world heritage site of india

8/15/2019 World Heritage Site of India.

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Notes by Rajesh Nayak


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In 1972, the General Conference of UNESCO adopted a resolution with overwhelming enthusiasm creatingthereby a 'Convention concerning the protection of the World Cultural and Natural Heritage'. The main objectives wereto define the World Heritage in both cultural and natural aspects; to enlist Sites and Monuments from the membercountries which are of exceptional interest and universal value, the protection of which is the concern of all mankind;

and to promote co-operation among all Nations and people to contribute for the protection of these universal treasuresintact for future generations.

The List of recorded sites on the World Heritage now stands at 981 which include both cultural and naturalwonders, and endowment that is shared by all mankind and the protection of which is the concern of the entire

mankind. These include 759 cultural, 193 natural and 29 mixed properties in 137 state parties. India is an activemember State on the World Heritage from 1977 and has been working in close co-operation with other Internationalagencies like ICOMOS (International Council on Monuments and Sites), IUCN (International Union for theConservation of Nature and Natural Resources) and ICCROM (International Centre for the study of Preservation andRestoration of Cultural Property).

There are 32 World Heritage Properties in India out of which 25 are Cultural Properties and 7 are NaturalProperties.

NATIONAL CULTURAL HERITAGE SITES LISTPurpose and Criteria for recognition by the Ministry of Culture, India

I. Preamble

The Ministry of Culture, Government of India proposes to provide recognition to exceptional cultural heritage sites of National Significance within India through a well-defined process of identification, selection, nomination and

inscription on the List called the ‘National Cultural Heritage Sites List’, henceforth“theList”.

The ‘National Cultural Heritage Sites List’ will be a distinct recognition given to exceptional national cultural builtassets, different from other listings such as the World Heritage List, UNESCO’s Tentative List, List of monumentsunder the Archeological Survey of India and listing under the National Mission of Monuments and Antiquities.

Advantage of preparing the List will be as follows: a) Sites on this List will immediately be recognized for outstanding contribution to the National Culture that includesHistory, Science/ Technology, Anthropology, Landscape, Art, and Architecture.

b) Sites on this List can aim to be proposed on the Tentative List and subsequently on the World Heritage List if theyhave potential for recognition of Outstanding Universal Value (OUV) and, if they can qualify the benchmarks for Site

Management as per UNESCO’s World Heritage Operational Guidelines, 2013.

c) Once these properties qualify to the next level, i.e., Tentative List for World Heritage, they will be removed from the National List.

d) The listing under NMMA is a record of all heritage properties in the nation hence it will always retain the entire listof heritage sites including the ones on National List (in whole or parts as per definition for Built Heritage under

NMMA).

Since the recognition of National Cultural Heritage Sites is based on the Outstanding National Value which is notdefined in any of the existing acts such as AMASRA or even the Operational Guidelines for World Heritage; anadapted version of the definition from the World Heritage OG is used here to define the cultural heritage sites and their

outstanding national value.


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Cultural Properties

1. Agra Fort

Date of Inscription: 1983, Uttar Pradesh

Near the gardens of the Taj Mahal stands the important 16th-century Mughal monument known as the

Red Fort of Agra.

Red sandstone encompasses, The imperial city of the Mughal rulers.

It comprises many fairy-tale palaces, such as the Jahangir Palace and the Khas Mahal, built by ShahJahan; audience halls, such as the Diwan-i-Khas; and two very beautiful mosques.

Humayun, son of the founder of the Mogul Empire, was offered jewellery and precious stones by thefamily of the Raja of Gwalior, one of them the famous Koh-i-Noor. The heyday of Agra came with the

reign of Humayun's son, Akbar the Great. During his reign, the main part of the Agra Fort was built.

The Red Fort of Agra is a powerful fortress founded in 1565 by the Emperor Akbar (1556-1605) onthe right bank of the Yamuna

Like the Delhi Fort, that of Agra is one of the most obvious symbols of the Mogul grandeur whichasserted itself under Akbar, Jahangir and Shah Jahan.

The wall has two gates, the Delhi Gate and the Amar Singh Gate. The original and grandest entrancewas through the Delhi Gate, which leads to the inner portal called the Hathi Pol or Elephant Gate. But

now the entrance to the fort is only through the Amar Singh Gate.

The Khas Mahal, the Shish Mahal, the octagonal tower of Muhammam Burj, as well as receptionrooms: Diwan-i-Khas, built in 1637 and the many pillared Diwan-i-Am (Hall of Public Audience),

constructed in 1628, under the reign of the luxury-loving Shah Jahan (1630-55). Within the palatial

complex, there are two very beautiful mosques of white marble, the Moti Masjid or the Pearl Mosque,constructed in 1646-53 by Shah Jahan and the Nagina Masjid built under the reign of Aurangzeb

(1658-1707).

All of these monuments mark the apogee of an Indo-Muslim art strongly marked by influences fromPersia which already manifested itself in Timurid art.

Emperor Shah Jahan, who built the Taj Mahal, was imprisoned by his son Aurangzeb in Agra Fort,from which he had a view of the building erected for his deceased wife.

Sikandar Lodi (1487-1517) was the first Sultan of Delhi to shift his capital from Delhi to Agra, His sonIbrahim Lodi held the fort for 9 years until he was defeated and killed in the battle of Panipat in 1526.

Several palaces, wells and a mosque were built in the fort during the Lodi period.

Abul Fazl, a court historian of Akbar, records that 5000 buildings were built here beautifully inBengali and Gujarati style. Shah Jahan is said to have died in the Musamman Burj, a tower with a

beautiful marble balcony.


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2.

The Ajanta Caves:

Date of Inscription: 1983, Aurangabad district of Maharashtra

Rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650

CE

Include paintings and sculptures "the finest surviving examples of Indian art, particularly

painting" which are masterpieces of Buddhist religious art, with figures of the Buddha and

depictions of the Jataka tales. Built in two phases 2nd century BCE, with the second group of caves built around 400–650.

The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on

the small river Waghora River.

Rediscovered in 1819 by a British officer on a hunting party, There are Buddhist monastic

buildings, apparently representing a number of distinct "monasteries" or colleges

The caves form the largest corpus of early Indian wall-painting though they are related to 5th-

century paintings at Sigiriya in Sri Lanka, although the Ajanta tradition can be related to the later

Hindu Ellora Caves.

Was divided into several different caves for living, education and worship, under a centraldirection.

The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated

Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta

in the 5th century.

Made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana

dynasty (230 BCE – c. 220 CE) who ruled the region.

The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance.

Several are unfinished and some barely begun and others are small shrines, included in the

traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the

numbering was done.

The earliest group of caves consists of caves 9, 10, 12, 13 and 15A (caves 9 and 10 are stupa halls

of chaitya-griha form, and caves 12, 13, and 15A are vihāras)

The first phase is still often called the Hinayāna phase, as it originated when, using traditional

terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the

Buddha was revered symbolically, equally the caves of the second period are now mostly dated

too early to be properly called Mahayana or Greater Vehicle phase.

The second phase began in the 5th century.460 to 480 CE, during the reign of

Emperor Harishena of the Vakataka dynasty.

On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry,while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled

undergrowth. There were local people already using the caves for prayers with a small fire, when

he arrived. Captain Smith vandalized the wall by scratching his name and the date, April 1819,

over the body of a bodhisattva.

In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear,

tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as

president. In 1861 this became the nucleus of the new Archaeological Survey of India


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The Ajanta site was in the territory of the princely state of the Nizam of Hyderabad rather

than British India, and Ghulam Yazdani (1885-1962), who founded the archaeology department

of the State of Hyderabad in 1914 and ran it for over 30 years, played a considerable role in

conserving and researching the site, and publishing a series of monographs on it

Paintings of Padmapani and Vajrapani on either side of the Buddha.

Mural paintings survive from both the earlier and later groups of caves. Several fragments of

murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of

court-led painting in India from this period, and "show that by Sātavāhana times, that paintingwas widely practiced and appreciated in the courts of the Gupta period.

In 1846, Major Robert Gill, an Army officer from Madras Presidency and a painter, was

appointed by the Royal Asiatic Society through the offices of James Fergusson to make copies of

the frescoes on the cave walls, which were increasingly subject to damage by visitors.

In 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay

School of Art, to work with his students to make new copies, again for shipping to England. They

worked on this for thirteen years and some 300 canvases were produced, many of which were

displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of

the Victoria and Albert Museum.

Further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady

Herringham) and a group of students from the Calcutta School of Art that included the future

Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first

publication of London's fledgling India Society.

A final attempt to make copies of the murals was made by the Japanese artist Arai Kampō who

encountered them after being invited by Rabindranath Tagore to India to teach Japanese painting

techniques.

The majority of the caves are vihara halls for prayer and living.

In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus,

halls were made with stupas to venerate the Buddha. In later periods the images of the Buddhastarted to be made in coins, relic caskets, relief or loose sculptural forms.

Buddha's human representations are found at Buddhist archaeological sites, such as Goli,

Nagarjunakonda, and Amaravati.

Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at

Kanheri.

The caves of the second period, now all dated to the 5th century, the 5th and 6th centuries AD,

during the Gupta and post-Gupta periods were typically described as "Mahayana", but do not

show the features associated with later Mahayana Buddhism. These caves were excavated during

the supremacy of the Vakatakas and Guptas.

In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity"

Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya,

and Amitabha.

Cave 1 was built on the eastern end of the horse-shoe shaped scarp, Cave 2 has a porch quite

different from Cave one. Even the façade carvings seem to be different. The cave is supported by

robust pillars, ornamented with designs, Cave 4:"This is the largest monastery planned on a

grandiose scale but was never finished. Cave 3 is merely a start of an excavation was begun right


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at the end of the final period of work and soon abandoned, Caves 5 and 6 are viharas, Cave 7 has

a grand facade with two porticos, Cave 8 was long thought to date to the first period of

construction, Caves 9 and 10 are the two chaitya halls from the first period of construction,

though both were also undergoing an uncompleted reworking at the end of the second period.

Rises above a meander in the Waghora River.

3. Buddhist Monuments at Sanchi

Date of Inscription: 1989 The Buddhist vihara at Sanchi, famous for its Great Stupa is located at Sanchi

Town in Raisen District of the state of Madhya Pradesh,

The 'Great Stupa' at Sanchi is the oldest stone structure in India originally commissioned by

the emperor Ashoka the Great in the 3rd century BCE, It would appear that the site was

settled in the 3rd century BC at the time that the Emperor Asoka, the grandson of

Chandragupta, who had defeated the Macedonian invaders and founded the Maurya dynasty,

was converted to Buddhism.

Its nucleus was a simple hemispherical brick structure built over the relics of the Buddha.

The construction work of this stupa was overseen by Ashoka's wife, Devi herself, who was the

daughter of a merchant of Vidisha.

The pillar has an Ashokan inscription (Schism Edict) and an inscription in the

ornamental Sankha Lipi from the Gupta period.

The original brick stupa was later covered with stone during the Sunga period.

The rise of the Sunga emperor Pushyamitra Sunga who overtook the Mauryan Empire as an

army general. Pushyamitra may have destroyed the original stupa, and his son Agnimitra

rebuilt it.

With its many tiers it was a symbol of the dharma, the Wheel of the Law.

The gateways and the balustrade were built and colored, then appeared to have been

commissioned by the Satavahana, top architraves of the Southern Gateway by the artisans ofthe Satavahana king Satakarni.

DC Sircar observes that palaeographically the Hathigumpha record is slightly later than

Naneghat record whereas the letters of Sanchi inscription of Satakarni resemble the script of

Hathigumpha inscription. Kharavela in his inscription mentions one Satakarni, who is

identified as Satakarni II, who is also identical to the one who inscribed in Sanchi. If this is

true, then the dating of Sanchi gateway and balustrade belong to the much earlier period of

180-160 BC.

Stone carvings the Buddha was never depicted as a human figure. Instead the artists chose to

represent him by certain attributes, such as the horse on which he left his father’s home, hisfootprints, or a canopy under the bodhi tree at the point of his enlightenment.

Temple 17 is probably one of the earliest Buddhist temples as it dates to the

early Gupta period

A British officer in 1818, General Taylor, was the first known Western historian to document

(in English) the existence of Sanchi.

Today, around fifty monuments remain on the hill of Sanchi, including three stupas and

several temples.


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(Asoka's column with its projecting capital of lions inspired by Achaemenid art) was erected.

4. Champaner-Pavagadh Archaeological Park

Date of Inscription: 2004, located in Panchmahal district in Gujarat, India. It is located around

the historical city of Champaner , a city which was built by Sultan Mahmud Begada of Gujarat.

The heritage site is studded with forts with bastions starting from the hills of Pavagadh, and

extending into the city of Champaner. Includes archaeological, historic and living cultural heritage monuments such

as chalcolithic sites, a hill fortress of an early Hindu capital, and remains of the 16th-century

capital of the state of Gujarat.

There are palaces, entrance gates and arches, mosques, tombs and temples, residential

complexes, agricultural structures and water installations such as stepwells and tanks, dating

from the 8th to the 14th centuries.

The Kalika Mata Temple, located on top of the 800 metres (2,600 ft) high Pavagadh Hill, is an

important Hindu shrine in the region, attracting large numbers of pilgrims throughout the year.

In addition to the Primary Heritage Zone of 983.27 hectares (2,429.7 acres), there are severalother sites which include: Kabutarkhana, Maqbara, Maqbara Mandvi, Maqbara near Patidar

Village, Malik Sandal Ni Vav, Hathikhana, Sindh Mata, Sikander Ka Reuza, Babakhan Ki

Dargah, Nau Kuan Sat Vavdi, and Chandrakala Vav.

It includes the Palace of Mahmud Begada, grandson of Ahmed Shah, who

founded Ahmedabad City, Jama Masjid and other mosques.

Pavagadh Hill rises to a height of 800 metres (2,600 ft), has a geological setting of reddish-

yellow stone, and is considered to be one of the oldest rock formations in India.

The name Champaner is derived from Champa, who was either a Vania or a Kanbi. He

established this city during the rule of Vanraj Chavda of Anhilwad Patan (from 746 to 806 AD).

In the eleventh century, Ram Gaur Tuar ruled, and Champaner was under the Anhilwad until

1297 or so when they were defeated by Alauddin Khilji, who made it their stronghold. During

this period, the Chauhan Rajputs had also settled in Champaner. The Pavagadh Hill was where

the Solanki kings and Khichi Chauhans built fortresses and ruled from. In 1418 and in about

1450, they managed to fight off their neighbour, Rao of Idar , and the Muslim rulers

of Ahmedabad. Mahmud Begada’s captain, Malik Asad, was raiding through Champaner, he

was attacked and killed by Raval Jaisingh. What ensued in the following years was the complete

defeat of the Rajputs by Sultan Begada. The fort held under siege for more than a year and was

finally captured, when Kivamul Mulk and Malik Ayaz Sultani penetrated the walls and broke

the main gate, destroyed the army and injured the leaders of the Rajputs. Raval Jaisingh was

wounded and for six months was given amnesty but was then killed since he refused to convert

to Islam. Raval’s son, however, converted to Islam and was made a noble with the title "Nizam-

ul-Mulk". After the fort was seized, Mahmud renamed the city "Muhmudabad Champaner".

Mahmud laid the foundation stone for his mosque. He built elaborate ornate structures, fortified

both the forts, made the hill fort his Mauliya (meaning Lord of the Hill) and his citadel over a

period of 23 years and eventually moved his capital from Ahmadabad to Champaner


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Champaner was famous for mangoes, sandalwood trees (used then for house building and sword

blades), and colourful silks.

In 1526, young Sikander Shah died and Bahadur Shah became the next ruler of Champaner.

In 1535, the Mughal Emperor Humayun invaded Champaner and looted the coffers. Upon

Bahadur's death in 1536, the capital and the court shifted back to Ahmadabad.

The British visited the town of Champaner in 1803, at which time there were only 500 people

residing there. The old city was in ruins and wildly overgrown. They refounded it and it became

a great exporter of silk, with facilities for washing and preparing raw silk . However,a cholera epidemic reduced the population to 400 families by 1812. In 1879, a

few Bhil and Naikda tribes resided there, but over the next few years, it became well known in

India for its rulers and the monuments left behind by them

One of the innovative features of the two historic monuments centres was the development of

methods for harvesting rainwater, in the form of tanks or ponds in the Pavagadh hills (called the

“hill of hundred pools”) and innumerable wells in the city of Champaran, which was nicknamed

"city of thousand wells". The Vishamitri River is the only stream that rises from the Pavgadh

hills, and was tapped for feeding wells in Champaner and tanks in Pavagadh.

Some of the famous water structures are: the Ganga, Yamuna and Saraswathi Kunds (in the

Mauliya plateau); the Wada Talao, the largest water tank fed by rivulets located on the eastern

part of the city; the innovative Gaben Shah tank; the exquisitely ornamented helical stepwells

such as in the public gardens and at the entrance to the city, and the Royal summer pavilions.

The water channel in the house of a noble, called the “Amir’s Manzil,” is cited as a reflection of

the “superb workmanship of water structures built by those responsible for the palatine and

religious architecture of Champaner.

There are eleven different types of buildings at Champaner-Pavagadh, including mosques,temples, granaries, tombs, wells, walls, and terraces.

The monuments include Helical stepped well, Sakar Khan's Dargah, City Gate near Kasbin Talao

Citadel walls

City walls at south-east corner of the citadel going up the hill

East and South Bhadra Gates

Sahar ki Masjid (Bohrani)

Three cells inside the citadel wall between Sahar ki Masjid the local fund Dharmashala

Mandvi or Custom House

Jami Masjid

Stepwell north of Jama Masjid

Kevda Masjid and Cenotaph

Tomb with a big dome in the centre and small corner domes on way to Khajuri Masjid near Wada Talao

Cenotaph of Kevda Masjid

Nagina Masjid

Cenotaph of Nagina Masjid

Lila Gumbaz ki Masjid, Chapaner

Kabutarkhana Pavilion on the north bank of Wada Talao near Khajuri Masjid

Kamani Masjid


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Bawaman Mosque

Pavagad hill

Gate No. 1 on Pavagarh hill (Atak Gate)

Gate No. 2 (with three gateways, Budhiya gate)

Gate No. 3 (Moti gate, Sadanshah-Gate)

Gate No. 4 with big bastion with cells in the interior

Sat Manzil between gate Nos. 4 and 5 right up to bastions on top

Mint above Gate No4

Gate No. 5 near Machi (Gulan Bulan Gate)

Gate No. 6 (Buland Darwaza)

Makai Kothar

Palace of Patai Rawal with tanks

Gate No. 7 near iron bridge (Makai Gate)

Gate No. 8 (Tarapore Gate)

The fort of Pavagad and ruined Hindu and Jain temples on the top of Pavagad hills

Navlakha Kothar

Walls of fort on top

The fortress built by the Solanki kings of Gujarat was further fortified by Khichi Chauhans. In

1484, Sultan Mahmud Begadah captured the fort and renamed it Muhammadabad Champaner. The

fortifications start on the Mauliya plateau, which is situated on the hill and ends on the plains.

The huge wall of free stone is known as Bigada’s wall, and encloses the Jahapanah (the world

shelter) and the Bhadar or the citadel of Mahmudabad Champaner; Shikari Kot or Hunters Fort is

located to the east of the Citadel. The Bada Talao or the Great Lake is next to the ruins of the

palace

The earliest temple on Pavagadh hill in the Mauliya plateau is dated to the 10th–11th century

and is dedicated to Lakulish. However, the temple is in ruins, with only the Gudha mandapa (sanctum sanctorum)

and Ardha mandapa part of the antarala now

present. Lakulish, Dakshinmurthi, Brahma, Vishnu, Gajendramoksha, various forms

of Shiva, Indra, seated Ambika and Surasundaris are the images seen in this temple. The temple

was built in the Hindu temple architecture style of architecture with garbhagriha, mandapa and an

entrance porch. It had ornate decorations, mostly consisting of stone carvings.

The temples of the Jain religion at Pavagadh are also noteworthy. They are of three different

groups: The first consists of the Bhavanaderi temples near Naqqarkhana gate called the Navalakka

temples, the second group is in honour of the tirthankaras Suparshvanatha and Chandraprabha and

the third group, situated on the south east of Pavagarh Hill ( Mataji'scliff), is near the Pārśva temple

next to the Dudhia tank. Elaborately carved seated and standing images of the Jain pantheon are

seen on the outer walls of the temples. The Garbabrihas are enshrined with beautiful stone images

of tirthankaras in these temples.

The most visited temple on the hill is the Kalika Mata Temple. It has three images of

goddesses: the central image is of Kalika Mata, flanked by Kali on the right and Bahuchara Mata on

the left. The spire of this temple, interestingly, carries a shrine of Sadanandsha pir, a Muslim saint


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held in great reverence in the region. It is the third of the major Shakti Peethas of Gujarat and is

known for tantric worship. It is connected by a mono-cable ropeway 740 metres (2,430 ft) in length

which can carry 1200 people per hour and is stated to be the country's highest ropeway.

On Chaitra ashtami, during navratri (nine-day festival), a fair is held at the Kalika Mata temple

which is attended by thousands of devotees. The ruins of Patai Raval's palace can be seen on the

way to the temple.

Among the five mosques in very good condition, the Jama Masjid (also spelled "Jami

Masjid") near the east gate, built by Sultan Begada, is one of the most notable among the 114

monuments listed by the Baroda Heritage Trust. It has a blend of Hindu and Muslim architecture

preserving the Islamic ethos and with its elegant interiors is considered one of the finest mosques in

Western India.

Other notable mosques in the heritage area are: the Kevada Masjid, the Ek Minarka

Masjid (single dome mosque); the Panch Mahuda ka masjid (five domed mosque) in a forested

area; the Shehrka Masjid (city mosque), an elegant structure located inside the citadel; and

the Nagina Masjid (jewel mosque), to the south of the citadel, built with pure white stone; a

stepwell decorated with arches is close to this mosque. Tombs have been built adjacent to

mosques. The tomb of Sikander Shah seen near Halol is a simple single storied building in Muslim

architectural style. The shrine of Khon pir , a saint, a colourful tomb, was a place of worship of theweaver community (Muslims known as Tais) of Champaner.

The custom house was probably used as a guard room. It is well planned in a square shape

with five rows of arches and five equal colonnaded aisles. From this location to the east gate, the

view of present-day Champaner consists of shabby houses on a lone street. Kabutarkhana Pavilion

is situated on the north bank of Bada Talao near Khajuri Masjid. Another building with columns is

also located on the Pavagadh Hill, above the roof of the Mahakali temple.

The Patha (pilgrim's route) is considered to be the 'soul' of Champaner.

5. Chhatrapati Shivaji Terminus (formerly Victoria Terminus)

Date of Inscription: 2004, City of Mumbai, Maharastra.

The Chhatrapati Shivaji Terminus, formerly known as Victoria Terminus Station, in Mumbai,

is an outstanding example of Victorian Gothic Revival architecture in India, blended with

themes deriving from Indian traditional architecture.

An historic railway station in Mumbai Maharashtra, India which serves as the headquarters of

the Central Railways. Designed by Frederick William Stevens with influences from Victorian

Italianate Gothic Revival architecture and traditional Mughal buildings, the station was built

in 1887 in the Bori Bunder area of Bombay to commemorate the Golden Jubilee of Queen

Victoria

One of the busiest railway stations in India, The station's name was changed to its present one

in March 1996 and it is now known simply as CST (or CSTM).

Bori Bunder (alternatively "Bori Bandar") was one of the areas along the Eastern shore line of

Mumbai, India which was used as a storehouse for goods imported and exported from

Mumbai.


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In the 1850s, the Great Indian Peninsular Railway built its railway terminus in this area and

the station took its name as Bori Bunder.

The station was eventually rebuilt as the Victoria Terminus, named after the then reigning

Queen, and has been subsequently renamed Chhatrapati Shivaji Terminus (CSTM) after the

17th-century king. The shortened name is now CST.

This famous architectural landmark in a Gothic-revival style was built as the headquarters of

the Great Indian Peninsular Railway. Since then, the station came to be known as Bombay

VT.(Railway code-BBVT). In 1996, the Minister of Railways, Suresh Kalmadi, changed the name of the station to

Chhatrapati Shivaji Terminus in honour of Great King Chhatrapati Shivaji, founder of

the Maratha Empire.

In 2008, the station was featured prominently in the Academy Award winning film, Slumdog

Millionaire. In 1956, the station was also featured in the film C.I.D. during the song 'Yei Hai

Bombay Meri Jaan'.

It is one of the first and is considered as one of the finest products of the use of industrial

revolution technology merged with revival of the Gothic Revival style In India

Became the symbol of Bombay as the ‘Gothic City’.

Mumbai was the first city in India to have heritage legislation, enacted by Government

Regulation in 1995 (N° 67). The Chhatrapati Shivaji Terminus (formerly Victoria Terminus)

and the Fort area, of which it is part, are protected on the basis of this legislation, A

multidisciplinary committee, called Mumbai Heritage Conservation Committee (MHCC) was

established to ensure the protection of heritage buildings.

It was first passed to the Portuguese and then, in 1661, to the British. In 1667, the island was

transferred to the East India Company, who was principally responsible for its commercial

development. Merchants settled here from elsewhere, and the shipbuilding industry and the

cotton trade prospered.

It took ten years to complete and was named "Victoria Terminus" in honour of the Queen andEmpress Victoria; it was opened on the date of her Golden Jubilee in 1887.

6.

Churches and Convents of Goa (1986), Goa

Inscribed by UNESCO under the World Heritage List in 1986.

Built by the Portuguese colonial rulers of Goa between 16th and 18th centuries.

Former capital of Velha Goa is also known Goem, Pornem Gõy, Adlem Gõi, Old Goa or

Saibachem Gõi, where Saib or Goencho Saib refers to Saint Francis Xavier

Most significant of these monuments is the Basilica of Bom Jesus, which enshrines the tombcontaining the relics of St. Francis Xavier.

These monuments of Goa, known as the “Rome of the Orient,” were established by

different Catholic religious orders.

There were originally 60 churches of which some of the surviving monuments in the city

of Velha Goa are the Saint Catherine's Chapel.


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The monuments are built in laterites and walls plastered with limestone mortar mixed with

broken shells. For this reason, the monuments need constant maintenance to prevent

deterioration due to monsoon climatic conditions, and thus keep them in good shape.

The paintings in the churches were done on wooden borders and fixed between panels having

floral designs as in the chapels housing the tomb of St. Xavier, the arches above the altars in

the transept of the Se' Cathedral and in the nave on either side of the main altar in the Church

of St. Francis of Assisi.

7. Elephanta Caves

Date of Inscription: 1987 Is located on island hills about 11 km north-east of the Apollo Bandar, Mumbai and 7 km

from the shore of the mainland, approximately covering an area of 7 km in

circumference.

The island is named after a colossal elephant found in the island, which is popularly

known as ‘Gharapuri’.

At present, the statue of elephant is housed at Jijamata Garden in Mumbai.

In ancient period, the place is variously identified as Puri which is mentioned in theAihole inscription of Pulakesin II.

It seems, different dynasties held their sway over this island, namely, the Konkan-

Mauryas, Trikutakas, Chalukyas of Badami, Silaharas, Rashtrakutas, Kalyani Chalukyas,

Yadavas of Deogiri, Muslim rulers of Ahmedabad and then by the Portuguese. The

Marathas also had this island under their control and from them it passed into the control

of the British.

There are seven cave excavations in the Elephanta group and these are datable from circa

6th – 7th centuries A.D. Among the cave excavations, the Cave 1 is the most impressive

which represents the evolved Brahmanical rock-cut architecture. The 7-metre-high

masterpiece “Sadashiva” dominates the entrance to Cave 1.

On plan it almost resembles the Dumar Lena (Cave 29) of Ellora.

On plan, there are three large square recesses divided off by pilasters each of them

bearing a gigantic image of a dvarapala.

The panel on the east has a figure of ardhanarisvara, a form of Siva with the combined

energies of male and female; and on the west figures of Siva and Parvati playing chausar

is carved. The central recess holds the most famous and remarkable sculpture of this

period known as the Mahesa-murti. It is a colossal bust of the three forms of Siva, the

aghora, turbulent and fearsome; tatpurusha, benign and meditative and vamadeva, mild

pleasing and lovable. The other notable panels in the main cave are Andhakasuravada murti; cosmic dance of

Nataraja; Kalyanasundara murti; Gangadhara murti; Ravana shaking Kailasa and Siva as

Lakulisa. A panel depicting Saptamatrikas near the eastern opening is also remarkable.

The layout of the caves, including the pillar components, the placement and division of

the caves into different parts, and the provision of a sanctum or Garbhagriha of

sarvatobhadra plan, are important developments in rock-cut architecture.


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The fifteen large reliefs surrounding the lingam chapel in the main Elephanta Cave not

only constitute one of the greatest examples of Indian art but also one of the most

important collections for the cult of Shiva.

The Trimurti and other colossal sculptures with their aesthetic setting are examples of

unique artistic creation.

The caves are preserved in the form of monolithic temples, sarvatobhadra

garbhgriha (sanctum), mandapa (courtyard), rock-cut architecture, and sculptures.

8. Ellora Caves

Date of Inscription: (1983), Maharashtra State.

The Ellora caves, locally known as ‘Verul Leni’ is located on the Aurangabad-

Chalisgaon road at a distance of 30 km north-northwest of Aurangabad.

Also known as Ellora Complex are a cultural mix of religious arts of

Buddhism, Hinduism and Jainism.

Ellora, with its uninterrupted sequence of monuments dating from A.D. 600 to 1000,

brings the civilization of ancient India to life.

Ellora is also world famous for the largest single monolithic excavation in the world,the great Kailasa (Cave 16)

The visit to these caves is enjoyed maximum during monsoon, when every stream is

filled with rainwater, and the entire environ is lush green. The monsoon is not only a

season of rains in this part, the local visitors are attracted to visit these ideal locations

to have a glimpse of the mother nature in full bloom.

The caves are hewn out of the volcanic basaltic formation of Maharasthra, known as

‘Deccan Trap’, the term trap being of Scandinavian origin representing the step like

formation of the volcanic deposits.

At Ellora, one can also have a glimpse of the channels (near Cave 32) through which

the volcanic lava once flowed These channels, due to overheating, have a

characteristic brownish red colour.

Similar rock was used in the construction of the Grishneshwar Temple nearby and

also utilized for the flooring of the pathways at Bibi-ka-Maqbara.

The hills in which the caves are hewn, forms part of the Sahyadri ranges of the

Deccan and dated to the Cretaceous era of the Geological time scale (about 65 million

years ago).

The hill also supports several streams, the prominent among them being the Elaganga,

which drains into the Shiv, a stream of the Godavari river system. The Elaganga is in

its full vigour during the monsoon, when the overflowing waters of a barrage in theupstream near Mahismati allows the gushing waters to land at “Sita-ki-nahani” near

Cave 29 as a crashing waterfall.

By a rough estimate, there are nearly 1200 caves of varying sizes in the entire

Maharashtra, out of which nearly 900 alone belong to Buddhism.

The region is also famous for its antiquity. It has been inhabited since time

immemorial, the stone tools belonging to the Upper Palaeolithic (around 10,000 to

20,000 years ago), Mesolithic (less than 10,000 years ago) bearing testimony to this


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fact. The Chalcolithic remains (2500-1000 BC) in the vicinity also indicates the

continuity of human occupation in this region.

The importance of Ellora during the early centuries of the Christian era is also

understood by the findings of coins of Satavahanas, the ruling dynasty during the

period. The Satavahanas had their capital at Pratishtana (modern Paithan) and ruled

the entire area between the Arabian Sea and Bay of Bengal and bordered by the

Narmada River on the north.

Ellora being located on the ancient trade route connecting the western ports on theArabian sea like Sopara (Surparaka, the Supara of Greek; Subara of Arab writers; the

ancient capital of northern Konkan), Kalyan a thriving port; Chemula, the Samylla of

Greek geographers, Chemula of Silaharas, on the island of Trombay and the inland

cities like Paithan (Pratishtana), Ter (Tagara), Bhokardan (Bhogavardhana).

The fact that Satavahanas traversed this region is attested by their inscriptions at

Nasik caves and donor inscriptions of their times at Pital Khora caves, located at a

distance of 40 km west of Ellora.

Nasik is at the crossroads of an ancient trade route connecting centres on the west to

east and those on the north to south. The location on the ancient trade route did not

induce any activities at Ellora during the Satavahana rule.

Thus grew one of the largest cave excavations at Ellora, that too of three different

religious creeds, viz., Buddhism, Brahmanism and Jainism.

In total, there are nearly 100 caves in the hill range out of which 34 caves are famous

and visited by many tourists, out of which Caves 1 to 12 are Buddhist; Caves 13 to 29

are Brahmanical and Caves 30 to 34 are Jaina. Two more groups of caves are noticed

on the Elaganga and on an upper terrace, namely, the Ganesh Leni and Jogeshwari

Leni.

The only definite inscriptional evidence is that of Rashtrakuta Dantidurga (c. 753-57

A.D.) on the back wall of the front mandapa of Cave 15. The Great Kailasa (Cave 16)is attributed to Krishna I (c. 757-83 A.D.), the successor and uncle of Dantidurga. A

copper plate grant from Baroda of the period of Karka II (c. 812-13 A.D.) speaks

about the greatness of this edifice.

The inscription tells us that this great edifice was built on a hill by Krishnaraja at

Elapura (Ellora) and even the celestial beings moving in the sky were struck by its

magnificence, as though it was self-existent, not created by mortals, and, even the

architect who caused it was wonder struck that he could build it. Apart from the

above two inscriptions, the entire cave complexes lack inscriptions of the nature

found at other cave sites like that of Ajanta, Nasik, Karle, Kanheri, etc.

The initiation of religious establishments at Ellora coincides with the departure of thetradition at Ajanta. It is well known that the excavations started here before the

Rashtrakutas arrived on the scene and the Caves 1 to 10 and Cave 21 (Ramesvara)

were definitely constructed before them.

These excavations are generally attributed to the Kalachuris of Mahismati, appeared

to have gained control of the region around Nasik and parts of ancient Asmaka

(region around Aurangabad) including Bhogavardana (modern Bhokardan) and the


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Chalukyas of Badami who held their sway in this region for a brief period before their

feudatories, the Rashtrakutas took over.

The majority of the Brahmanical establishments and the remaining Buddhist ones can

be attributed to the Rashtrakuta times which indicate the religious tolerance of the

contemporary period.

The Jaina caves definitely post-date the Rashtrakutas as indicated by the style of

execution and fragmentary inscriptions. This region was under the control of Kalyani

Chalukyas and Yadavas of Deogiri (Daulatabad) during this period. The patronagetowards Jainism under the Yadavas is also known by the findings of several

sculptures of Jaina faith from Daulatabad. Thus, we have the greatest religious

conglomeration at a single place, signifying the religious tolerance and solidarity of

different faiths.

The approach roads to the caves were repaired on the ensuing visit of Sultan Hasan

Gangu Bahmani, who also camped at the site and visited the caves. The other

important accounts of these caves are by Firishta, Thevenot (1633-67), Niccolao

Manucci (1653-1708), Charles Warre Malet (1794), Seely (1824). During the 19th

century A.D. these caves were owned by the Holkars of Indore who auctioned for the

right of worship and leasing them for religious as well as a form of entrance fee. Afterthe Holkars, these caves passed into the control of Nizams of Hyderabad, who

through their Archaeology Department carried out extensive repairs and maintenance

of the caves under the guidance of Archaeological Survey of India. The caves are

under the maintenance of the Archaeological Survey of India after the reorganisation

of states and the dominions of erstwhile Nizams merged into the state of Maharashtra.

9. Fatehpur Sikri

Date of Inscription: (1986), Uttar Pradesh

Built during the second half of the 16th century by the Emperor Akbar. Fatehpur Sikri (the City of Victory) was the capital of the Mughal Empire for only

some 10 years,

The complex of monuments and temples, all in a uniform architectural style,

includes one of the largest mosques in India, the Jama Masjid.

Offers a unique example of architectural ensembles of very high quality

constructed between 1571 and 1585.

Form and layout strongly influenced the evolution of Indian town planning,

notably at Shahjahanabad (Old Delhi).

The Emperor Akbar (1556-1605) decided to construct it in 1571, on the same site

where the birth of his son, the future Jahangir, was predicted by the wise Shaikh

Salim Chisti (1480-1572).

The work, supervised by the great Mughal himself, was completed in 1573. In

1585, however, Akbar abandoned Fatehpur Sikri to fight against the Afghan tribes

and choose a new capital, Lahore.

The city, which the English traveller Ralph Fitch considered in 1585 as

'considerably larger than London and more populous', comprised a series of


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palaces, public buildings and mosques, as well as living areas for the court, the

army, servants of the king and for an entire population whose history has not been

recorded.

Only one tiny part of the city (where the large buildings are concentrated) has

been until now, studied, visited and relatively well preserved.

The majority of the important monuments are found to the north of the road from

Gaza to Agra; constructed of red sandstone, they form a homogeneous group,

even if the eclecticism of their style is evident and is based on borrowings fromHindu, Persian and Indo-Muslim traditions.

Diwan-i-Am, the Hall of Public Audience, is encircled by a series of porticos

which are broken up by the insertion of the imperial box where Akbar, surrounded

by his ministers and officers meted out justice. This box communicates directly

with Daulat Khana (Imperial Palace), flanked to the north by Diwan-i-Kas (Hall

of Private Audience), called the 'Jewel House', a monument known for its central

plan, which comprises an extraordinary capital surmounted by a circular balcony:

the 'throne'.

Other monuments of exceptional quality are the Ranch Mahal, whose elevation of

four recessed storeys recalls certain Buddhist temples, the pavilion of AnupTalao, or the Turkish Sultana, the palace of Jodh Bai, the palace of Birbal, the

caravanserai and the problematic 'stables'.

The great mosque (Jama Masjid), one of the most spacious in India (165 m by

133 m) could accommodate some 10,000 faithful; it was completed in 1571-72

and according to the dedicatory inscription deserves no less respect than Mecca.

To the south of the court, the Buland Damaza, completed in 1575,

commemorating the victories (the taking of Gujarat in 1572) to which the city,

their monumental symbol, owes its existence and its name.

Stone age tools have been found in this area. Coloured Pottery (c. 2nd millennium B.C.) and Painted Grey Ware (c.1200-800

B.C.) have also been discovered from here.

Sikri has been mentioned in the Mahabharata as ‘Saik’. Lexicons define ‘Saik’ as

a region surrounded by water.

An inscription found on the stone sculpture of Jaina Saraswati (dated 1067

Vikram Samvat = 1010 A.D.) mentions this place as ‘Sekrikya’, which seems to

be a similar derivative. All this shows that Sikri was continuously inhabited since

the prehistoric period.

Babur visited the place on the eve of the Khanwah battle in A.D. 1527 and

mentioned it as ‘Sikri’ in his Memoirs. He founded here a garden and a Jal-Mahal

surrounded by the lake-water, and a baoli (step-well) to commemorate his victory

in the Khanwah battle.

Akbar (1556-1605), grandson of Babur, shifted his residence and court from Agra

to Sikri, for a period of 13 years, from 1572 to 1585 to honour the Sufi Saint

Sheikh Salim Chishti, who resided here.

Sikri was the first planned city of the Mughals.


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The sloping levels of the city were connected into terraces which were utilised for

various complexes such as Jami masjid, Buland-Darwazah and tomb of Sheikh

Salim Chishti; Khass Mahal, Shahi-Bazar, Mina-Bazar, the Panch-Mahal,

Khwabgah, Diwan-i-Khass, Anup-Talao, Chaupar and Diwan-i-Am.

10. Great Living Chola Temples Date of Inscription:(1987), Tamil Nadu.

Brihadisvara Temple at Thanjavur; Temple of Gangaikondacholisvaram;and Airavatesvara Temple at Darasuram] (1987, 2004), Tamil Nadu

The celebrated Saiva temple at Thanjavur, appropriately called Brihadisvara and

Daksinameru, is the grandest creation of the Chola emperor Rajaraja.

Was inaugurated by the king himself in his 19th regnal year (AD 1009-10) and

named it after himself as Rajesvara Peruvudaiyar.

Architecturally, it is the most ambitious structural temple built of granite. It has

been regarded as a ‘landmark in the evolution of building art in south India’ and

its vimana as a ‘touchstone of Indian architecture as a whole’

The temple with its massive proportions and simplicity of design providedinspiration for future designs in constructions not only in south India but also in

south-east Asia.

The sikhara, a cupolic dome, is octagonal and rests on a single block of granite.

The majestic upapitha and adhishthana are common to all the axially placed

entities like the ardha-maha and mukha-mandapas and linked to the main sanctum

but approached through a north-south transept across the ardha-mandapa which is

marked by lofty sopanas.

The brihad-linga within the sanctum is 8.7 m high. Life-size iconographic

representations on the wall niches and inner passages include Durga, Lakshmi,

Sarasvati and Bhikshatana, Virabhadra, Kalantaka, Natesa, Ardhanarisvara andAlingana forms of Siva.

Sarfoji, a local Maratha ruler, rebuilt the Ganapati shrine. The celebrated

Thanjavur School of paintings of the Nayakas is largely superimposed over the

Chola murals. The temple is rich in iconography as well as inscriptions which

provide an account of events showing achievements, financial arrangements,

donations and bearing an impression of contemporary society.

Two great Chola Temples of the 11th and 12th centuries have been added to the

11th century Brihadisvara temple of Thanjavur, inscribed in 1987.

The Great Living Chola Temples were built by kings of the Chola Empire, whichstretched over all of South India and the neighbouring islands.

The site now includes the three great 11th and 12th century Chola Temples: the

Brihadisvara temple of Thanjavur, the Temple of Gangaikondacholapuram and

the Airavatesvara temple at Darasuram.

Temple of Gangaikondacholapuram, built by Rajendra I, The Airavatesvara

temple complex at Darasuram, built by Rajaraja II.


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The Brihadisvara temple at Tanjavur marks the greatest achievement of the Chola

architects. Known in the inscriptions as Dakshina Meru, the construction of this

temple was inaugurated by the Chola King, Rajaraja I (985-1012 CE) possibly in

the 19th regal year (1003-1004 CE) and consecrated by his own hands in the 25th

regal year (1009-1010 CE).

The Brihadisvara temple at Gangaikondacholapuram in the Perambalur district

was built for Siva by Rajendra I (1012-1044 CE). The temple has sculptures of

exceptional quality. The bronzes of Bhogasakti and Subrahmanya aremasterpieces of Chola metal icons. The Saurapitha (Solar altar), the lotus altar

with eight deities, is considered auspicious.

The Airavatesvara temple at Tanjavur was built by the Chola king Rajaraja II

(1143-1173 CE.): it is much smaller in size as compared to the Brihadisvara

temple at Tanjavur and Gangaikondacholapuram. It differs from themin itshighly

ornate execution. The temple consists of a sanctum without a circumambulatory

path and axial mandapas. The front mandapa known in the inscriptions as

Rajagambhiran tirumandapam, is unique as it was conceptualized as a chariot

with wheels. The pillars of this mandapa are highly ornate. The elevation of all

the units is elegant with sculptures dominating the architecture. A number ofsculptures from this temple are the masterpieces of Chola art. The labelled

miniature friezes extolling the events that happened to the 63 nayanmars (Saiva

saints) are noteworthy and reflect the deep roots of Saivism in this region. The

construction of a separate temple for Devi, slightly later than the main temple,

indicates the emergence of the Amman shrine as an essential component of

the South Indian temple complex.

The three Chola temples of Southern India represent an outstanding creative

achievement in the architectural conception of the pure form of the dravida type

of temple. The Brihadisvara Temple at Thanjavur became the first great example of the

Chola temples, followed by a development of which the other two properties also

bear witness.

The three Great Chola Temples are an exceptional and the most outstanding

testimony to the development of the architecture of the Chola Empire and the

Tamil civilisation in Southern India.

The Great Chola temples at Thanjavur, at Gangaikondacholapuram and

Darasuram are outstanding examples of the architecture and the representation of

the Chola ideology.

11. Group of Monuments at Hampi (1986) Date of Inscription-1986, Karnataka

Traditionally known as Pampakshetra of Kishkindha, Hampi is situated on the southern bank of

the river Tungabhadra. Once it was the seat of the mighty Vijayanagara empire. Hampi was the


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last capital of the last great Hindu Kingdom of Vijayanagar. fabulously rich princes built

Dravidian temples Hampi’s spectacular setting is dominated by river Tungabhadra

Vijayanagara architecture is also known for its adoption of elements of Indo Islamic Architecture

in secular buildings like the Queen’s Bath and the Elephant Stables, representing a highly evolved

multi-religious and multi-ethnic society.

The city of Hampi bears exceptional testimony to the vanished civilization of the kingdom of

Vijayanagar, which reached its apogee under the reign of Krishna Deva Raya (1509-30).

It offers an outstanding example of a type of structure that illustrates a significant historical

situation: that of the kingdoms of South India which, menaced by the Muslims, were occasionally

allied with the Portuguese of Goa.

Enriched by the cotton and the spice trade was one of the most beautiful cities of the medieval

world.

Its palaces and Dravidian temples were much admired by travellers, be they Arab (Abdul

Razaak), Portuguese (Domingo Paes) or Italian (Nicolò dei Conti).

The monuments of Vijayanagara city, also known as Vidyanagara in honour of the sage

Vidyaranya were built between AD 1336-1570, from the times of Harihara-I to Sadasiva Raya.

The contemporary chroniclers who came from far off countries-such as Arabia, Italy, Portugal

and Russia visited the empire, have left graphic and glowing accounts of the city. It covers an area

of nearly 26 sq km and is stated to be enclosed by seven lines of fortifications.

The various religious and secular structures which include Hindu and Jaina temples, audience hall

of the king, the magnificent throne platform to witness the festivals and other events, the king's

balance (tulabhara) are awe-inspiring.

Temples of this city are noted for their large dimensions, florid ornamentation, bold and delicate

carvings, stately pillars, magnificent pavilions and a great wealth of iconographic and traditional

depictions which include subjects from the Ramayana and the Mahabharata.

The largest extant temple is that of Pampapati (now in worship) was extensively renovated. Its

magnificent entrance tower was caused by Krishnadeva Raya. The Vitthala temple is an excellent

example of Vijayanagara style. The monolithic statues of Lakshmi, Narasimha and Ganesa are

noted for their massiveness and grace.

The Krishna temple, Pattabhirama temple, Hazara Ramachandra and Chandrasekhara temple as

also the Jaina temples, are other examples. Majority of these temples were provided with

widespread bazaars flanked on either side by storeyed mandapas. Among secular edifices mention

may be made of the Zenana enclosure wherein a massive stone basement of the Queen's palace

and an ornate pavilion called 'Lotus-Mahal are only remnants of a luxurious antahpura. The

corner towers of arresting elevation, the Dhananayaka's enclosure (treasury), the Mahanavami

Dibba carrying beautifully sculptured panels, a variety of ponds and tanks, mandapas, the

elephant's stables and the row of pillared mandapas are some of the important architectural

remains of this city.

Interesting finds include a large number of stone images, both in round and relief, beautiful

terracotta objects and stucco figures that once embellished the palaces. In addition many gold and

copper coins, household utensils, a square stepped-tank (sarovara) at the south-west of


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Mahanavami Dibba, and a large number of ceramics including the important variety of porcelain

and inscribed Buddhist sculptures of 2nd -3rd century AD have also been unearthed.

12. Group of Monuments at Mahabalipuram -1984 Date of Inscription: 1984, Tamil Nadu, Also known as Mamallapuram.

Mamallapuram, the city of Mamalla, is after the title of great Pallava ruler Narasimhavarman-I.

It is known especially for its rathas (temples in the form of chariots), mandapas (cavesanctuaries), giant open-air reliefs such as the famous 'Descent of the Ganges', and the temple of

Rivage, with thousands of sculptures to the glory of Shiva.

It was a sea-port during the time of Periplus (1st century AD) and Ptolemy (AD 140) and many

Indian colonists sailed to South-East Asia through this port town.

While there is some evidence of architectural activity going back to the period of

Mahendravarman-I (AD 600-30), the father of Mamalla, most of the monuments like rock-cut

rathas, sculptured scenes on open rocks like Arjuna's penance, the caves of Govardhanadhari and

Mahishasuramardini, the Jala-Sayana Perumal temple (the sleeping Mahavishnu or Chakrin at the

rear part of the Shore temple complex) are attributed to the period of Narasimhavarman-I

Mamalla.

Of the nine monolithic temples found in Mahabalipuram, the most important are Five Rathas

known after the famous five Pandava brothers of the Mahabharata fame. While the Dharmaraja,

Arjuna and Draupadi rathas are square on plan, the Bhima and Ganesa rathas are rectangular and

Sahadeva ratha apsidal.

The Draupadi ratha is a simple hut like kutagara shrine while the Arjuna ratha is a dvitala vimana

with a mukhamandapa. The Bhima ratha is rectangular on plan with a salakara wagon-vaulted

roof. The Dharmaraja ratha is a tritala vimana having functional shrines at all the talas. The

Nakula-Sahadeva ratha with an apsidal plan and elevation indicate the experimental tendency of

the architect. Though monolithic sculpturing, both cut-in and cut-out, continued even during later periods

(Atiranachanda cave, Pidari rathas and Tiger-cave), the structural architecture was introduced on a

grand scale by Pallava Rajasimha.

The Shore temple is a complex of three temples, viz, Rajasimhesvara (a small tritala vimana

facing west), the Kshatriyasimhesvara (the larger east facing vimana) and Nripatisimha Pallava

Vishnugriha (an east facing, oblong, flat-roofed mandapa shrine) housing the reclining Vishnu.

The notable cave temples here are the Varaha mandapa, Mahisamardini mandapa, Paramesvara

Mahavaraha Vishnugriha (Adivaraha cave). belong to the Mahendra period.

Besides, a monolithic Bhuvaraha, a reclining image of Vishnu, the base of Durga shrine with deer

and a square socket possibly to accommodate mahastambha have also been exposed. To the south

of the Shore Temple was exposed a stepped ghat facing the sea.

Another piece of architectural beauty is the Shore temple, standing against the background of the

deep blue waters of the ocean.

13. Group of Monuments at Pattadakal Date of Inscription: (1987), Karnataka


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Chalukyan rulers were not only empire builders, but great patrons of art whose

encouragement prompted the artists and craftsmen to experiment and innovate in different

architectural styles and giving it a new dimension. It is in their period that transition from

rock-cut medium to structural temples took place.

Pattadakal located in Bijapur district of Karnataka was not only popular for Chalukyan

architectural activities but also a holy place for royal coronation, 'Pattadakisuvolal'. Temples

constructed here mark the blending of the Rekha, Nagara, Prasada and the Dravida Vimana

styles of temple building. The oldest temple at Pattadakal is Sangamesvara built by Vijayaditya Satyasraya.

The other notable temples at Pattadakal are the Kadasiddhesvara, Jambulingeswara both

attributed to 7th century A.D. while Galaganatha temple was built a century later in the style

of rekha nagara prasada.

The Kasivisvesvara temple was the last to be built in early Chalukyan style. The Mallikarjuna

temple was constructed by Rani Trilokyamahadevi to celebrate the victory over the Pallavas

by Vikramaditya II. She is also credited to have built the Virupaksha temple influenced by the

architecture of the Kailasanatha temple at Kanchipuram. The Virupaksha temple later served

as a model for the Rashtrakuta ruler Krishna I (757 -783 A.D.) to carve out the great Kailasa

at Ellora.

The last addition at Pattadakal was made during the reign of Rashtrakuta ruler Krishna II of

the 9th century A.D. in form of a Jaina temple, locally famous as Jaina Narayana, with its two

lower storeys functional.

The sculptural art of the early Chalukyas is characterised by grace and delicate details. The

ceiling panels of the navagrahas, dikpalas, the dancing Nataraja, the wall niches containing

Lingodbhava, Ardhanarisvara, Tripurari, Varahavishnu, Trivikrama bear ample testimony to

the sculptor's skill as well as the cult worship in vogue. The narrative relief illustrating certain

episodes from the Ramayana, Mahabharata, Bhagavata and Panchatantra fitted well with these

grand religious edifices. The Sangamesvara, the earliest of the three, built by Chalukya Vijayaditya (697-733), is

nearer the Pallava form in that it has no sukanasika, while the other two, which possess this,

are the earliest of the Chalukyan type and its derivatives possessing this architectural member,

as also does the Kailasa at Ellora. Both the Sangamesvara and the larger Virupaksha are

similar to each other in being square on plan from the base to sikhara. The Virupaksha, built

by the queen of Vikramaditya II (733-46), is the earliest dated temple with the sukanasika,

being closely followed by the Mallikarjuna, built by another queen of the same king.

The main vimana of the Sangamesvara is of three storeys. The lowermost storey is surrounded

by two walls, the inner and outer, the second storey being an upward projection of the inner

wall, while the outer wall encloses the covered circumambulatory round the sanctum.

The Virupaksha is a large complex consisting of a tall vimana with axial mandapas and peripheral sub-shrines round the court, enclosed by a wall with gopura-entrances in front and

behind, all designed and completed at one time. As such, this is the earliest extant temple-complex in the Chalukyan series. The massive gopuras are also the earliest. The compound-

wall of the complex, following the plan of the group itself, has on its coping kuta and said-

heads, suggestive of a derivation from the Shore-temple at Mahabalipuram-a device whichgives the impression of a lower storey when viewed from a distance.


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The Mallikarjuna, built immediately after and close to the Virupaksha, is a smaller templewith a four-storeyed vimana with a circular griva and sikhara. It has more or less a similar plan.

One masterpiece from the group stands out – the Temple of Virupaksha, built c. 740 by Queen

Lokamahadevi to commemorate her husband's victory over the kings from the South.

14. Hill Forts of Rajasthan

Date of Inscription: 2013 The serial site, situated in the state of Rajastahan, includes six majestic forts in

Chittorgarh; Kumbhalgarh; Sawai Madhopur; Jhalawar; Jaipur, and Jaisalmer.

The forts use the natural defenses offered by the landscape: hills, deserts, rivers, and dense

forests. They also feature extensive water harvesting structures, largely still in use today.

The extensive fortifications up to 20 kilometres in circumference optimized various kinds

of hill terrain, specifically the river at Gagron, the dense forests at Ranthambore, and the

desert at Jaisalmer, and exhibit an important phase in the development of an architectural

typology based on established “traditional Indian principles”.

The vocabulary of architectural forms and of ornaments shares much common ground

with other regional styles, such as Sultanate and Mughal architecture.

As a former capital of the Sisodia clan and the target of three famous historical sieges,

Chittorgarh is strongly associated with Rajput history and folk lore.

Kumbhalgarh was constructed in a single process and (apart from the palace of Fateh

Singh, added later) retains its architectural coherence. Its design is attributed to an

architect known by name –Mandan – who was also an author and theorist at the court of

Rana Kumbha in Chittorgarh. This combination of factors is highly exceptional.

Situated in the middle of forest, Ranthambore is an established example of forest hill fort

and in addition, the remains of the palace of Hammir are among the oldest surviving

structures of an Indian palace. Gagron is an exemplar of a river-protected fort.

Amber Palace is representative of a key phase (17th century) in the development of a

common Rajput-Mughal court style, embodied in the buildings and gardens added to

Amber by Mirza Raja Jai Singh I.

Jaisalmer is an example a hill fort in desert terrain. The extensive township contained

within it from the outset, still inhabited today, and the group of Jain temples, make it an

important (and in some respects even unique) example of a sacred and secular (urban) fort.

15. Humayun's Tomb, Delhi Date of Inscription: 1993, Delhi

This tomb, built in 1570, is of particular cultural significance as it was the first garden-

tomb on the Indian subcontinent. It inspired several major architectural innovations,

culminating in the construction of the Taj Mahal.

Humayun died in 1556, and his widow Hamida Banu Begam, also known as Haji

Begam, commenced the construction of his tomb in 1569, fourteen years after his

death. It is the first distinct example of proper Mughal style, which was inspired by


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Persian architecture. It is well known that Humayun picked up the principles of

Persian architecture during his exile, and he himself is likely to have planned the tomb,

although there is no record to that effect.

Mirak Mirza Ghiyath, a Persian, was the architect employed by Haji Begam for this

tomb.

The square red sandstone double-storeyed structure of the mausoleum with chamfered

corners rises from a 7-m. high square terrace, raised over a series of cells, which are

accessible through, arches on each side. The mausoleum is a synthesis of Persian architecture and Indian traditions-the former

exemplified by the arched alcoves, corridors and the high double dome, and the latter

by the kiosks, which give it a pyramidal outline from distance.

Although Sikandar Lodi's tomb was the first garden-tomb to be built in India, it is

Humayun's tomb which set up a new vogue, the crowning achievement of which is the

Taj at Agra.

Several rulers of the Mughal dynasty lie buried here. Bahadur Shah Zafar had taken

refuge in this tomb with three princes during the first war of Independence (AD 1857).

On the southwestern side of the tomb is located barber's tomb (Nai-ka-Gumbad) which

stands on a raised platform, reached by seven steps from the south. The building is

square on plan and consists of a single compartment covered with a double-dome.

Exemplifying the formative stage of the Mughal structural style, Humayun's Tomb

stands as a landmark in the development of Mughal architecture, and also represents

the earliest extant specimen of the Mughal scheme of the garden tomb, with

causeways and channels.

Humayun had travelled widely in the Islamic world, notably in Persia and central Asia,

and brought back with him ideas that were applied by the architect of his tomb, under

the direction of his widow, in this tomb.

16. Khajuraho Group of Monuments Date of Inscription: 1986, Madhya Pradesh

Khajuraho, the ancient Kharjjura-vahaka represent today a distinct pattern of art and

temple architecture of its own reminding one of the rich and creative period it

witnessed during the Chandella rule.

The local tradition lists eighty-five temples but now only twenty-five are standing

examples in various stages of preservation.

But for Chausath-Yogini, Brahma and Mahadeva which are of granite, all the other

temples are of fine grained sandstone, buff, pink or pale yellow in colour. Yasovarman (AD 954) built the temple of Vishnu, now famous as Lakshmana temple

is an ornate and evolved example of its time proclaiming the prestige of the

Chandellas.

The Visvanatha, Parsvanatha and Vaidyanatha temples belong to the time of king

Dhanga, the successor of Yasovarman.

The Jagadambi, Chitragupta, are noteworthy among the western group of royal

temples of Khajuraho.


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The largest and grandest temple of Khajuraho is the immortal Kandariya Mahadeva

which is attributed to king Ganda (AD 1017-29).

The other examples that followed viz., Vamana, Adinatha, Javari, Chaturbhuj and

Duladeo, are smaller but elaborately designed.

The Khajuraho groups of temples are noted for lofty terraces (jagati) and functionally

effective plans comprising of an ardhamandapa, acting as entrance generally adorned

with makara torana and kakshasana, the mandapa, as the hall with antarala leading to

garbha griha or sanctum. The larger temples have mahamandapas in front of theardhamandapa. They also have minor shrines at four corners and thus categorized as

pancayatana. The exterior of the temples are richly decorated. In contrast, Javari and

Brahma temples are simpler creations.

The recent excavation at Bija Mandal in Jatkara near Khajuraho has revealed the

remains of a huge temple base datable to 11th century A.D. which extends over 4 m

than the largest known temple (Kandariya Mahadeo Temple). An exquisite image of

Sarasvati was also found from here.

Greatly influenced by the Tantric school of thought, the Chandela kings promoted

various Tantric doctrines through royal monuments, including temples.

The society of the time believed in dealing frankly and openly with all aspects of life,

including sex. Sex is important because Tantric cosmos is divided into the male and

female principle.

The Jagadambi, Chitragupta, are noteworthy among the western group of royal

temples of Khajuraho. The largest and grandest temple of Khajuraho is the immortal

Kandariya Mahadeva which is attributed to King Ganda (1017-29).

17. Mahabodhi Temple Complex at Bodh Gaya Date of Inscription: 2002, Bihar

Bodh Gaya is associated with the enlightenment of Lord Buddha (566-486 B.C.). Thesacred Bodhi tree under which he is believed to have attained enlightenment. The

place is highly venerated by the Buddhists.

Emperor Asoka visited Bodh Gaya around 260 B.C. and constructed a small temple

near the Bodhi tree. An inscription datable to 1st – 2nd century A.D. mentions that the

temple of Asoka was replaced by a new one.

Fahien first makes reference to the main temple and the Bodhi tree in 404-05 A.D.

Hieun Tsang, who visited the site in 637 A.D. mentions the presence of walls

surrounding the Bodhi tree, within which stood the Mahabodhi temple nearly 160 feet

tall and a large fine sanctuary. Several additions and alterations took place and the

present temple may be datable to the 6th century A.D. The temple fell into disuse in

the 13th century A.D. after the conquest of this region by the Delhi Sultanate. During

the 19th century, the Burmese kings made certain repairs which were continued by the

British in 1880-84.

The sacred Bodhi tree stands to the west of the above temple. It is known as the pipal

tree (Ficus religiosa) in India. It is believed that this tree is the direct descendant of the

original tree under which Lord Buddha meditated.


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It is one of the four holy sites related to the life of the Lord Buddha, and particularly to

the attainment of Enlightenment. Others Lumbini : Nepal, Sarnath : Uttar Pradesh,

India, Kushinagar : Uttar Pradesh, India.

It is one of the earliest Buddhist temples built entirely in brick, still standing, from the

late Gupta period and it is considered to have had significant influence in the

development of brick architecture over the centuries.

Next to the Bodhi Tree there is a platform attached to the main temple made of

polished sandstone known as Vajrasana (the Diamond Throne), originally installed byEmperor Asoka to mark the spot where Buddha sat and meditated.

18. Mountain Railways of India Date of Inscription: 1999

This site includes three railways. The Darjeeling Himalayan Railway was the first, and

is still the most outstanding, example of a hill passenger railway. Opened in 1881, its

design applies bold and ingenious engineering solutions to the problem of establishing

an effective rail link across a mountainous terrain of great beauty. located in the

foothills of the Himalayas in West Bengal.

The construction of the Nilgiri Mountain Railway, a 46-km long metre-gauge single-

track railway in Tamil Nadu State was first proposed in 1854, but due to the difficulty

of the mountainous location the work only started in 1891 and was completed in 1908.

This railway, scaling an elevation of 326 m to 2,203 m, represented the latest

technology of the time. located in the Nilgiri Hills of Tamil Nadu.

The Kalka Shimla Railway, a 96-km long, single track working rail link built in the

mid-19th century to provide a service to the highland town of Shimla is emblematic of

the technical and material efforts to disenclave mountain populations through the

railway. located in the Himalayan foothills of Himachal Pradesh.

The densely wooded mountain spur on which Darjeeling now stands was formerly partof the Kingdom of Sikkim. It was adopted by the British East India Company as a rest

and recovery station for its soldiers in 1835, when the area was leased from Sikkim

and building of the hill station began, linked to the plains by road. The region was

annexed by the British Indian Empire in 1858.

19. Qutb Minar and its Monuments, Delhi Date of Inscription: 1993

Qutb-Minar in red and buff standstone is the highest tower in India.

Qutbu'd-Din Aibak laid the foundation of Minar in AD 1199 for the use of themu'azzin (crier) to give calls for prayer and raised the first storey, to which were added

three more storeys by his successor and son-in-law, Shamsu'd-Din Iltutmish (AD

1211-36).

Numerous inscriptions in Arabic and Nagari characters in different places of the minar

reveal the history of Qutb. According to the inscriptions on its surface it was repaired

by Firuz Shah Tughlaq (AD 1351-88) and Sikandar Lodi (AD 1489-1517).


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Quwwat-ul-Islam Mosque, to the north-east of minar was built by Qutbu'd-Din Aibak

in AD 1198. It is the earliest extant mosque built by the Delhi Sultans. It consists of a

rectangular courtyard enclosed by cloisters, erected with the carved columns and

architectural members of 27 Hindu and Jaina temples which were demolished by

Qutbu'd-Din Aibak as recorded in his inscription on the main eastern entrance.

The Iron Pillar in the courtyard bears an inscription in Sanskrit in Brahmi script of

fourth century AD, according to which the pillar was set up as a Vishnudhvaja

(standard of god Vishnu) on the hill known as Vishnupada in memory of a mightyking named Chandra. A deep socket on the top of the ornate capital indicates that

probably an image of Garuda was fixed into it.

The tomb of Iltutmish (AD 1211-36) was built in AD 1235.

Ala'i-Darwaza, the southern gateway of the Quwwat-ul-Islam mosque was constructed

by Alau'd-Din Khalji in AH 710 (AD 1311) as recorded in the inscriptions engraved

on it. This is the first building employing Islamic principles of construction and

ornamentation.

Ala'i Minar which stands to the north of Qutb-Minar, was commenced by Alau'd-Din

Khalji, with the intention of making it twice the size of earlier Minar.

Lalkot is the first of the seven cities of Delhi, established by the Tomar Rajput ruler,

Anang Pal, in 1060.

The iron pillar in the mosque compound was brought from elsewhere in India. It bears

a Sanskrit inscription from the 4th century AD describing the exploits of a ruler named

Chandra, believed to be the Gupta King Chandragupta II (375-413). Of the other

monuments, the Tomb of Iltutmish was built in 1235 by the ruler himself and Alai

Darwaja was built in 1311 by Alauld-Din Khalji, who also began the construction of

the Alai Minar.

20. Rani-ki-Vav (the Queen’s Stepwell) at Patan, Gujarat Date of Inscription: (2014)

located on the banks of the Saraswati River and was initially built as a memorial to a

king in the 11th century AD

Stepwells are a distinctive form of subterranean water resource and storage systems on

the Indian subcontinent, and have been constructed since the 3rd millennium BC.

Rani-ki-Vav was built at the height of craftsmens’ ability in stepwell construction and

the Maru-Gurjara architectural style, reflecting mastery of this complex technique and

great beauty of detail and proportions. Designed as an inverted temple highlighting the

sanctity of water, it is divided into seven levels of stairs with sculptural panels of high

artistic quality; more than 500 principle sculptures and over a thousand minor ones

combine religious, mythological and secular imagery, often referencing literary works.

21. Red Fort Complex Date of Inscription: 2007, New Delhi


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In 1638 Shahjahan transferred his capital from Agra to Delhi and laid the foundations

of Shahjahanabad, the seventh city of Delhi. It is enclosed by a rubble stone wall, with

bastions, gates and wickets at intervals.

Of its fourteen gates, the important ones are the Mori, Lahori, Ajmeri, Turkman,

Kashmiri and Delhi gates, some of which have already been demolished.

His famous citadel, the Lal-Qila, or the Red Fort, lying at the town's northern end on

the right bank or the Yamuna and south of Salimgarh, was begun in 1639 and

completed after nine years The Red Fort is different from the Agra fort and is better planned, because at its back

lies the experience gained by Shahjahan at Agra, and because it was the work of one

hand. It is an irregular octagon, with two long sides on the east and west, and with two

main gates, one on the west and the other on the south, called Lahori and Delhi gates

respectively. While the walls, gates and a few other structures in the fort are

constructed of red sandstone, marble has been largely used in the palaces.

From the western gateway after passing through the vaulted arcade, called Chhatta-

Chowk, one reaches the Naubat- or Naqqar-Khana ('Drum-house'), where ceremonial

music was played and which also served as the entrance to the Diwan-i-'Am. Its upper

storey is now occupied by the Indian War Memorial Museum.

The Diwan-i-' Am ('Hall of Public Audience') is a rectangular hall, three aisle deep,

with a façade of nine arches.

A water-channel, called the Nahr-i-Bihisht ('Stream of Paradise'), ran down through it,

with a central marble basin fitted with an ivory fountain. The Mumtaz-Mahal,

originally an important apartment in the imperial seraglio, now houses the Delhi Fort

Museum.

The Diwan-i-Khass ('Hall of Private Audience') is a highly-ornamented pillared hall,

with a flat ceiling supported on engrailed arches. Its marble dias is said to have

supported the famous Peacock Throne, carried away by the Persian invader NadirShah.

The Tasbih-Khana ('chamber for counting beads for private prayers') consists of three

rooms, behind which is the Khwabgah ('sleeping-chamber'). On the northern screen of

the former is a representation of the Scales of Justice, which are suspended over a

crescent amidst stars and clouds. Adjoining the eastern wall of the Khwabgah is the

octagonal Muthamman-Burj, from where the emperor appeared before his subjects

every morning. A small balcony, which projects from the Burj, was added here in

1808 by Akbar Shah II, and it was from this balcony that King George V and Queen

Mary appeared before the people of Delhi in December 1911.

The Hammam ('Bath') consists of three main apartments divided by corridors. The

entire interior, including the floor, is built of marble and inlaid with coloured stones.

The baths were provided with 'hot and cold water’, and it is said that one of the

fountains in the easternmost apartment emitted rose water. To the west of the

Hammam is the Moti-Masjid ('Pearl Mosque'), added later by Aurangzeb. The Hayat-

Bakhsh-Bagh ('Life-giving garden'), with its pavilions, lies to the north of the mosque,

and was later considerably altered and reconstructed. The red-stone pavilion in the


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middle of the tank in the centre of the Hayat-Bakhsh-Bagh is called Zafar-Mahal and

was built by Bahadur Shah II in about 1842.

In 1644, Shahjahan commenced in Delhi his great mosque, the Jami'- Masjid the

largest mosque in India, and completed it in 1650. Its square quadrangle with arched

cloisters on the sides and a tank in the centre is 100 m. wide. Built on a raised plinth, it

has three imposing gateways approached by long flights of steps. Its prayer-hall, with

a facade of eleven arches, flanked by a four-storeyed minaret on either end, is covered

by three large domes ornamented with alternating stripes of 'black and white marble.

The planning of the palace is based on Islamic prototypes, but each pavilion reveals

architectural elements typical of Mughal building, reflecting a fusion of Persian,

Timurid and Hindu traditions The Red Fort’s innovative planning and architectural

style, including the garden design, strongly influenced later buildings and gardens in

Rajasthan, Delhi, Agra and further afield.

22. Rock Shelters of Bhimbetka Date of Inscription: 2003, Madhya Pradesh

The

world heritage site of india

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