part 2: Surat, Vapi, Udvada, Valsad, Bilimora, Navsari, Bharuch, Saputara
Part 3: Ahmedabad, Lothal, Vadodara, Anand
Part 4: Gandhinagar, Patan, Mehsana, Palanpur
Part 5: Rajkot, Jamnagar, Dwarka, Porbandar, Junagadh, Bhavnagar, Palitana,
Part 6: Kutch, Bhuj, Mandvi, Rann of Kutch, Anjar

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Haryana
Part 1: Introduction and Overview, Gurugram, Manesar, Sohna
Part 2: Faridabad, Nuh, Murthal, Rohtak, Meham
Part 3: Hisar, Panipat, Karnal
Part 4: Kurukshetra, Ambala
Part 5: Panchkula, Morni Hills, Narnaul

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Himachal Pradesh
Part 1: Introduction and Overview, Shimla, Kufri, Fagu, Theog, Hatkoti Valley, Chanshal Valley
Part 2: Chail, Solan, Barog, Nahan, Sirmour, Paonta Sahib, Shoghi, Kasauli, Arki, Nalagarh, Dadasiba, Bilaspur, Dalhousie,
Part 3: Kangra, Khajjiar, Bharmour, Chamba, Tattapani, Jalori Pass, Jibhi, Mandi
Part 4: Trithan Valley, Bhuntar, Sainj Valley, Barot, Bir Billing, Palampur, Kasol, Nagar, Manikaran Sahib, Tosh, Parvati Valley
Part 5: Kullu, Manali, Dharamsala, McLeodganj
Part 6: Keylong, Pin Valley National Park, Spiti Valley, Narkanda, Mashroba, Kinnaur, Sarahan, Sangla Valley, Kalpa, Pangi Valley, Nako

Jammu & Kashmir and Ladakh
Part 1: Introduction and Overview, Kashmir, Srinagar, Gulmarg, Sonmarg, Pahalgam, Amarnath, Pulwama, Kupwara, Poonch, Anantnag, Baramulla, Dachigam National Park
Part 2: Jammu, Patnitop, Rajouri, Udhampur, Kathua, Katra, Vaishno Devi, Kishtwar
Part 3: Ladakh, Leh, Leh Palace, Thiksey Gompa, Pangong Lake, Magnetic Hill, Nubra Valley and Khardung La Pass, Kargil, Drass, Hemis High Altitude Wildlife Sanctuary, Lamayuru, Lake Tso Moriri

Photo by Aryan Singh on Unsplash

Jharkhand
Part 1: Introduction and Overview, Ranchi
Part 2: Hazaribagh, Bokaro Steel City
Part 3: Jamshedpur, Neterhat
Part 4: Dhanbad, Shikarji, Deoghar, Dumka

Karnataka
Part 1: Introduction and Overview
Part 2: Bengaluru
Part 3: Mysuru, Mangalore, Belgaum
Part 4: Hubli-Dharwad, Gulbarga, Bidar, Badami, Bijapur, Hassan, Shimoga, Hampi, Sharavathi Valley Wildlife Sanctuary, Bhadra Wildlife Sanctuary, Brahmagiri Wildlife Sanctuary, Nagarhole National Park, Bandipur National Park, Ranganathittu Bird Sanctuary, Jog Falls, Shivanasamudra Falls, Kodasalli Backwater
Part 5: Coorg, Chikmagalur, Sakleshpur, Kudremukh, Kemmanagundi, Kotagiri, Masinagudi, Devarayanadurga, Karwar, Devbagh, Kumta, Netrani Island, Murudeshwar, Maravanthe, St. Mary’s Island, Udipi
Part 6: Udipi, Kollur, Sringeri, Dharmasthala, Horanadu, Talakadu, Belur, Shravanbelagola, Gokarna, Murudeshwar, Koodli, Srirangapatna, Pattadakal, Aihole, Kalasa

Kerala
Part 1: Introduction and Overview
Part 2: Kasaragod, Kannur, Kozhikode
Part 3: Wayanad, Mallapuram, Palakkad
Part 4: Thrissur, Ernakulam, Alappuzha
Part 5: Kottayam, Idukki, Patanamthitta
Part 6: Kollam, Tiruvanathapuram

Photo by Sachin Benny on Unsplash

Lakshadweep Islands
Part 1: Introduction and Overview
Part 2: Aminidivi, Cora Divh, Sesostris Bank, Bassas de Pedro, Cherbaniani Reef, North Islet, Byramgore Reef, Chetlat Island, Bitra Par, Kilthan Island, Kadmat Island, Kadmat Beach, Elikalpeni Bank, Perumal Par, Amini Island
Part 3: Laccadive, Amindivi, Agatti Island, Bangaram, Pakshipitti, Andrott Island, Kavaratti, Kalpeni, Suheli Par
Part 4: Minicoy, Maliku Atoll, Investigator Bank, Viringili

Madhya Pradesh
Part 1: Introduction and Overview
Part 2: Bhopal
Part 3: Indore, Ujjain, Alampur
Part 4: Maheshwar, Omkareshwar, Mandu, Burhanpur
Part 5: Chanderi, Shivpuri, Orchha, Khajurao
Part 6: Gwalior, Jabalpur, Bhedaghat, Panchmarhi, Amarkantak, Bandhavgarh National Park, Kanha National Park, Pench National Park

Photo by Raj Rana on Unsplash

Maharashtra
Part 1: Introduction and Overview, Mumbai
Part 2: Pune
Part 3: Matheran, Lonavala, Khandala, Rajmachi, Lavasa, Kamshet, Mahabaleshwar, Panchgani, Kaas Plateau, Maval, Bhandardara, Chikhaldara, Bhimashankar
Part 4: Amravati, Aurangabad, Ajanta and Ellora Caves, Lonar, Chiplun, Kolhapur, Nagpur, Nanded, Nashik, Triambakeshwar, Shirdi, Shani Shinganapur, Raigad, Ratnagiri, Satara
Part 5: Dahanu, Alibaug, Kashid, Diveagar, Harihareshwar, Murud, Karade, Ganpatipule, Tarkarli, Vengurla, Tadoba National Park, Bhamragarh Wildlife Sanctuary, Chandoli National Park, Gugumal National Park, Navegaon National Park, Malvan Marine Sanctuary, Rehekuri Blackbuck Sanctuary

Photo by WAIKHOM JAMES on Unsplash

Manipur
Part 1: Introduction and Overview, Imphal
Part 2: Moirang, Tamenglong, Thoubal
Part 3: Chandel, Tengnoupal, Moreh, Kaina, Ukhrul, Mount Koubru, Baruni Hill, Thangjing Hill, Sadu Chiru Waterfall

Photo by Utkarsh B on Unsplash

Meghalaya
Part 1: Introduction and Overview
Part 2: Shillong
Part 3: Mawphlang, Cherrapunji, Nongpoh, Mawsynram
Part 4: Jowai, Mawlynnong, Dawki, Balpakram National Park, Williamnagar, Baghmara, Tura
Part 5: Khasi Hills, Jaintia Hills, Garo Hills

Mizoram
Part 1: Introduction and Overview, Aizwal, Falkawn Village
Part 2: Reiek, Hmuifang, Kolasib, Tamdil or Tam Lake, Mamit, Vantawng Falls, Serchhip
Part 3: Dampa Tiger Reserve, Lunglei, Champhai
Part 4: Murlen National Park, Phawngpui, Phawngpui National Park, Saiha,

Photo by Suraj Jadhav on Unsplash

Nagaland
Part 1: Introduction and Overview, Dimapur
Part 2: Kohima
Part 3: Mokokchung, Tuensang, Phek, Mon, Pfutsero

Odisha
Part 1: Introduction and Overview, Bhubaneshwar, Dhauli
Part 2: Cuttack, Rayagada, Daringbadi, Berhampur, Jeypore
Part 3: Puri, Baripada, Sambalpur, Rourkela
Part 4: Konark, Paradeep, Gopalpur, Chandipur
Part 5: Lake Chilika, Tikarpada Wildlife Sanctuary, Satkosia Tiger Reserve, Bhitarkanika National Park & Wildlife Sanctuary, Simlipal National Park, Duduma Waterfalls, Chandaka Forest, Kotgarh Elephant Reserve, Karlapat Wildlife Sanctuary

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Puducherry
Part 1: Introduction and Overview, Puducherry
Part 2: Karaikal, Mahé, Yanam

Photo by Prerna Sharma on Unsplash

Punjab
Part 1: Introduction and Overview
Part 2: Chandigarh, Sirhind
Part 3: Rupnagar, Patiala
Part 4: Ludhiana, Bhatinda
Part 5: Jalandhar, Kapurthala
Part 6: Pathankot, Amritsar

Rajasthan
Part 1: Introduction and Overview, Jaipur, Udaipur
Part 2: Jodhpur, Jaisalmer, Sawai Madhopur, Pushkar

Photo by Apurba Nag on Unsplash

Sikkim
Part 1: Introduction and Overview
Part 2: Gangtok
Part 3: Tinkitam Rayong, Namchi, Barsey Rhododendron Sanctuary, Kabi Longstok, Tendong Hill, Aritar, Zuluk, Pangolakha Wildlife Sanctuary, Pelling, Yuksom, Ravangla
Part 4: Maenam Wildlife Sanctuary, Geyzing, Yangtey, Borong, Mangan, Chopta Valley, Lachung, Lachen, Yumthang Valley, Thangu Valley, Gurudongmar Lake, Cholamu Lake, Shingba Rhododendron Sanctuary, Khangchendzonga National Park, Fambong Lho Wildlife Sanctuary, Goecha La

Tamil Nadu
Part 1: Introduction and Overview, Chennai
Part 2: Coimbatore, Tiruchirappalli, Tiruppur, Tirunelveli
Part 3: Ooty, Kodaikanal, Yercaud, Coonoor, Yelagiri, Bellikkal
Part 4: Kanchipuram, Tiruvannamalai, Chidambaram, Vaitheeshwaran Kovil,
Part 5: Kumbakonam, Thanjavur, Swamimalai, Rameshwaram, Madurai
Part 6: Mahabalipuram, Kanyakumari, Mudumalai Wildlife Sanctuary, Hogenakkal Falls, Kutralam Falls

Photo by Aman Upadhyay on Unsplash

Telangana
Part 1: Introduction and Overview, Hyderabad Part 1
Part 2: Hyderabad Part 2
Part 3: Secunderabad
Part 4: Warangal, Nizamabad
Part 5: Khammam, Karimnagar, Adilabad, Mahbubnagar, Medak
Part 6: Nalgonda, Bhadrachalam, Koti Linga, Somasila, Vemulawada

Tripura
Part 1: Introduction and Overview
Part 2: Agartala
Part 3: Kailashahar, Unakoti, Udaipur, Ambassa, Pilak Archaeological Sites, Chabimura, Mahamuni Pagoda, Manubankul, Buddhist Stupa, Boxanagar
Part 4: Baramura Eco Park, Kalapania Nature Park, Tepania Eco Park, Khumulwang Eco Park, Jampui Hills, Dumboor Lake, Dhalai, Rudrasagar Lake, Sepahijala Wildlife Sanctuary & Clouded Leopard National Park, Trishna Wildlife Sanctuary, Rajbari National Park, Rowa Wildlife Sanctuary, Gomati Wildlife Sanctuary

Uttar Pradesh
Part 1: Introduction and Overview, Noida, Loni, Ghaziabad, Meerut, Muzzafarnagar
Part 2: Hastinapur, Vrindavan, Mathura
Part 3: Fatehpur Sikri, Agra, Garhmukteshwar
Part 4: Aligarh, Firozabad, Jhansi, Piilbhit, Bithoor, Naimisharanya
Part 5: Kanpur, Lucknow
Part 6: Ayodhya, Sravasti, Prayagraj
Part 7: Chitrakoot, Vindhyachal, Varanasi, Sarnath, Kushinagar

Photo by Akshay syal on Unsplash

Uttarakhand
Part 1: Introduction and Overview, Dehradun
Part 2: Mussoorie, Dhanaulti
Part 3: Auli, Joshimath, Chopta, Tungnath, Ukhimath, Lansdowne, Nainital
Part 4: Sattal, Bhimtal, Naukuchiatal, Kausani, Ranikhet, Almora, Binsar, Jalna, Kasar Devi, Jageshwar, Champawat, Munsiyari, Pithorgarh
Part 5: Bageshwar, Chamoli, Mana, Badrinath, Pandukeshwar, Hemkund Sahib, Kedarnath, Gomukh, Madhyamaheshwar, Gangotri, Gauri Kund, Yamunotri
Part 6: Rudranath, Guptakashi, Nandprayag, Rudraprayag, Devprayag, Rishikesh, Haridwar, Roopkund Lake, Nelong Valley, Gangotri National Park, Kedarnath Wild Life Sanctuary, Valley of Flowers, Nanda Devi National Park, Govind Pashu Vihar Wildlife Sanctuary, Rajaji National Park, Jim Corbett National Park

West Bengal
Part 1: Introduction and Overview, Kolkata
Part 2: Howrah, Barrackpore, Chandan Nagar, Chinsurah, Bardhaman, Haldia, Midnapore
Part 3: Shantiniketan, Durgapur, Jhargram, Asansol, Murshidabad, Mukutmanipur, Malda, Siliguri, Jalpaiguri, Cooch Behar, Bagdogra
Part 4: Kurseong, Mirik, Darjeeling, Tinchuley, Dooars, Kalimpong
Part 5: Rishyap, Lava and Lolegaon, Buxa Tiger Reserve, Rajabhatkawa, Jaldapara National Park, Jaldhaka, Chapramari Wildlife Sanctuary, Gorumara National Park, Neora Valley National Park, Lataguri, Purulia, Sonajhuri Forest, Deulti, Sundarbans, Mayapur, Nabadwipa, Bakreswar
Part 6: Bankura, Bishnupur, Jayrambati, Kamarpukur, Tarapith, Falta, Raichak, Taki, Piyali Island, Machranga Dwip, Kakdwip, Mousuni Island, Bakkhali, Junput, Mandarmani, Tajpur, Shankarpur

Fabrics and Sarees of India Part 2

In this part, we continue to check out more fabrics and sarees across India.

Karnataka

Ilkal Sarees: Known because it is produced in the town of Ilkal, an ancient weaving centre since the 8th century, the uniqueness of the Ilkal saree is in the joining of the body warp with the pallu warp with a series of loops locally called the tope teni technique. The border colour is very dominating and is usually red or maroon. The distinctive feature of the Ilkal saree is the use of a form of embroidery called Kasuti. The designs used in Kasuti reflect traditional patterns like palanquins, elephants, and lotuses which are embroidered onto the saree. The main body design is usually made up of squares and rectangles. The Ilkal saris are woven using cotton warp on the body and art silk warp for the border and pallu portion. In some cases instead of art silk, pure silk is also used. The Tope Teni seragu has been regarded as a state symbol and was greatly respected during festival occasions. The sarees that are made for bridal wear are made of a particular colour called Giri Kumukum which is associated with the sindoor worn by the wives of the priests in this region. The weaving of the Ilkal saree is a household enterprise involving the participation of female members. One Ilkal saree takes about seven days to weave and are produced on pit looms.

Mysore Silk: One of Karnataka’s most famous exports, the Mysore silk is synonymous with the city of Mysuru and the silk factory was founded in 1912 by Sri Nalvadi Krishnaraja Wodeyar, the Maharaja of Mysore. Initially, the silk fabrics were manufactured & supplied to meet the requirements of the royal family and ornamental fabrics to their armed forces. After Indian independence, the Mysore State Sericulture Dept took control of the silk weaving factory. The saree zari contains 65% pure silver and 0.65% of gold, which is also the most distinct feature of the saree, along with the use of genuine silk that gives it a natural sheen and rich texture. Karnataka produces almost 45% of the country’s mulberry silk. Mysore silk has also received geographical identification. Mysore Silks are also one of the most expensive silk sarees in India and this has led to the production of duplicate Mysore silk saree production and sales. To avoid these issues, KSIC has implemented a unique ID, hologram-based design, and unique identification barcodes woven on each saree produced.

Kerala

Kasavu Saree: Symbolic of Kerala’s tradition and culture, the traditional Kasavu saree was made by hand from cotton yarn with borders made of golden threads. Believed to have originated in the Buddhist era, the white and gold sarees are unique due to their natural hues, texture and gold border which adds to their elegance. No occasion in Kerala feels complete without the Kasavu saree. The term kasavu refers to the zari or gold thread used in the border of the saree and the name comes from a material used in the weaving and production of these sarees. The origin of the kasavu saree can be traced back to when women would wear a two-piece cloth called settu mundu, more popularly known as the mundum neriyathum. The mundum neriyathum rose in popularity during the Buddhist era, and its design has been inspired by the Greco-Roman attire, Palmyrene, a long piece of unstitched cloth with a coloured border.

The identity of the saree comes from the geographical cluster they are associated with. The Indian government has identified three clusters in Kerala – Balaramapuram, Chendamangalam and Kuthampully – that have been given a Geographical Indication or GI tag and all three clusters produce kasavu sarees. A plain saree with a simple border takes roughly around three to five days. Ones with motifs and heavier work take longer than that. The sarees are priced depending on the time taken on their production, along with the gold used in the zari or kasavu.

Madhya Pradesh

Chanderi: Emerging between the 2nd and 7th centuries, Chanderi sarees are produced from three types of fabrics – pure silk, cotton and silk cotton and are synonymous with the town of Chanderi which is on the boundary of Malwa and Bundelkhand. In the 11th century, the trade locations between Malwa, Medwa, central India and south Gujarat increased the region’s importance. Around 1350, Koshti weavers from Jhansi migrated to Chanderi and settled there and the textile business of Chanderi reached its peak during the Mughal period. Traditional coin, floral art, peacocks and modern geometric designs are woven into different Chanderi patterns. The saris are among the finest in India and are known for their gold and silver brocade or zari, fine silk, and opulent embroidery.

Maheshwari: Originating from the town of Maheshwar, the Maheshwari saree is made of silk and cotton in a variety of designs woven using brocade and zari. Dating to the 18th century, the sarees were initially made of pure silk, but over time, cotton also came to be used. An interesting story behind the origin of these sarees is that a famous queen had once ordered a large number of artisans and craftsmen from Surat and Malwa to design a unique saree of 9 yards, later termed the Maheshwari saree. These cloth pieces were used as special gifts for the royal guests of the palace. A unique feature of the Maheshwari saree is that each has a specific name of its own, which indicates its distinctness. The sarees may be plain at the centre and have neatly designed borders, or they may have different variations of stripes and checks. The sarees fall under 5 broad categories namely Chandratara, Chandrakala, Beli, Baingani Chandrakala and Parbi. The Baingani Chandrakala and Chandrakala are plain ones, while the Beli, Chandratara, and Parbi come with stripes or checks.

Maharashtra

Karvati: Hailing from the Vidarbha region, Karvati silks are made from Tussar with a grainy, textural feel. What is unique about the silk used in Karvati saris is that it is exclusive to this specific region that is rich in high-quality silk cocoons, straight from the wild. The tribes hailing from this area assume the responsibility of protecting the silk cocoons until they are ready to be harvested. The Tussar is unlike any other silk; it has a unique shade of deep yellow-brown.

The word karvat is a Marathi term that refers to a saw-tooth pattern. Karvati is the name lent to the style of the border rather than the fabric itself. What is different about the saree is the technique and the mixed usage of yarn. The border is woven out of mercerized cotton yarns with traditional temple motifs of various sizes, using an extra warp while the rest of the sari is woven using pure, hand-reeled Tussar silk which provides a texture that has irregular stubs all over. The saree is woven using a three-shuttle, tapestry style of weaving with a pit loom mounted with a wooden lattice dobby in the Nagpur style on the top of the loom. This means that it uses three different styles of weaving at the same time.

Paithani: Dating to the Satvahana Dynasty that ruled between the second century BC and the second century AD, Paithani sarees are fine silk handloom sarees get their name from the town in which they originated, Paithan in Aurangabad. Available in both six and nine yards, the most interesting part about the Paithani handloom is that both sides of the saree look the same, including the border and the pallu. This feature is the telltale sign of a handloom Paithani. As Paithani sarees are woven from naturally dyed threads, they can usually be found only in basic colours. Each saree usually has two dominating colours, one on the saree and the other on the border and pallu. The Paithani is characterised by borders of an oblique square design, and a pallu with a peacock design. Among other varieties, single-coloured and kaleidoscope-coloured designs are also popular. The kaleidoscopic effect is achieved by using one colour for weaving lengthwise and another for weaving width-wise.

The Paithani is a sari made of silk and zari with a plain weave, with weft figuring designs according to the principles of the tapestry. Traditionally, Paithanis had coloured, cotton muslin fields that often contained considerable supplementary zari patterning. However, in the 19th century, silk fields were also woven. Due to its proximity to the Ajanta caves, the influence of Buddhist paintings can be seen in the woven Paithani motifs. These sarees are made of silk in which there is no extra weft forming figures. Weaving could take between 18 and 24 months, depending upon the complexity of the design. In the days of Peshwas, the borders and the pallu were made of pure gold mixed with copper to give it strength spun into a fine wire called the zari. In recent times, zari is made of silver, coated with gold plating. In the border woven with a zari, ground-coloured silk patterns are added as supplementary weft inlay against the zari usually in the form of a flower or a creeping vine.

Odisha

Bomkai: Also known as the Sonepuri Saree, the Bomkai Saree is a handloom saree from the Bomkai village and has a GI tag. Usually made of cotton, these sarees are also made of silk for special occasions. During the time of Ramai Dev the then ruler of Patna, it was introduced in Sonepur. The borders and pallus are usually designed with fishes as it is believed to be a sign of success and affluence. The sari is normally dyed in red, black and white.

Khandua: A traditional bandha or ikat saree, Khandua is also known as Maniabandi or Kataki and is worn during weddings with a special type of fabric worn by Lord Jagannath which contain texts of the Geeta Govinda on them. The word Khandua in Odia translates to the cloth worn in the lower half of the body. Traditionally Kentuli Khandua is offered to Jagannath as lower cloth. The weaver communities of Maniabandha and Nuapatana of Cuttack traditionally wove this kind of fabric and during the rule of the Gajapatis, the sarees were made and transported to the Jagannath Temple. Nilakantha Deva, the King of Badakhemundi was offered khandua sari made of one piece of khandua silk called caukandika. Khandua is traditionally red or orange in colour with the red colour prepared naturally from the sal tree. The design motif has an auspicious elephant that represents Buddha surrounded by a trailing vine with peacocks in it, a large many-petaled flower, an animal  unique to Orissa known as Nabagunjara. The elephant in Khandua ikat from Nuapatana usually varies from elephant motives in ikat from the Sambalpuri saree as well as the ikat from other parts of Orissa. The Khandua has plain borders contrary to borders with motifs in the case of the other ikats from the state.

Pasapali: Also known as the Saktapar, the Pasapali saree is a bandha or Ikat handloom sari woven mainly in the Bargarh district. The name Pasapali is derived from pasa or gambling games using a chess board and these sarees have intricate check patterns of contrasting colours resembling the chess boards which gives it its name.

Sambalpuri: A traditional handwoven ikat where the warp and the weft are tie-dyed before weaving, the Sambalpuri saree is known for its incorporation of traditional motifs, all of which have deep symbolism in red, black and white that represent Odia culture. The high point of these sarees is the traditional craftsmanship of the Bandhakala, or the tie-dye art reflected in their intricate weaves, also known as Sambalpuri Ikkat. In this technique, the threads are first tie-dyed and later woven into a fabric, with the entire process taking many weeks. These sarees also have a Geographical Indication or GI tag associated with them. Traditionally, craftsmen created the ikats with images of flora or fauna or with geometrical patterns, but recently the ikats depict portraits and landscapes are also being designed. The unique feature of this form of designing is that the designs are reflected almost identically on both sides of the fabric. Once the fabric is dyed it can never be bleached into another colour. It is believed that this art migrated to western Odisha along with the Bhulia community who fled north India in 1192 after the fall of the Chouhan empire at the hands of the Mughals.

Punjab

Phulkari: Punjab’s folk embroidery, Phulkari which means floral work also includes motifs and geometrical shapes. In Punjabi, Phul means flower and Akari means the shape and so Phulkari means the shape and the direction of flowers which symbolise life. The main characteristics of Phulkari embroidery are the use of darn stitch on the wrong side of coarse cotton cloth with coloured silken thread. The traditional varieties of Phulkaris are large items of cloth and include Chope, Tilpatr, Neelak and Bagh. Sometimes, the Bagh is given separate categorisation of its own as on other varieties of a Phulkari, parts of the cloth are visible, whereas, in a Bagh, the embroidery covers the entire garment so that the base cloth is not visible. Today, in contemporary designs, the simple and sparsely embroidered dupattas and shawls made for everyday use, are referred to as phulkari, while clothing items that cover the entire body, made for special and ceremonial occasions such as weddings are called baghs or large gardens. The Phulkari continues to be an integral part of Punjabi weddings to the present day.

In the past, as soon as a girl was born, mothers and grandmothers would start embroidering Baghs and Phulkaris, which were to be given away at the time of her marriage. Depending on the status of the family, the parents would give a dowry of 11 to 101 Baghs and Phulkaris which were also passed from one generation to the next as heirlooms. The hallmark of Phulkari is making innumerable patterns by using long and short darn stitches. There were no pattern books and embroidery was worked entirely from the reverse of the fabric and the designs were not traced. Techniques and patterns were not documented but transmitted from word of mouth and each regional group was identified with the style of embroidery or design. The most favoured colour was red and its shades. Animals and birds represented success, beauty, pride, and goodwill and different fruits symbolised wealth, prosperity, and fertility. Wheat and barley stalks with ears were also common motifs. Silk and mulmul or soft cotton muslin fabrics were used because of their purity and longevity and it was believed that the virtue and character of a woman gave shape to the Phulkari.

There are different theories about the origin of Phulkari. One such belief is that this embroidery was prevalent in different parts of the country as far back as the 7th century, but survived only in Punjab. Motifs similar to the ones found in Phulkari are also found in Kashida of Bihar and some of the embroideries of Rajasthan. Another thought is that this style of embroidery came from Iran where it was called Gulkari, also meaning floral work.

Rajasthan

Gota Patti: Gota patti or gota work is a type of Indian embroidery that originated in  Rajasthan. Small pieces of zari ribbon are applied onto the fabric with the edges sewn down to create elaborate patterns. Gota embroidery is used extensively in South Asian weddings and formal clothes. Originally real gold and silver metals were used to embroider, but these were eventually replaced by copper coated with silver as it would become very expensive and today, even more, inexpensive options are available.

Kota Doriya: A handloom fabric, Kota Doriya is woven on a traditional pit loom in such a way that it produces square checks pattern on the fabric. The delicately wrought checks are locally known as khats. Onion juice and rice paste are smeared onto the yarn making it so strong that no additional finishing is needed. Kota Doriya sarees are made of pure cotton and silk and have square-like patterns known as khats on them. The chequered weave of a Kota sari is very popular with a very fine weave and weighs very little.

It is said that Jhala Zalim Singh of Kotah brought weavers from Mysore, in the mid-17th century, as they wove a characteristic small squared lightweight cotton fabric that looked like graph paper and was suitable for turbans. Since the weavers had come from Mysore, the fabric produced was called Kota Masuriya and was woven on narrow 8-inch looms to make the traditional paags or turbans and later on, broader looms were used for gossamer-light saris. Silk was added to the cotton in a 20:80 ratio approximately to give the sari strength. Nowadays hand woven silk Kota Doriya saris have also become popular. At first, the design known as a buti was small and regular but larger designs are now made according to fashion and taste. A very ornate saree can take one month to make and is an heirloom piece to be treasured. A genuine Kota Doriya sari will contain the GI mark woven in one corner indicating that it has been hand woven using real silver and gold thread.

Leheriya: Leheriya is a traditional style of tie and dye practised in Rajasthan which is bright in colour, with a distinctive pattern. The word Leheriya comes from the word leher, meaning wave and the tie-dye technique results in diagonal stripes, which look like waves on the fabric. To create diagonal stripes, the craftsmen use a special method of resist-dyeing, where the material, is rolled up diagonally length-wise and then tied tightly at intervals before the actual dyeing process begins. Delicate, light fabrics such as thin cotton voile, fine silk and chiffon are preferred, as they allow the colour to penetrate through the rolled cloth. The fabric is wrapped around a wooden pole, usually while it is still wet or in a semi-dry state. The thread that ties up the fabric acts as a resist, yielding a pattern of diagonal stripes after dyeing. The thickness of the thread and the distance between the ties may be varied to obtain stripes of different widths.

An astounding variety of Leheriya fabrics are produced using this simple process. A panchranga or five-colour design is the most auspicious since the number five is considered special in Hindu scriptures. Another beautiful pattern is the satranga, flaunting the seven colours of the rainbow.

Tamil Nadu

Kanjeevaram: A silk saree which is worn on special occasions, the Kanjeevaram or Kanchipuram is made in the Kanchipuram region. This saree has also been recognised and given the Geographical Indication tag by the Indian government. The sarees are distinguished by their wide contrast borders with temple borders, checks, stripes and floral patterns as traditional designs. The patterns and designs in the Kancheepuram sarees are inspired by the images and scriptures in South Indian temples or natural features like leaves, birds and animals and have rich woven pallus showing the paintings of Raja Ravi Varma and the epics of Mahabharata and Ramayana. As of 2008, an estimated 5,000 families were involved in sari production with 25 silk and cotton yarn industries and 60 dyeing units in the region.

The saris are woven from pure mulberry silk thread, which along with the zari or gold thread comes from South India. To weave a Kanjeevaram saree. three shuttles are used. While the weaver works on the right side, his aide works on the left side shuttle. The border colour and design are usually quite different from the body. If the pallu has to be woven in a different shade, it is first separately woven and then delicately joined to the saree and the part where the body meets the pallu is often denoted by a zigzag line. In a genuine Kajeevaram silk saree, the body and the border are woven separately and then interlocked together. The joint is woven so strongly that even if the saree tears, the border will not detach and this differentiates the Kanjeevaram silk saree from the others. The sarees vary widely in price depending on the intricacy of work, colours, patterns, craftsmanship and materials used.

Koorainaadu: A traditional handloom weaving centre, Koorainadu sarees are by their checks and stripes pattern for which plain looms are used. It is made with pure silk and fine-twisted mercerized cotton yarn, in both warp and weft, in the ratio of 2:1, giving every Koorainadu saree a silk look. A peculiar characteristic of this saree is the formation of cotton checks by the interlacing of warp and weft during weaving which can be woven only by an experienced weaver. The sarees are hence stiffer and easier to hold the pleats which make them easier to wear. Koorainadu sarees are mostly worn by the womenfolk of the Hindu community green and yellow colours are used to make it auspicious and so it is often worn by married women wishing for long-lasting wedlock. The nine-yard Koorainadu saris are made with cotton or cotton and silk, in checks or striped patterns with a contrasting border in yellow. Saris with wide borders are called temple saris because they are offered to the deities in the temple.

Sungudi: Traditional cotton sarees from the Madurai area, Sungudi sarees are defined by the pattern of block prints and tie and dye designs. The origins of Sungudi can be traced back to the Sourashtrians who brought the art with them when they migrated to South India under the patronage of King Thirumalai Naicker in the 17th century. In Saurashtra, the word sungudi relates to the Sanskrit word sunnam meaning round, representing the circular dots that are printed on the fabric as a prominent and special motif.

The dots in the saris are said to be inspired by the cosmos which is why most Sungudi sarees remind one of a starry night. Tying the knots of the sari demands a great amount of precision from the craftsman. Ideally, a three-inch gap between the body and the zari border and also with the pallu lends a neat and symmetrical look to the crude dots. The designs are sometimes marked with a pencil on the fabric for ease in the process. The Sungudi art has seven basic designs that can be modified with different permutations and combinations to provide variety and highlight the creativity of the craftsman. The smaller the dot the better the expertise and this comes only with extensive practice and time. In the early days people used rudimentary methods like tying the knots with mustard or peppercorn seeds. Although this seems like a rural and unpolished method, its success lay in its simplicity. Authentic Sungudi is more than just tying knots. There is a lot of meticulousness that goes into producing a piece that looks effortless.  Once the knots are tied in the desired pattern, the sari is clamped which involves pleating, twisting, folding and wrapping it tightly before dyeing it for around two hours. Then the sari is subjected to two rounds of washing with cold water with an organic fixing agent followed by drying and ironing. The resultant fabric is a beautiful sheet like stars in the sky. In 2005 the art of Sungudi tie and dye got the GI recognition tag.

In the next part, the last one, we will do the last few states and also learn about some interesting saree drapes.

Recipes: Raw Mango Rice

A dish from the state of Karnataka made on special occasions, my mother has been asking me to make this ever since she tasted it in Bengaluru. My sister also makes a version of this rice and kept telling me to try it as it was very tasty. I finally caved in and made it a couple of weeks back when I found some nice raw unripe mangoes in the market. The rice was very tasty and reminded us of lemon rice which is prepared similarly.

Recipes: Raw Mango Rice

Ingredients:

  • 1 raw mango, peeled and grated to get about ½ cup of grated mangoes
  • 1 cup basmati rice, soaked in water for about 30 minutes
  • 2 tbsp oil
  • 1 tsp mustard seeds
  • 1 tsp broken urad dal
  • ¼ tsp turmeric powder
  • 1 tbsp roasted peanuts
  • 6-8 cashew nuts
  • 2 dried red chillies, broken
  • Salt to taste
  • 1 tbsp grated coconut
  • Coriander leaves, finely chopped to garnish

Method:

  • Cook the rice and let it cool. When cool, gently fluff it with a spoon and spread it on a large plate. Keep aside
  • Heat the oil in a pan and when the oil warms up, add in the mustard seeds and let the seeds pop.
  • Next add the turmeric powder, and the urad dal and stir for a few seconds. After this add in the dried chillies, the peanuts and cashew nuts and stir until the cashew nuts start to become golden brown.
  • At this point, add in the grated mango and the salt and stir. Cook covered until the mangoes become tender and cooked.
  • When the mangoes are cooked, add in the rice and gently mix everything. You can check for seasoning at this point and add what is missing.
  • Add in the grated coconut and stir well.
  • Cook covered for a minute or two and serve hot garnished with finely chopped coriander leaves.

In My Hands Today…

Three Thousand Stitches: Ordinary People, Extraordinary Lives – Sudha Murty

Two decades ago, when Sudha Murty approached a group of devadasis for the first time, determined to make a difference to their lives, they threw a chappal at her.

Undeterred, she went back, telling herself she must talk to the devadasis about the dangers of AIDS. This time, they threw tomatoes.

But she refused to give up. The Infosys Foundation worked hard to make the devadasis self-reliant, to help educate their children, and to rid the label of the social stigma that had become attached to it.

Today, there are no temple prostitutes left in the state of Karnataka. This is the powerful, inspirational story of that change initiative that has transformed thousands of lives.

Travel Bucket List – India: Karnataka Part 6

In this last part about Karnataka, let’s turn inwards towards spirituality. Today we will have a look at some of the smaller towns which are well known for their temples and other spiritual locations.

Udipi
When we hear the name Udupi, the first thing that comes to mind is the string of restaurants all over India and the world that bear the name of this town. But this is also a temple town on the coast which has beautifully carved ancient temples, laidback beaches and unexplored forests. Surrounded by the Arabian Sea on one side and the Western ghats on the other, this pilgrim centre and holy town is also known as Lord Parashurama Kshetra and is famous for its Krishna Temple. Udupi is also known as Rajata Peetha and Shivalli locally.

Udupi has many interesting legends intertwined with its history. It is believed that Chandra, the moon god, received redemption for his sins from Lord Shiva after doing penance here, which led to the naming of the city as Udupi. Udu essentially means star, and pa means leader – hence referring to the god of the stars or God Chandra. There are also many lores surrounding the city’s most popular attraction, the Krishna Temple. According to the most famous legend, the great saint Sri Madhvacharya was meditating on the coast when he saw a ship about to capsize. He guided the ship to safety away from the waters, and in return, the grateful sailors offered him anything he wished from the ship as a gift. The sage asked for gopichandana, or clay, which unbeknownst to the sailors, covered a majestic statue of Lord Krishna that they had been transporting from Dwaraka, which is Lord Krishna’s birthplace. Sri Madhvacharya unearthed the statue and placed it in its current place of worship in the temple. Udupi is extremely famous for its religious architecture devoted to the Gods and saints of the Hindu religion. The Krishna temple includes, in addition to its majestic statue of Lord Krishna, beautiful chariot structures or rathas. All deities in the temple face the west, and a unique feature associated with them is that they are worshipped through windows. These windows are plated with silver and have nine holes – also known as Navagraha kindi. Next to the Krishna Temple lies the Udupi Anantheshwara temple, which is believed to be over 1000 years old. It is dedicated to Lord Shiva. The city also has the Tulu Ashta Mathas, which are Hindu monasteries set up by the saint Sri Madhvacharya. These group of 8 monasteries preach the Dvaita school of Hindu philosophy.

You should begin ideally with the Udupi Krishna Temple. Then, you can proceed to the famous Coin Museum, which houses an exquisite collection in the coins, from ancient to modern history. Don’t forget to visit the Shri Ananteshwar & Shri Kundeshwar Temples. Finally end your trip to Udipi with a visit to its many beaches, be it Malpe beache, Kodi beach or Kapu beach with a trip to St. Mary’s Island and it’s famous black rocks as a must see place when in Udipi.

Kollur
Kolluru or Kollur is a small temple-town near Udupi and is about 74 km north of Udipi at the foot of the Western Ghats on the banks of Souparnika river and is famous for the Mookambika temple. , a Hindu pilgrim center. Kollur also called Kolapura which is the name of a sage called Kola Maharshi . The goddess Durga is called Mookambika is said to have slain the demon Mookasura here. The goddess is described as in the form of a jyotirlinga incorporating both Shiva and Shakti. The panchaloha image of the goddess on Shri Chakra is stated to have been consecrated by Shri Adi Shankaracharya. The Divine Mother is said to be a manifestation of trigunas or triple forms such as Mahakali, Mahalakshmi & Mahasaraswati. The shikhara of the temple which is well gilded with gold is said to have been donated by Sankanna Savantha. Around the chief shrine of Mookambika, there are many other shrines. The idol of Chandramaulishvara is said to have been installed by Shri Adi Shankara and the temple has been renovated by Keladi rulers.

Legend goes that a sage, Maharishi Kola was enchanted with nature’s beauty and decided to perform a penance on a rock near the Agnitheertha. Lord Shiva, delighted with Kola rishi, appeared before him and blessed him. The Maharishi wished for the welfare of mankind and nothing else. The Lord, happy with Kola, granted him his wish. He assured that a swayambhu or autogenetic Linga would appear for his daily worship. However, Kola wanted to worship Devi also. So, a swarna rekha or a gold line appeared on the Lingam, signifying Shakti. Thus, Shiva and Shakti are worshipped together in the Lingam. Besides this, a unique feature is that the other Gods and Goddess of the Hindu pantheon also believed to reside in aroopa (non-form) in the Linga. It is thus believed to be an abode of the entire celestial congregation. It is believed that Adi Shankaracharya had a vision of Sri Mookambika Devi and installed the deity here. The legend says that Adi Shankara meditated at Kodachadri hills and Devi incarnated before him asking for his wish. He revealed his wish to install the Devi idol in a place in Kerala to worship where he wanted. Devi agreed but put forward a challenge that she will follow Shankara and he should not look back till he reaches his destination. But to test Shankara, Devi deliberately stopped the voice of her anklets when they reached Kollur whereupon Shankara turned and looked back because of doubt. Devi then asked Shankara to install her vigraha, just as he sees her, at that very location in Kollur. The original temple where Shankara meditated and Devi appeared before him is at Kodachadri peak, which is at a distance of about 20 km from Kollur and also visible as a large mountain peak in front of the temple. There also a small temple dedicated to Mookambika near Kodachadri peak

Sringeri
Commonly known as Sri Kshetra Shringeri, Sringeri is a famed pilgrimage centre nestled in the Chikkamagaluru district, mainly known for the Sharada Peetham which was built by the great Adi Shankara in the 9th century. I have written extensively about Sringeri which is the seat of the spiritual guru we follow, so do read that post for more information about this spiritual seat.

According to experts, Adi Shankaracharya stayed here for 12 years and preached to his disciples. Packed with numerous temples and ancient relics, Sringeri is a hub for Vedic learning and it attracts students from different parts of India. With a historical significance dating back to the 8th century, Sringeri rests on the banks of River Tunga. The town comes alive during the Navaratri festival and it is sheer bliss to take part in the rituals in the holy presence of the Shankaracharya.

According to popular folk tales, Adi Shankaracharya is said to have selected Sringeri to settle and preach because when he was walking by the Tunga river, he saw a cobra with a raised hood, providing shelter from the hot sun to a frog about to spawn. Impressed with the place where natural enemies had gone beyond their instincts, he stayed here for twelve years.

The name ‘Sringeri’ is derived from the name ‘Rishyashringa griri’, a small hill nearby that is said to have contained the heritage of Rishyashringa and his father Rishi Vibhandaka. As per an episode in the Bala-Kanda Ramayana, Guru Vashishtha had narrated as to how Rishyashringa had brought rains to the drought-stricken kingdom of Romapada.

Adi Shankara had created four guardian temples on all four sides of the Sringeri village-
Kala Bhairava temple in the East- dedicated to Lord Kala Bhairava, a fiercer form of Lord Shiva- representing the march of time, Kere Anjaneya temple in the West-dedicated to Sri Anjaneya, carved on a rock inside a cave, Kalikamba temple in the North – dedicated to Devi Kalikamba, a beautiful form of the Goddess and Durgamba temple in the South- dedicated to Devi Durgamba, also known as ‘Vana (forest) Durga’, owing to its remote location in the woods.

Dharmasthala
Popularly known as the Land of Charity, Dharmasthala is a beautiful temple town with a blend of heritage, culture and religion. Situated on the banks of Nethravathi river in Karnataka, it’s popularly known as a pilgrim site for the Shaiva, Vaishnava and Jaina communities.

The Dharmasthala or Manhunatheshwara Temple is an 800-year-old major pilgrimage site which houses a Shiva Linga and hosts a ‘Lakshadeepa’ – a festival of lights that takes place around November/December. The temple is a beautiful example of religious tolerance and it is maintained by Jain people and the rituals being carried on by Hindu Priests.

Another prime attraction here is the Bahubali statue, carved out of a single stone and 39 ft high. Dharmasthala has natural beauty gifted by its location, and the same is ornamented by the abundant and widespread scents of culture and spirituality in its air. Ancient archaeological artifacts like manuscripts, are stored in Manjusha Museum and are visual treat.

800 years ago, Dharmasthala was known as Kudum which was a village in South Kanara at that time. Here a Jain Chieftain named Birmanna Pergade live with his wife Ammu Ballalthi in a house named Nelliadi Beedu who were known for their generosity and hospitality. The legend has it that the guardian angels of Dharma in came down to earth in human form in search of a place where Dharma is practised and can be propagated. Impressed by their warm welcome, they told Pergade about themselves and asked him to vacate the house. Pergade and his wife moved to another home and began worshipping the Daivas. After some time, Dharma Daivas again appeared before Pergade and asked him to build four shrines dedicated to the four Daivas – Kalarkai, Kalarahu, Kumaraswami and Kanyakumari. In return, he was promised an abundance of charity and family welfare. A Brahmin priest was invited to perform the rituals who requested Pergade to install a Shiva Linga, subsequently around which the Shree Manjunath Swami temple is built.

Horanadu
Known for the revered Annapoorneeshwari Temple, Horanadu is a holy town located in Malnad. Carpeted with green paddy fields and accompanied by a hilly backdrop, this region lies at an altitude of 2726 feet and is also famous for its extensive collection of dry fruits, cashew nuts and almonds along with tea, coffee and spice markets. According to legends, this temple was established in the 8th century by Maharishi Agasthya. Dedicated to Devi Durga, the nnine-day festival of Navratri is celebrated with fervour at the Annapoorna Temple. Also make sure you visit the Kaleseeshwara temple to payyour respects to another aspect of Lord Shiva.

Talakadu
Known as the Kashi of the South, Talakadu nestles on the banks of the River Kaveri and is a mystical place steeped with a rich past and cultural heritage. It is famous for the Vaidyanatheshwara Temple dedicated to Lord Shiva. The place derives its name from two local chieftains Tala and Kada and so is called Talakadu. There are a number of temples that are buried under the sand and are excavated once in every 12 years for special worship called ‘Panchalinga Darshana’. The Panchalinga Darshana includes five major temples namely Vaidyeshwara temple, Arkeshwara temple, Vasukishwara or Pataleshwara temple Saikateshwara or Maraleshwara temple and Mallikarjuna temple. It is said that the Pataleshwara Shivalinga change colours according to the time of the day- red in the morning, black in the afternoon and white in the evening.

Talakadu was once renowned for its more than 30 beautiful temples which were buried under the sand in the 16th century. According to the text, the burial was caused by natural disaster during the rule of Wodeyars. However, according to local folklore and myths, the town was buried under sand owing to a curse given by the queen of the region, Alamelu who drowned herself along with her jewels when the king of Mysore attacked her for her jewels.

Another legend dictates that an ascetic by the name of Somadatta was killed by elephants as he was on his way to Siddharanya Kshetra Talakadu to worship Shiva. It is believed that his disciples reincarnated themselves as elephants and went on to worship Lord Shiva at a tree in Talakadu. Two hunters Tala and Kadass truck the holy tree only to find blood gushing out of its body. Upon the instructions of a heavenly voice, the two of them dressed the wounds of the tree after which the tree healed, and Tala and Kada were granted immortality. Since Shiva is believed to have cured himself through this incident, he is referred to as Vaidyeshwara. The Panchalingas here is all associated with this legend.

The town has been a witness to the rise and falls of several great kingdoms including Cholas, Pallavas, Gangas, Vijayanagar and Hoysalas. Talakadu finds its very first mention in relation to the Ganga line of kings. The city of Talakadu, once known to house five famous Shiva temples, was the seat of power of Gangas and the Cholas. The beginning of the 11th century saw the overthrowing of the Gangas by the Cholas after which Talakadu was renamed as Rajarajapura. It was later captured by King Vishnuvardhana who established Hoysala dominance over the land for quite a few centuries. Under the rule of Vishnuvardhana, the Talakadu comprised of seven towns and five mathas. The Hoysalas were in charge of the town until the 14th century after which the town changed many hands such as the king of Vijayanagara and Wodeyars of Mysore.

Belur
Nestled on the banks of River Yagachi in the Hassan district, the town of Belur along with its twin town of Halebid located 16 km away, houses exquisite temples reflecting the exemplary artistic taste and technique of builders of the yore. This small town was the capital of the mighty Hoysala empire and their engineering genius can still be witnessed in the structures that stand here today. Some of the important shrines that are housed here include Chennakesava Temple and Kappe Chennigaray, both of which are exemplary Dravidian pieces of architecture. Non-Hindus are allowed in the temples of Belur.

Known as the ‘Jewels of the Indian Cultural Heritage’ Belur and Halebid are adorned with the legacy of rich past and culture. Belur is mainly known for its prime attraction, the Chennakesava Temple dedicated to Chennakesava or Lord Vishnu. Legend has it that it took 103 years to complete the construction of this magnificent edifice. Standing right next to it is another temple Kappe Chennigaraya, a temple built by the wife of Hoysala king Vishnuvardhana, Shantaladevi. Apart from these, there are two other temples in the complex. Both temples exhibit the intricate detail work on the walls made up of light green soapstone. Visit this destination for a glorious look into the Hoysala engineering genius. The temple is open from 7:30 am to 5:30 pm, but the inner sanctum of the main deity remains closed between 10 to 11 am, 1 to 3 pm and then again 5 to 5:30 pm. While entrance is free, government approved guides cost between INR 125 to INR 250.

Shravanbelagola
An important Jain pilgrimage centre, Shravanbelagola main attraction is the 57-m tall monolithic sculpture of Lord Gomateswara called the Bahubali statue. Located 144 km from Bengaluru in the Hassan district, this collection of Jain Temples in Shravanbelagola attracts a number of pilgrims every year. Wedged between Chandigiri and Vindyagiri hills on the side of the tank of town called ‘Belagola’. ‘Bela’ means white and ‘kola’ means the pond in Kannada. It takes a full day to visit all the monuments. For those who find it difficult to climb the hill, Dolis or Palanquin are available of INR 800 to and fro. Every 12 years, the Mahamasthabhisheka of Lord Bahubali is performed as a part of Jain culture and this a very auspicious event. The last festival happened in 2018 and it was 88th festival with the next festival scheduled to happen in 2030. The first Mahamasthabisheka was in 981 AD.

Two hills, Chandragiri and Vindhyagiri are considered to be the places where Acharya Bhadrabahu, the spiritual teacher of Chandragupta Maurya and Chandragupta, meditated. The Chandragupta Basadi, dedicated to Chandragupta Maurya, on the Chandragiri hills, was built by Ashoka, in the 3rd century BC. Chandragiri also houses many memorials of the Sravkas or monks who are said to have meditated since 5th century AD.

The 58-feet tall monolithic statue of Gomateshwara, the world’s largest monolithic statue, on the Vindhyagiri Hills, is a revered figure among the Jains. Gomateshwara, or Bhagwan Bahubali as the Jains refer it, was the first Tirthankara of Jainism. Legends say that he meditated motionless, for a year, in the standing posture and during this time, plans grew around his legs. After devoting one whole year to meditation, it is said that he attained omniscience. The statue was built by Chanvundaraya, a minister of the Ganga Dynasty in 981 AD. The Mahamastakabhisheka refers to the anointment of the Jain statues across the country and is carried out on a large scale in Shravanabelagola. Held once every 12 years, the Mahamastakabhisheka is a huge part of Jain culture and heritage. The event that takes place for weeks witnesses the veneration of the Siddha Bahubali; purified water and sandalwood paste are poured on the statue after which sanctified holy water is sprinkled on the participants by devotees who carry 1,008 specially prepared vessels or kalashas. The statue is then bathed in milk, sugarcane juice, saffron paste, and sprinkled with sandalwood, turmeric and vermilion. Offerings to the deity are made in gold, silver and other precious stones. The finale ceremony witnesses a huge shower of flowers from a helicopter.

There are numerous basadis in and around Sharavanabelagola, each dedicated to different Tirthankaras of the Jain culture. The Akkana Basadi built in the year 1181 AD, is dedicated to the 23rd Tirthankara, Parshwanath as the main deity. The Chandragupta Basadi, one of the smaller basadis, was established during the 9th century. While the middle chamber is dedicated to Parshwanath, the one to the right is dedicated to Padmavathi and the left one, to Kushmandini in the seated position. The Shanthinatha Basadi is dedicated to the 16th Tirthankara, Shantinatha, and was built by Ganga Raja, a commander during the Hoysala king, Vishnuvardhana in the year 1200 AD and is located in Jainanathapura, near Shravabelagola. The Suparshwanatha Basadi is dedicated to the 7th Thirtankar, Suparshwantha and a seven-headed snake is carved over his statue. The Chavundaraya Basadi is dedicated to Neminatha, the 22nd Tirthankara and dates back to 982. The Chandraprabha Basadi’s main deity is the 8th Tirthankara, Chandraprabha and it also depicts images of Shyama, Jwalamalini, the Yakshini of Chandraprabha, Yaksha and Yakshi who are Hindu and Jain mythical figures. Built in the 800 AD, it is constructed by the Ganga King, Shivamara II and is considered to be one of the oldest temples on the hill. The Kattale Basadi is the biggest of all the basadis on the hill and is located to the left of the Parshwanatha Basadi and is dedicated to the first Tirthankara, Rishabhanatha. Parshwanatha Basadi which was built by Puttaiya, a Jain merchant, between 1672 to 1704, depicts the tallest image of Parshwanatha, which is 18 feet in height. It is located on the Chandragiri Hill and has a manasthamba or pillar which is carved on all four sides with Padmavathi on the south, Yaksha on the east, Kushmandini on the north and a galloping horseman on the west.

Gokarna
With its pristine beaches and breathtaking landscapes, Gokarna is a coatal pilgrimage town on the coast of Karwar. Meaning cow’s ear in Sanskrit, Gokarna is said to be place where Lord Shiva emerged from the ear of a cow. It is at the ear-shaped union of two rivers Gangavali and Aghanashini. In the Shrimada Bhagavata Purana, Gokarna is mentioned as being the home of the brothers Gokarna and Dhundhakari. As per another legend, Ravana was given Atmalinga, a very powerful weapon by Lord Shiva and instructed him that it would stay permanently where it was placed first on land. While Ravana was performing a ritual, Lord Ganesha came disguised as a little boy and placed it in Gokarna. Ravana discovered that he had been deceived by the Gods to keep Ravana from getting a weapon as intense as the Atmalinga. Ravana tried to remove it, bringing about tossing the covers of the Linga to Surathkal, Dhareshwar, Gunavanteshwar, Murudeshwar and Shejjeshwar temples. Gokarna is known as one of the seven important Hindu pilgrimage centres.

Brimming with the rich history and culture Gokarna houses a number of temples dedicated to Lord Shiva and its beaches like Kudle Beach, Half-moon Beach and Paradise beach are famous. While these beaches are famous amongst the tourists, the main Gokarna Beach is only preferred by the pilgrims. According to religious customs, pilgrims must take a dip in the waters of Gokarna Beach before entering the Mahabaleshwara Temple.

Murudeshwar
Murudeshwar is home to the second tallest statue of Lord Shiva in the world at 123 ft. Named after Lord Shiva, this town, with the shimmering Arabian Sea on three sides and the magnificent Western Ghats imposing their presence on this town. Murudeshwar temple and the fort are also the most visited spots, captivating one with their rustic charm and beauty. The Netrani Island nearby is a favourite spot for tourists as it offers excellent snorkelling and scuba diving opportunities. The Murudeshwar beach, however, has become a little overcrowded and dirty due to human intervention and could be avoided.

Dating back to Ramayana, Murudeshwara occupies a tremendous symbolic reference to the Hindu God, Lord Shiva and the ruler of Lanka, Ravana. Atma-Linga or the soul of Lord Shiva is believed to bless an individual with the power of invincibility and immortality. With the greedy idea of achieving the potential of invincibility and immortality, Ravana prayed fervently to Lord Shiva, and Lord Shiva grants him the Atma-Linga with the condition that it shouldn’t touch the ground. Later, Lord Ganesha disguises himself as a brahmin to misguide Ravana in placing the Atma-Linga as the Gods believe that this could create chaos on Earth. Finally, Lord Ganesha succeeds in his act which kindles the temper of Ravana. In the process of uprooting, parts of the Atma-Linga lands to five different spots developing a chain of temples or Panch-kshetras devoted to Lord Shiva. The Aghora or Mridesha, the covering cloth of the Atma-Linga landed on the top of Kanduka hill. This led to naming the place as Mrideshwara, which is presently known as Murudeshwara.

Koodli
The Varanasi of South, Koodli, is amongst the holiest places of southern India and the site of the confluence of two holy rivers Tunga & Bhadra. Located at a distance of 16 km from Shimoga, Koodli has been an important place of worship, meditation and peace from ancient times. The small village is home to some really important and old temples whose origin goes back to the beginning of the last millennium. The place is known as the ‘Varanasi of South’ due to the presence of temples like Rameshvara, Narasimha, Brahmeshvara, and Rushyashrama. It is also home two great philosophical schools of Hindu philosophy in the form Shankaracharya Mutt and Koodli Arya Akshobhya Teertha Mutt. The best time to visit the village of Koodli is from October till May as the temperatures during the period hover around the pleasant range of 20 to 30 degree celsius.

Srirangapatna
Srirangapatna is a small island town in the Cauvery river and located 18 kms from Mysore. The town is an architectural masterpiece of the Hoysala and Vijayanagar styles as is evident in its monuments. One of the most important Vaishnavite centres of pilgrimage, the Ranganathaswamy temple, is the major attraction of the town which draws thousands of tourists every year. The temple is dedicated to Lord Vishnu and is one of the largest of its kind. It is one of the five important pilgrimage sites of Sri Vaishnavism along the river Kaveri for devotees of Ranganatha. These five sacred sites are together known as Pancharanga Kshetrams in southern India and since Srirangapatna is the first temple starting from upstream, the deity is known as Adi Ranga or “the first Ranga”.

The temple is one of considerable antiquity. An inscription at the temple reveals it was first consecrated in 984 A.D. by a local chief called Tirumalaiah, a vassal of the Western Ganga dynasty. In the early 12th century, Hoysala King Vishnuvardhana granted the village of Srirangapatna to the Vaishnava saint Ramanujacharya as an agraharam or a place of learning. The temple is protected by the Archaeological Survey of India as a monument of national importance.

Once the capital of Hyder Ali and Tipu Sultan, Srirangapatna is home to multiple sites of historical relevance. The monuments on the island town have been nominated as a UNESCO world heritage site. This town is also notorious for being the site of the Fourth Anglo-Mysore War, which consolidated the British Empire in India and is home to the Ranaganthittu Bird Sanctuary, which houses some of the exquisite bird species.

Srirangapatna was founded in the 9th century by the Ganga dynasty, but became famous during the Vijaynagar Empire when the rulers used it as a seat to oversee the neighbouring kingdoms. Later, when the Wodeyar kings rose to power, it became the capital of Mysore state from 1610. When Hyder Ali defeated the Wodeyar kings and claimed the throne, it continued to remain the capital under Hyder Ali and Tipu Sultan. In the Battle of Srirangapatna in 1799, Tipu Sultan was killed inside the fort and that place is marked as a memorial.

Pattadakal
A treasure trove of Hindu and Jain temples, Pattadakal is part of the Aihole-Badami-Pattadakal complex that is a UNESCO World Heritage Site and it is the best representation of Chalukyan Architecture. Resting on the banks of River Malaprabha, it boasts of a rich legacy that dates back to the 4th century. Excavations have revealed that the region was originally called Raktapura and was under the control of the Badami Chalukyas.

Dedicated to Lord Shiva, the Hindu temples at Pattadakal are an effortless blend of North and South Indian architecture. Built-in the 9th century by the Rashtrakuta Dynasty, the Jain Temple is the newest addition of this region. Built by Queen Lokamahadevi, wife of Vikramaditya II, Virupaksha Temple is one of the finest examples of South Indian architecture. The various temples that one must visit are Jain temple, Papanatha temple, Galaganath temple, and Sangameshwara temple. The classical dance festival held in January sheds light into the authentic culture and traditions of Pattadakal.

Art historians hold this site in importance because it depicts Hindu and Jain social, political, and religious practices in 8th century Deccan India. The name Pattadakal means place of coronation and this place was used by the Chalukya kings for the very same purpose. It was considered particularly sacred because this is where river Malprabha turned North towards the Kailasha mountain in the Himalayas. This ancient site has been witness to rule and regimen of various kings and dynasties, including the Sangama dynasty and the Mughal empire. All ten temples carry with them, unique stories of their own.

The Virupaksha temple is the grandest and most sophisticated. Built in the year 745 by Queen Lokamahadevi to immortalize her husband’s victory over the Southern Kings, it even served as the inspiration behind Kailasha temple at Ellora Caves. The Mallikarjuna temple commemorates the victory of Chalukya kings over the Pallavas. The Galaganatha temple depicts an eight-handed Lord Shiva, killing the demon Andhaka and wearing a Yajnopavita made entirely of skulls. The Jambulingeshwara, Chandrashekhara, Kadasiddheshwara, and Kashi Vishwanatha temples are small structures, all dedicated to different forms of Lord Shiva and his family. The Papanatha temple lies half a kilometre away from the cluster of other eight Hindu temples. It’s the only structure with an amalgamation of both Dravidian and Nagara styles of construction. The Sangameshwara temple is the oldest temple here but remains incomplete despite being built in several phases. The Jain Narayana temple is almost similar in structure to the nine Hindu temples. The only difference is that instead of carvings and idols of Hindu deities, it houses an idol of a Jina who is a soul who conquers all passions and overcomes all imperfections.

Aihole
Home to over 125 beautiful Chalukyan temples and monuments, Aihole is a historical site which is a UNESCO World Heritage site and is surrounded by marvellous sandstone hills and villages on the banks of the Malaprabha River. It was formerly the capital of the Chalukya Dynasty with over 100 Hindu and Jain temples dating back to around 6th to 12th century. Today, Aihole is a prominent centre for temple architecture and intricate stonework.

Aihole, known initially as Ayyavole or Aryapura, played a significant role in Hindu mythology. Besides Hindu and Jain Temples, Aihole boasts of a rock-cut Buddhist monument and a monastery dedicated to Lord Buddha. The towns of Pattadakkal and Badami are located nearby and together, they form a vast circuit to experience the marvel and grandeur of Chalukyan architecture. A few important monuments in Aihole include the Durga Temple, Lad Khan Temple, Ravanaphadi Cave Temples, Huchimalli Temple, Meganagudi group, Gowda Temple and the Huchappayyagudi Temple amongst numerous others.

There’s an interesting story about how the town got the name. Legend has it that Lord Parashurama, after avenging the death of his father, Sage Jamadagni came to the river Malaprabha to wash his battle axe and bloodstained hands. While doing so, the blood turned the colour of the river water to red. Seeing this horrifying sight, a woman screamed ‘Ayyo Hole!’ in Kannada, which translates to ‘Oh no! Blood!’. Thus, this town got the name Aihole. However, this place is also called ‘Ayyavole’ and ‘Aryapura’. Aihole has great significance to the Ramayana in the Rishi Gautama and the Ahilya part in the epic. In the town, there exists an axe-shaped rock with a foot imprint on it. These prints are said to have belonged to Parashurama.

Aihole is considered as ‘The cradle of Hindu rock architecture’ as legend has it that more than 125 temples were built during Badami Chalukyas rule, between the 5th and 8th centuries. These temples represent different architectural styles like that of Dravidian, Phamsana, Gajaprastha and Nagara. The exquisite sculpture from this period has a classical quality. Richly carved ceilings, intricate rock-cut pillars, isolated figures and flat roofs, are some of the standard features of the temples. The grandeur of the Chalukyan architecture is beyond excellence.

The Chalukya Utsava is a 3-day festival held in early February every year. In addition to cultural activities, this festival also houses several competitions and adventure activities. One of the main attractions of this grand event is the helicopter ride, priced at INR 1,000 per person and hot air balloon ride at INR 2,000 per person, for an aerial view of the ancient city.

During the Pattadakal Dance Festival which takes place on 01 January each year, the
temple car or chariot is pulled from the temple gate to another sculpture called Padhkatte. Devotees from various places come to be a part of this event which is marked by religious as well as cultural celebrations, including prayers, dance and songs.

Kalasa
Kalasa in Kudremukh is a temple town home to Sri Kalaseshwara Temple which is dedicated to Lord Shiva and lies on the banks of the Bhadra river. Kalasa is also renowned for a shrine of Goddess Bhagavathi and a Varaha within a cave.

The locals state the reason behind the origin of Kalasa to be a part of Lord Shiva and Goddess Parvati’s marriage. During their wedding, there was a shift in the rotation of the earth. To maintain the balance, Lord Shiva asked Sage Agasthya to travel to the Southern part. He wasn’t willing as he wanted to attend the marriage. As a solution, Lord Shiva promised him the view of his marriage simultaneously with his stay at Kalasa. He granted an Arcadian vision to the sage which made him possible to witness the holy ritual. Sage Agasthya then travelled towards the South and dwelled in Kalasa from where he watched the wedding of Lord Shiva and Goddess Parvati. Local legends state that a pilgrimage to Kalasa brings great religious merit or punya. Kalasa in Sanskrit means Kalsha, or a pot holding water. According to Hindu temple architecture, every temple should have a round pinnacle placed at the top. This round pinnacle is known as Kalsha. Also, geographically Kalasa is surrounded by River Bhadra from 3 sides and the Duggappana Katte hill at the South. When viewed from above it resembles the pot full of water giving it the name Kalasa.

The Kalaseshwara Temple is situated on a hillock near the Bhadra River built in the Hoysala sculpture style. The temple dome resembles a pot or utensil when viewed from a distance. The Girijamba Temple is dedicated to Girija and the main festival celebrated at this temple two days after Diwali is in honour of the marriage between Lord Shiva and Goddess Girija. The Venkataramana Temple was established in the 15th century and is dedicated to Sri Venkataramana.

So with this we come to the end of a lovely semi series visiting Karnataka. I hope you enjoyed reading about everything this state has as much I as enjoyed researching and writing it. This state has a special place in my life and I have always thought of Bangalore as my second home.