Family Footprints: An Unforgettable Italian Adventure – Part 2

First glimpse of Italy from the air

Rome
We reached the airport about 2.5 hours before our flight because we had heard all sorts of horror stories about the airport. But we were pleasantly surprised and checked in and were sent on our way in less than 10 minutes. After breakfast at the airport, we started our journey. We landed in Rome in the afternoon, and there was a bit of a rush in Italian immigration. We could have taken the train to Roma Termini, but because there were six of us, a taxi was cheaper. Though Italy has Uber, only the premium taxis can be hired. Instead, the FreeNow app is more widely used, from which we got our taxi. We used Airbnb all through the trip, and our Airbnb in Rome was close to the Colosseum.

After checking in and freshening up, we headed out to go to the Vatican. We had a 5:30 slot at the Vatican Museum and a slightly earlier slot at St. Peter’s Basilica. We missed the basilica slot but made it to the Vatican Museum. Because it is a Jubilee year and a new Pope has just been selected, the crowds were crazy in all the Italian cities we visited. The Vatican Museum was no exception. But what a museum!

Courtyard of Vatican Museum

Founded in 1506 by Pope Julius II and expanded by successive pontiffs, the Vatican Museums form a 7-km labyrinth of galleries that chart 3,000 years of human creativity. The Sistine Chapel is the last but probably the most visited part of the museum, where Michelangelo’s ceiling and Last Judgment remain the undisputed stars of the collection. The recently restored four Raphael Rooms are gorgeous, their luminous frescoes now glowing as they did for Leo X’s court. In the Pio-Clementine Museum, the newly restored Apollo of the Belvedere once again commands the Octagonal Courtyard, its marble surface revealing subtle details lost for generations. At the Anima Mundi, the reimagined ethnographic wing, the freshly installed Africa and Americas galleries place sacred masks, bark-cloths, and Inuit carvings on equal footing with the Western canon. I loved the Gallery of Maps with its intricate illustrative maps, the jewel-like Pinacoteca, and the vertiginous modern Bramante/Momo spiral ramp. When you are finally exhausted, you reach the Sistine Chapel, where photography is prohibited, and just find space in the benches in the perimeter of the room to sit and take in the beauty of the room and the ceiling!

After this assault on the senses, it was time for dinner. Our group was comprised of foodies, so we ate really well during this trip. The first evening, we had a fancy dinner at the Raphael hotel. We could not get the rooftop dining experience, but the food was so, so good. I was practically falling asleep at my plate, so around 10 pm, we finally called it a day.

Colosseum

The next day was for the Colosseum. Our timed entry was for 9:30 am, but since we were less than 10 minutes away on foot, we took our time in the morning. Carved into the heart of ancient Rome, the Colosseum and neighbouring Palatine Hill form a single archaeological park that distils two millennia of power, spectacle, and imperial luxury into a walkable circuit. We began with the Colosseum, inaugurated in AD 80 by Emperor Titus. We only had the normal ticket, so we only went to the main area. But if you purchase the full experience ticket, you cam go onto the partly reconstructed arena floor, gaze down into the fully accessible hypogeum with its maze of lifts, cages, and service corridors reopened to visitors after a recent restoration campaign, and then climb to the upper ring for skyline views stretching from the Capitoline to the distant dome of St. Peter’s. We spent quite a bit of time at the Colosseum, marvelling at its grandeur. After a quick lunch nearby, we walked back to tackle Palatine Hill, mythical birthplace of Romulus and later the postcode of choice for Rome’s emperors. We walked around and caught the vividly painted private rooms of Augustus and Livia that survive in remarkable condition. We last headed to the Farnese Gardens, Europe’s first botanical garden, which offers fragrant terraces with postcard views over the Circus Maximus. After spending a couple of hours here, we headed back to our Airbnb to freshen up before dinner near Piazza del Popolo.

Trevi Fountain

On our last full day in Rome, we decided to head to the Trevi Fountain first. The Trevi Fountain is carved into a palace façade at the junction of “tre vie,” channels the 1st-century BCE Aqua Virgo aqueduct, and crowns Rome’s Baroque age. Pope Clement XII commissioned Nicola Salvi in 1732; after Salvi’s death, Giuseppe Pannini finished the marble theatrics in 1762, centring Oceanus in a shell chariot that surges from craggy rocks toward the city’s ancient heart. A 16-month restoration funded by Fendi in 2014-15 scrubbed the travertine, replaced hidden pumps, and relit the basin, ensuring its moonlit shimmer endures.

We walked about 25-30 minutes from our Airbnb to get to the fountain. It was so crowded, but we managed to get up close in front to take photos and do the coin toss. It is believed that if you stand facing away from the fountain and toss a coin over your left shoulder, you will return to Rome. And for those who are seeking love, it is believed that tossing three coins will get you the love of an Italian!

Source

From the Trevi Fountain, we walked to the Pantheon, but not before a gelato. As with every other attraction in Rome, the Pantheon was also crowded, and so we just saw it from the outside before making our way to Piazza Navona.

Rebuilt by Emperor Hadrian around AD 118–125 atop Agrippa’s earlier temple, the Pantheon still boasts the world’s largest unreinforced concrete dome and an oculus that rains sunlight, and, each Pentecost, rose petals into the marble rotunda. Converted to the church of Santa Maria ad Martyres in 609, it shelters the tombs of Raphael and Italy’s first kings. A €5 timed-entry system introduced in July 2023 now funds ongoing conservation, including 2025 dome reinforcement and portico cleaning backed by Tod’s. One should not miss the noon sunbeam illuminating the floor, the original bronze door leaves, and the Latin portico inscription (“M·AGRIPPA·L·F·COS TERTIVM·FECIT”) linking two Roman ages.

Piazza Navona

Occupying the footprint of Domitian’s first-century athletics stadium, Piazza Navona is an elongated “living room” and is Rome’s Baroque set piece. At its heart lies Bernini’s Fontana dei Quattro Fiumi, personifying the Nile, Danube, Ganges, and Río de la Plata. Framing it are Giacomo della Porta’s Neptune and Moor fountains and Borromini’s undulating façade of Sant’Agnese in Agone.

After spending some time admiring the gorgeous sculptures, we made our way for lunch, after which we did a spot of shopping, and then two of my sisters decided they wanted a break. The rest of us decided to walk to the Spanish Steps, which took us about 20 minutes of walking. We also stopped for coffee on the way.

Spanish Steps

One of Rome’s iconic sights, the Spanish Steps, is fashioned from creamy travertine and was built between 1723 and 1726. With 138 steps, it was financed by France to link its embassy-church above with Spanish diplomatic territory below. A €1.5 million Bulgari-backed restoration scrubbed the balustrades in 2016, and since 2019, anyone who sits or rolls a suitcase on the monument risks fines of €250-€400, preserving the marble for posterity. Crowning the staircase is the Church of Trinità dei Monti, a French-Gothic twin-tower basilica whose nave shelters delicate 16th-century frescoes and an 1864 Cavaillé-Coll organ. While we didn’t go inside the church, we were impressed with the views from the porch of the church.

View from outside the Pincio Terrace

A few minutes’ stroll farther up Viale Trinità dei Monti leads to the pine-fringed Pincio Terrace, the southern gateway to Villa Borghese’s gardens. We walked to the gardens and took in the atmosphere. Then, tired, we sat down at a lake in the garden to chit-chat for a while and take a break. While there, I was entranced by a young Roman family with their toddler. All this while, my bag had been strapped crossbody with my phone on a strap around my neck. I was so engrossed with the toddler’s antics that when it was time to leave, I forgot that I had removed my bag from my shoulder and kept it aside. So, I just got up and started walking. We left the garden and walked across the street, and were contemplating whether we should take a taxi or the metro to get back to our Airbnb. It was then I realised that I didn’t have my bag with me! I immediately started running back to where we were sitting, and during those five minutes, my mind was frantically cataloguing the contents of my bag and wondering which cards I should cancel and how. It was one of the longest five minutes of my life. I reached the lake where we were sitting, and in a huge miracle, my bag was exactly where I had left it. With all that I had read about Rome, this was my Roman miracle, and I thanked all the gods, Indian and Roman, for my good fortune! We then walked to the nearest metro station, which happened to be in Piazza Poppolo. Our time in Rome had come to an end as we were going to have a quiet night with a cheese board, wine, and gossip.

Our next destination, Florence, is coming up soon.

Sacred Stones, Spaces and Stories: Shakthipeeta Part 16

Varahi Devi Temple, Panchsagar, Uttarakhand
The Varahi Devi Temple, located in the sacred land of Uttarakhand, in the town of Panchsagar is dedicated to Goddess Varahi. According to historical records, the temple’s present structure dates back to the 14th century, though much of its early history remains shrouded in mystery. According to tradition, it is believed that the lower teeth of Goddess Sati fell here. Interestingly, there is some debate about the exact location of this Shakti Peetha. While some sources place it in Varanasi, Uttar Pradesh, others identify it in Panchsagar, Uttarakhand.

At the Varahi Devi Temple, the goddess is worshipped as Varahi, a fierce form of Shakti. The name Varahi itself is significant, meaning with the face of a boar in Sanskrit. This unique representation of the goddess is closely associated with Lord Vishnu’s Varaha avatar. The Bhairava, the fierce manifestation of Lord Shiva who accompanies the goddess at each Shakti Peetha, is known here as Maharudra.

Goddess Varahi is depicted with the head of a female boar, wearing a red sari and adorned with jewels. The temple is revered by all three branches of Sanatana Dharma – Vaishnavism, Shaivism, and Shaktism. Unlike most temples, this shrine is open for only two hours daily, typically between 5:30 and 7:30 am. The temple is believed to be located near a sacred water body while the temple’s structure is said to glow uniquely when sunlight falls upon it, creating mesmerising views.

Despite its limited opening hours, the temple sees a constant flow of devotees offering prayers and seeking blessings. Navratri is celebrated with great gaiety at the temple, with Varahi Navaratri celebrated around June and July each year. Daily rituals include Kshirabhishekam or a milk bath and Kumkumarchana or a vermilion offering to the goddess. Sahasranamam and Ashtottara Shata Namavali are powerful chants that are recited during the daily pujas. The Rath Yatra is a major event celebrated with great devotion and festivals like Durga Puja, Vijaya Dashami, and Kalabham Festival are also celebrated with enthusiasm.

According to the Matsya Purana, Maa Varahi was created by Lord Shiva from the incarnation of Lord Vishnu’s Varaha avatar to slay a demon. She is primarily worshipped at night. It is said that there are two holes at the temple site, believed to be where Sati’s teeth fell. Legend has it that when someone tried to measure their depth years ago, he lost his power of sight. It is believed that Maa Varahi protects the holy city of Varanasi during the night, which is why the temple remains closed during the day. Some devotees believe that worshipping at this temple can help improve eyesight, likely connected to the legend of the unmeasured depth.

The Varahi Devi Temple, with its blend of myth, history, and living faith serves as a cultural centre, preserving ancient traditions and fostering community bonds. Its unique blend of Vaishnava, Shaiva, and Shakta traditions, coupled with its mysterious origins and limited accessibility, makes it a fascinating destination for both devotees and those interested in India’s spiritual heritage.

Attahas Temple, Attahas, West Bengal
The Attahas Temple, also known as the Phullara Shakti Peetha, is located in the village of Dakshindihi, near Katwa in Birbhum district. As one of the 51 Shakti Peethas, it is believed that this is where her lower lip is believed to have fallen. Here, the goddess is worshipped as Maa Phullora, symbolising blooming energy, and Lord Shiva is revered as Vishwesh Bhairava, her eternal consort and protector.

The origins of the Attahas Temple are deeply rooted in Hindu mythology and history. The name Attahas is derived from two Sanskrit words: Atta or excessive and Hasa or laughter, translating to loud laughter. This name is linked to the belief that Goddess Sati’s divine laughter resonates at this sacred site. The exact date of the temple’s establishment remains unknown, but archaeological evidence suggests that an ancient temple existed here centuries ago. The current structure was renovated and re-enshrined in 1915, after the original idol was moved to a museum for preservation. The temple houses a massive 15-foot-long stone that symbolises Sati’s lower lip, making it a unique representation among Shakti Peethas.

The temple’s location on the banks of the Ishani River, locally known as Kandor River, adds to its serene and spiritual ambience. Surrounded by natural beauty and dense forests, it is not only a place of worship but also a haven for environmentalists and birdwatchers who visit during December-January to observe migratory birds like Asian openbill storks and fruit bats.

As Goddess Sati is worshipped as Maa Phullora here, the name reflects her nurturing aspect that promotes growth and prosperity. Devotees offer items grown from the soil—such as grains, fruits, and flowers—as a symbol of gratitude for her blessings. Lord Shiva, in his fierce form as Bhairava, is worshipped here as Vishwesh, meaning Lord of the Universe. His presence ensures protection and balance at this powerful site of divine feminine energy.

Unlike conventional idols or murtis, the main deity at Attahas is represented by a massive stone measuring approximately 15 feet in length. This stone symbolises Sati’s lower lip and serves as a focal point for worship. The stone emanates an aura of divinity and uniqueness, making it one of the most distinctive representations among all Shakti Peethas. Though not grand in scale or opulence, the temple’s marble structure exudes elegance and serenity. Its understated design allows devotees to focus on spiritual connection rather than material grandeur. Adjacent to the main shrine is a smaller shrine dedicated to Lord Shiva as Vishwesh Bhairava, and Kal Bhairava.

A large pond near the temple holds immense religious significance. According to legend, Lord Hanuman collected 108 blue lotuses from this pond when Lord Rama required them for Durga Puja during his battle against Ravana. Devotees believe that bathing in this pond purifies sins and brings prosperity. The temple is surrounded by lush greenery and wildlife. Migratory birds like storks and butterflies add to its tranquil environment, attracting not just devotees but also nature enthusiasts.

The Attahas Temple follows traditional rituals steeped in Tantric practices and Shakta traditions. The day begins with Mangala Aarti or the early morning prayers, followed by offerings of flowers, especially hibiscus, coconuts, fruits, and grains. Devotees chant mantras dedicated to Maa Phullora while circumambulating the sanctum sanctorum. Navratri is celebrated with great fervour at Attahas. Special Tantric rituals are performed during these nine nights to invoke Maa Phullora’s blessings. Devotees offer anna bhoga or cooked rice offerings during these days as part of their prayers for prosperity.

A grand 10-day fair is held annually during Magh Purnima in January-February. Thousands of devotees gather at this time to offer prayers and participate in cultural programmes. The fair includes traditional music performances, stalls selling religious items, and community feasts. The temple is an important centre for Tantrik Shaktism. Many Tantriks perform rituals here seeking spiritual enlightenment or mastery over esoteric powers. These rituals often involve chanting mantras over specific yantras that are sacred geometric diagrams placed near Maa Phullora’s stone representation.

One legend explains how the name Attahas came into being. At Attahas, where her lower lip fell, it is believed that Shiva momentarily experienced divine laughter amidst his sorrow upon realising Sati’s eternal presence through these sacred sites. This laughter resonated across the cosmos and gave this place its name—Attahas or Loud Laughter. Another story links Lord Hanuman to this sacred site. During Lord Rama’s preparation for battle against Ravana in Lanka, he sought Maa Durga’s blessings through Durga Puja. As part of the ritual, he needed 108 blue lotuses. Hanuman searched far and wide until he discovered a pond near Attahas filled with these rare flowers. He collected them with devotion and presented them to Rama for his worship of Maa Durga. This act sanctified not only the pond but also reinforced Attahas as a site blessed by divine intervention.

An ancient terracotta inscription was discovered near the temple complex during archaeological excavations. While researchers are still deciphering its script, it is believed to contain information about early worship practices at Attahas or possibly references to Tantric rituals performed here centuries ago. This inscription adds an air of mystery to the temple’s history and underscores its significance as an ancient center of spirituality.

The Attahas Temple offers devotees a unique spiritual experience rooted in mythology, history, and natural beauty. Its distinct representation of Maa Phullora through a massive stone symbolising Sati’s lower lip sets it apart from other temples dedicated to Shakti. Whether you seek blessings for prosperity or wish to immerse yourself in serene surroundings steeped in divine energy, visiting this sacred site provides solace for both mind and soul.

Bahula Temple, Ketugram, West Bengal
Located in Ketugram village near Katwa in the Bardhaman district, the Bahula Temple is dedicated to Goddess Bahula, a manifestation of Shakti. The temple holds immense significance for devotees who come seeking blessings from the goddess, known for her nurturing and lavish nature. Here, Lord Shiva is worshipped as Bhiruk Bhairava, the divine protector of the Shakti Peetha.

The Bahula Temple is believed to date back to ancient times and is associated with the legend of Goddess Sati’s self-immolation during Daksha Yajna. It is said that Goddess Shakti’s left arm fell at this site in Ketugram and sanctified the location as a Shakti Peetha. The name Bahula has dual meanings: Bahu in Sanskrit means arm, signifying the part of Sati’s body that fell here, while Bahula translates to lavish or abundant, symbolising the prosperity and blessings bestowed by Goddess Bahula.

Historical records suggest that the temple was established by Raja Chandraketu, a local ruler who installed the stone idol of Goddess Bahula along with those of her sons, Lord Kartikeya and Lord Ganesha. Over time, the temple has undergone renovations but retains its ancient charm.

Goddess Sati is worshipped as Bahula, representing abundance and prosperity. Lord Shiva is revered as Bhiruk Bhairava, meaning one who has attained the highest levels of meditation or Sarvasiddhidayak or the grantor of all attainments.

The sanctum sanctorum houses a stone idol of Goddess Bahula in a serene form. She is depicted alongside her sons, Lord Kartikeya, symbolising war and fertility, and Lord Ganesha, representing auspicious beginnings and wisdom. The idol exudes simplicity yet radiates divine energy, drawing devotees into deep devotion. A separate shrine within the temple complex is dedicated to Bhiruk Bhairava, who protects this sacred site. His presence ensures balance and harmony at this powerful Shakti Peetha.

The temple features a spacious courtyard paved with red stone. This open space provides an area for meditation and spiritual reflection amidst the chiming of bells and chanting of mantras. The temple is located near the banks of the Ajay River, adding to its serene ambiance. The river is considered sacred by devotees who often take ritual baths before entering the temple. Unlike grand temples with elaborate carvings, the Bahula Temple boasts a simple yet elegant structure that emphasises spiritual connection over material grandeur.

The daily rituals and special ceremonies at Bahula Temple reflect deep-rooted traditions. The day begins with Mangala Aarti or early morning prayers at dawn. Devotees offer flowers, especially hibiscus, coconuts, fruits, sweets, and incense sticks as part of their prayers. Evening prayers include Sandhya Aarti followed by lighting lamps around the temple premises.

Navratri is celebrated with great grandeur at this Shakti Peetha. Special pujas are performed over nine days to honour Goddess Bahula’s nurturing aspect. Devotees offer bhog or sanctified food made from rice, fruits, and sweets during these celebrations. Durga Puja and Kali Puja are marked by elaborate rituals conducted by priests using tantric practices. Devotees participate in community feasts organised within the temple premises. Maha Shivratri is dedicated to Bhiruk Bhairava, where devotees perform night-long prayers seeking his blessings for spiritual growth and protection. Chhoti Navratri, a lesser version of Navratri celebrated in April includes yajnas or fire sacrifices performed to invoke divine blessings.

According to local lore, Raja Chandraketu was a devout follower of Goddess Shakti who had a vision instructing him to establish a temple at Ketugram where Sati’s left arm had fallen. Following this divine command, he installed stone idols of Goddess Bahula along with those of Kartikeya and Ganesha. It is said that Raja Chandraketu’s devotion was so intense that he never left empty-handed after praying at this temple—a belief that continues among devotees today. Another popular legend highlights how Maa Bahula blesses her devotees with prosperity and abundance. Farmers in Ketugram believe that offering prayers at this temple ensures bountiful harvests and protection from natural calamities.

The name Bahula, meaning lavish or abundant, reflects her role as a giver of wealth and well-being. Bhiruk Bhairava’s association with meditation as Sarvasiddhidayak has inspired many sages and ascetics to practice intense penance near this temple. It is believed that meditating here under Bhiruk Bhairava’s guidance leads to spiritual enlightenment and liberation from worldly attachments.

The Bahula Temple offers a unique spiritual experience rooted in mythology, history, and devotion. Its status as one of the 51 Shakti Peethas makes it a must-visit for devotees seeking divine blessings. The serene environment near Ajay River provides an ideal setting for meditation and introspection while the simple yet powerful representation of Maa Bahula through her stone idol emphasises humility in worship. Whether you seek prosperity or spiritual growth, visiting this ancient shrine will leave you feeling connected to divine feminine energy embodied by Maa Bahula!

Short Story: Kites and Mangoes

9 August, Singapore

You don’t sound Indian,” the boy had said at the kopitiam when Kavya ordered her teh c kosong. He’d grinned, like it was a compliment.

Kavya had smiled tightly, thanked him, and walked away. She was used to it.

Born and raised in Singapore, she knew the National Day Parade theme song by heart and could switch between English, Tamil, and a sprinkle of Mandarin like a linguistic gymnast. But somewhere between “pure” Singaporean and “actual” Indian, she felt like she belonged everywhere and nowhere at once.

She’d grown up visiting temples on weekends, dancing Bharatanatyam at community festivals, and eating prata after tuition class. But whenever she visited Little India, there was always someone who’d ask, “You from here or there?” and she never had a clear answer.

This year, she wanted something more. Something beyond tidy traditions and carefully curated heritage trails. She booked a solo trip to India, to Madurai, the city where her grandmother had been born.

Why now?” Amma had asked, frowning over her glasses.

I want to feel where I come from,” Kavya replied. “I want to be in India on Independence Day.”

Her mother had sighed but said nothing. That night, she slipped an old photograph into Kavya’s bag: a black-and-white picture of a young woman in a half-saree standing in front of the Meenakshi Temple.

11 August, Madurai, India

The heat struck like a drumbeat. Everything in Madurai pulsed: the honks, the temple bells, and the jasmine sellers with their hypnotic chants.

Kavya stayed in a modest homestay just off a street flanked by banana trees and walls stained with old film posters. The house had creaky wooden shutters, a courtyard with a mango tree, and an old woman who insisted Kavya eat second helpings of everything.

The rhythm of life was different here. Slower, louder, more chaotic, and strangely comforting. Kavya spent her mornings walking to temples and her afternoons scribbling in a notebook she carried everywhere. She didn’t know what she was writing—just thoughts, feelings, and fragments of herself.

12 August, Madurai

On her second morning, Kavya heard a ruckus in the alley. She stepped out and saw a girl, barefoot, dust-streaked, and laughing, chasing a runaway calf down the narrow lane. The girl caught it by the rope, scolded it gently in Tamil, and looked up to see Kavya watching.

You look like you’re from here but also… not,” the girl said, grinning.

Kavya laughed. “That’s not the first time I’ve heard that. I’m Singaporean. My grandma was from here.”

Then you’re one of us,” the girl declared. “I’m Meenal. Come. We’re painting flags today. For August 15. Want to help?

Kavya blinked. “Me? I don’t really paint…”

That’s okay. You’ll learn. We’re not picky about strokes, only spirit.

And just like that, she was pulled into a swirling circle of colours, cloth, and conversation.

13 August, Madurai

They sat under a neem tree, painting tiny Indian flags on scraps of cloth. Children swirled around them, cheeks smeared with green and orange.

What’s National Day like in Singapore?” Meenal asked, dabbing white onto a fabric square.

There’s a huge parade. Fireworks. Everyone wears red and white. But… it feels curated. Clean.”

You miss mess?” Meenal teased.

I miss… rawness. My identity feels like a fusion dish sometimes. Indian, but diluted. Singaporean, but never quite full-blooded.

Meenal paused and dipped her brush into green. “Being Indian isn’t about passports. It’s about stories. Smells. The way your body remembers mangoes even when your tongue forgets.”

Kavya looked at her. “You make it sound like poetry.

It is. We’re both translations of something old and beautiful.”

They sat in silence for a while. A small girl brought them sliced raw mango with chilli salt. Kavya bit into it, eyes watering from the tang.

This,” she said, “tastes like my grandmother’s kitchen. I didn’t even know I remembered.”

Meenal smiled. “See? That’s the thing about home. It sneaks up on you.”

14 August, Madurai

That evening, Meenal took her to a rooftop near the temple.

We come here every year to light paper lanterns,” she said. “Some say they carry prayers. Others say they chase away the shadows.”

As the sky dimmed, they lit small lanterns and watched them rise. Kavya stood quietly, fingers curled around her wrist.

My parents wanted me to study engineering. I chose literature instead,” Meenal said suddenly. “They said it was a waste. But I like words. Words are how I remember who I am.”

Kavya looked at her. “You’re lucky you even knew. I feel like I’m always translating what I want, who I am, who people think I should be.”

“Maybe identity isn’t about choosing one version. Maybe it’s about collecting them, like shells. Some smooth, some cracked. But all real.”

15 August, Madurai

The morning was thick with saffron skies and fried vadai. Children marched barefoot with tricolour kites and hand-painted flags. The air buzzed with pride, promise, and powdered colours.

Meenal tugged Kavya to the rooftop.

Here. Yours.

Kavya took the spool and launched her kite into the air.

It wobbled at first, then caught the wind. Higher, stronger.

Below, loudspeakers blared patriotic songs. Kavya felt the strings burn gently against her fingers.

You know,” she said softly, “In Singapore, we sing ‘One People, One Nation, One Singapore.’ But I never understood how to be one thing.”

Meenal grinned. “Maybe we aren’t meant to be one thing. Maybe we’re meant to be many.”

They watched the sky fill with colour. Saffron, white, green, and somewhere, Kavya imagined, red and white too.

I came here to find roots,” she said. “But I think I’ve found mirrors.”

One Week Later, Back in Singapore

Back in Singapore, the sky was cleaner, the traffic neater, and the air-conditioning colder.

On her desk sat a jar of Madurai earth, still smelling faintly of turmeric and dust.

On the wall: two flags. Side by side. Equal in colour, different in rhythm.

She opened her journal and flipped to the back.

A new note from Meenal had arrived by post.

Dear Kavya,

Happy National Day (again)! Mango season starts in March. Your kite is still flying, by the way.

We saved the spot on the rooftop for you.

Kavya smiled and picked up her pen.

Dear Meenal,

Tell the mangoes I’m coming. And this time, I’m bringing chilli salt.

Poem: Wandering on My Own

Solo travel is more than just a journey to distant lands, it is a profound exploration of the self. When you venture out on your own, every step, every encounter, and every quiet moment becomes a lesson in freedom, resilience, and discovery. The road tells stories of unexpected adventures, inner growth, and the courage to embrace solitude. It transforms you, leaving indelible marks on your heart and soul.

Wandering on My Own

In a world vast and wonderfully unknown,
I set forth on paths uniquely my own.
Every step a whisper, every mile a song,
In the dance of solitude, I found where I belong.

The road unfurled like a story untold,
Winding through cities of glimmering gold.
I met strangers who spoke in smiles and dreams,
And learned that freedom flows in silent streams.

Each sunrise painted a canvas of hope,
As I navigated life on my own slope.
No map to follow, just the beat of my heart,
In solo travel, every ending sparks a new start.

Mountains echoed with the courage to rise,
Valleys whispered secrets under open skies.
Every challenge faced, every fear overcome,
Wove a tapestry of strength, a journey well begun.

In quiet moments when the world stood still,
I discovered the power of my own will.
Solo but not lonely, in the silence I found,
A universe within me, vast and profound.

For in the art of wandering, one truth is known—
The greatest adventure is finding your own home.
So I journey on, with courage and delight,
Embracing every sunrise, every star in the night.

Sacred Stones, Spaces and Stories: Shakthipeeta Part 15

Alopi Devi Mandir, Prayagraj, Uttar Pradesh
Located in the ancient city of Prayagraj, formerly Allahabad, the Alopi Devi Mandir is dedicated to Goddess Alopi Devi. While the exact date of the establishment of the Alopi Devi Temple is uncertain, the temple’s roots are deeply intertwined with Hindu mythology and the legend of Goddess Sati. The temple’s location in Prayagraj, near the sacred confluence or Sangam of the Ganges, Yamuna, and the mythical Saraswati rivers, adds to its spiritual importance. This proximity to the Sangam has made it a significant pilgrimage site, especially during the Kumbh Mela, the world’s largest religious gathering.

Historical evidence suggests that the area around the temple saw development during the Maratha period. The Maratha warrior Shreenath Mahadji Shinde is credited with developing the Sangam area during his stay in Prayagraj in 1771-1772. Later, in the 1800s, Maharani Baizabai Scindia undertook renovation on the Sangam ghats and temples in Prayagraj.

According to tradition, it is believed that the fingers of Goddess Sati fell here. The name Alopi is significant, meaning disappeared in Hindi. This name is derived from the belief that this is where the last part of Sati’s body fell and disappeared from the earthly realm. The goddess is worshipped as Lalita Devi while the bhairav in this location is known as Bhaveshwar.

What makes the Alopi Devi Mandir truly unique is the absence of a traditional idol or statue. Instead, devotees worship an empty wooden palanquin or cradle or doli. This unconventional form of worship is believed to embody the divine, ever-present spirit of the goddess, offering blessings and protection to those who visit.

The temple showcases a harmonious blend of Hindu and Islamic architectural styles. It features a rectangular layout with a spacious courtyard surrounded by smaller shrines and pavilions. The temple is dominated by a tall shikhara or tower and a central dome adorned with intricate carvings and vibrant colours. The temple complex includes a sacred pond known as Kund, which holds immense religious significance and is used for various rituals. The temple walls feature intricate stone carvings depicting mythological scenes and divine beings. Its location near the holy confluence of the Ganges, Yamuna, and Saraswati rivers adds to its spiritual significance.

The temple remains open from 7 am to 8 pm. The festival of Navratri is celebrated with special prayers, and rituals. Bhajans or devotional songs are performed, creating an aura of reverence and devotion. During the Maha Kumbh Mela, held every 12 years, the temple sees a significant increase in visitors. The temple is famous among locals for mundan or hair tonsuring ceremonies. Devotees offer prayers and seek blessings, especially for family welfare, protection, and the resolution of personal hardships.

According to local lore, the last remnant of Sati’s body, the palanquin or doli, vanished at this spot – hence the name Alopi, meaning disappeared. Many locals consider Alopi Devi as their guardian deity, believing in her power to protect and bless. Some devotees believe that as the last part of Sati’s body fell here, it makes this temple the holiest among all Shakti Peethas.

The Alopi Devi Mandir, with its blend of myth, history, and living faith invites all who visit to partake in its timeless spiritual journey. The temple’s significance extends beyond its religious importance. It serves as a cultural cornerstone for Prayagraj’s residents, bridging centuries-old mythology with the present. Its unique form of worship, centered around an empty palanquin, offers a profound spiritual experience that sets it apart from other temples in India.

Vishalakshi Temple, Varanasi, Uttar Pradesh
Located in Varanasi, one of India’s most ancient and spiritually significant cities, the Vishalakshi Temple is dedicated to Goddess Vishalakshi, meaning the one with large eyes. Archaeological evidence and ancient texts suggest that this location has been a place of worship for over two millennia. The temple’s importance is mentioned in several ancient Hindu texts, highlighting its longstanding significance in Hindu cosmology.

According to legend, the temple’s origins are tied to a pious devotee named Kaushalya. Her unwavering devotion to Lord Shiva and Goddess Parvati was so intense that it moved the divine couple to grant her a vision. Impressed by her dedication, Goddess Parvati, in her form as Vishalakshi, instructed Kaushalya to build a temple in her name. This temple was to be a place where devotees could seek blessings for wisdom, knowledge, and spiritual insight. It is believed that the earrings or eyes of Goddess Sati fell at this sacred spot.

The temple showcases a unique blend of architectural styles. While the main structure follows the North Indian temple architecture, the entrance features a South Indian-style gopuram or ornate tower. This fusion of styles reflects the temple’s pan-Indian significance. The temple is part of a group of six points in Varanasi that symbolise Shastanga or six-fold yoga. The other five points include the Vishwanath Temple, the holy River Ganges, the Kala Bhairava Temple, the Dhudiraj Temple, dedicated to Lord Ganesha, and the Dandapani temple, dedicated to Lord Shiva.

The main deity, Goddess Vishalakshi, is depicted with large, mesmerising eyes, symbolising her all-seeing nature and divine wisdom. The temple houses several sacred objects, including a sculpted horse and an alternative image of Goddess Vishalakshi, which are used during special processions. Inside the temple complex, there is a unique feature where nine statues representing the planetary deities from Vedic astrology are placed upon a platform. These sculptures are regularly worshipped, connecting the celestial with the earthly realm. The bhairav in this temple is worshipped as Kala Bhairaveshwar

The temple follows a strict schedule of daily worship rituals performed by specially trained priests. The morning begins with an aarti, where priests chant hymns and offer flowers, incense, and lamps to the goddess. Devotees traditionally take a bath in the holy waters of the Ganges before offering worship to Goddess Vishalakshi. Devotees bring various offerings to the goddess, including coconuts, sweets, and red saris, which are considered auspicious gifts. Unmarried girls often pray to find a suitable partner, childless couples seek blessings for progeny, and those facing misfortune pray for a change in their circumstances. Given its status as a Shakti Peetha, the temple is also associated with certain Tantric rituals, though these are typically performed by initiated practitioners.

Festivals celebrated at the Vishalakshi Temple include the nine-night Navaratri festival, celebrated twice a year, in spring and autumn which is one of the most important events at the temple. During this time, the temple is elaborately decorated, and special pujas are conducted for the nine forms of the goddess. The Kajali Tij festival, held on the third day of the Hindu month of Bhadrapada, usually in August, is particularly significant for women devotees while the harvest festival, Makar Sankranti that marks the sun’s transit into Capricorn, is celebrated with great fervour at the temple. Ganga Dussehra, celebrating the descent of the Ganges River to Earth, holds special significance due to the temple’s proximity to the river. While not specific to this temple, the celebration of Durga Puja sees increased activity and devotion at the Vishalakshi Temple, given its connection to the divine feminine.

Katyayani Temple, Vrindavan, Uttar Pradesh
Dedicated to Goddess Katyayani, the Katyayani Temple in the holy town of Vrindavan stands as a testament to the enduring power of faith and the rich tapestry of Hindu mythology. The spiritual significance of the temple predates its current structure, with references found in ancient Hindu texts. However, the present temple has a more recent history. It was constructed in 1923 by Yogiraj Swami Keshvanand Brahmachari, a devoted spiritual seeker. Swami Keshvanand spent nearly four decades traversing the Himalayas, meeting spiritual masters under the guidance of his guru, Shri Lahiri Mahasay. During his spiritual journey, he received a divine vision directing him to Vrindavan to fulfil an important spiritual mission – locating and establishing the Peethsthan or sacred site mentioned in the Puranas. The temple was consecrated on a full moon day of the Hindu month of Magh in 1923, which falls in February according to the Gregorian calendar. According to tradition, it is believed that the ringlets of the hair of Goddess Sati fell at this spot, making the temple a Shakti Peetha.

One of the most significant aspects of this temple is that it houses five separate deities representing five different sects or sampradayas of Hinduism. Each idol is worshipped according to its sampradaya’s specific methodology. The deities include Goddess Katyayani from the Shakta sampradaya, Lord Shiva from the Shaiva sampradaya, Lord Laxmi Narayan from the Vaishnava sampradaya, Lord Ganesha from the Ganapatya sampradaya, and Lord Surya from the Surya sampradaya. Additionally, Goddess Jagatdhatri Devi is also worshipped here.

The main idol of Goddess Katyayani is made of Ashtadhatu, an alloy of eight metals. This idol was installed after performing Sanatan Dharm rites by religious scholars from various parts of India, including Varanasi and Bengal. Within the temple, devotees also worship Uchawal Chandrahaas, the sacred sword of the Goddess. This unique aspect adds to the temple’s spiritual significance. The shakti is worshipped as Uma Devi while the bhairav is Bhuteshwar.

The temple showcases a unique blend of architectural styles. The exterior is made of white marble, while large pillars of black stone support the structure. This contrast creates a visually striking appearance. At the entrance to the main courtyard, two golden-colored lion statues stand guard. These lions represent the vahana or vehicle of Goddess Durga.

The temple follows a strict schedule of daily worship rituals performed by specially trained priests. The timings for these pujas are from 7 am to 11 am and between 5:30 to 8 pm. Priests chant the Durga Saptashati, also known as Chandi Path daily, invoking the blessings of the Goddess. The Shodashopachara is one of the most important rituals at the temple, involving sixteen different offerings made to the Goddess. These offerings include flowers, incense, lamps, and food items. Devotees perform Abhishekam, a ritual, which involves bathing the idol of Goddess Katyayani with sacred water, milk, honey, and other auspicious substances. This is believed to purify the idol and invoke the Goddess’s blessings. The recitation of sacred hymns, mantras, and prayers dedicated to Goddess Katyayani is an integral part of the worship here.

The Katyayani Shakti Peeth comes alive with numerous festivals throughout the year, attracting thousands of devotees from across India and beyond. The nine-night Navaratri festival, celebrated twice a year in spring and autumn, is one of the most important events at the temple. During Navaratri, the Durga puja is performed with the chanting of Shatchandi Path. Katyayani Vrat is a special observance dedicated to Goddess Katyayani, where devotees fast and offer prayers to her. The festival of colours, Holi, is celebrated here for five days, continuing a tradition that dates back to the time of Lord Krishna. Basant Panchami, the spring festival is celebrated with great devotion and is dedicated to Shri Chaitanya Mahaprabhu, a famous saint who played a significant role in reviving the spiritual essence of Vrindavan. Krishna Janmashtami marks the birth of Lord Krishna and is celebrated with great fervour. Devotees observe fasts and participate in midnight celebrations. Diwali is another important celebration at the Shakti Peeth.

Several stories and legends are associated with the temple. According to legend, the Gopis of Vrindavan worshipped Goddess Katyayani on the banks of the Yamuna River to receive her blessings and have Lord Krishna as their consort. It is said that the Goddess blessed them, and they attained the supreme state of devotion, performing the Maharaas or Krishna consciousness. In Vrindavan, it is said that the Gopis used to make a statue of Goddess Katyayani out of the sand from the banks of the Yamuna River. They would worship this statue and ask for Lord Krishna to be their husband. This practice is known as Katyayani-vrata and is remembered by devotees even today. There is a popular belief that Goddess Katyayani blesses young unmarried girls who pray to her. It is said that girls who offer prayers at the temple will be blessed with a good husband. The Shrimad Bhagwat Puran mentions that Lord Vishnu directed Yogmaya, his Shakti, to appear in Brij as the daughter of Nandbaba and Yashoda before He himself was to be born there as Krishna avatar for the establishment of Dharma or righteousness in this world.

The Katyayani Shakti Peeth stands as a testament to the enduring power of faith and the rich tapestry of Hindu mythology. As a Shakti Peetha that celebrates the divine feminine in its multiple forms, it continues to captivate the hearts and minds of devotees and scholars alike. The temple’s unique position within Vrindavan, its distinctive rituals, and its historical significance make it a crucial piece in understanding the spiritual landscape of India.

In our modern world, where the role of women and the feminine principle is being reevaluated and celebrated, the Katyayani Shakti Peeth offers a timeless perspective on the power and wisdom of the divine feminine. It reminds us of the importance of balance between masculine and feminine energies, both in spiritual practice and in everyday life.