Sunday, April 27, 2008
subahe banaras on ghat
GHATS OF VARANASI
ASSI GHAT
Assi Ghat an important ghat of Varanasi traditionally constitutes the southern end of conventional city. Numerous References about this ghat are found in early literature Particulalry in matsypurana, again purana, kurma purana, padma purana and kashi khanda. According to a belief goddess Durga after slaining demon Shumbha- Nishumbha had thrown her sword. The place, where sword (Khadga) had fallen resulted in flowing of big stream known as asi river. The on confuewce place of river Ganga and Asi known as Asi or Assi ghat. In Kashi Khand it is referred as Asi "Saimbeda Tirtha" one gets punaya of all the Tirthas ( religious places) by taking a dip here. Infact this ghats was extended from Assi to Bhaidaini ghata ealier . In Gaharwal Danpatra(11th 12th cent.) reference of Lolark ghat is given As famous Aditya Pitha (place of sun worksing).During 16th , 17th Cent. .A.D.Sant Tulasi Das has written Ramcharitmanas here, After 19th Cent.A.D.Asi Ghat was divided in five Ghats i.e.Asi, Gangamahal (First) Rewan, Tulasi and Bhadaini. Followers of Hindu relegions , take sacred dip here, particularly in Chaitya (March/ April) and Magh (Jan/Feb.). Other important occasion are soler/ lumar eclipse, Ganga Dashahra. Probodhoni Ekadashi, Makar Shankranti, etc.
2. GANGA MAHAL GHAT(I):
Ganga Mahal Ghat is named after a palation building of ex. Maharaja of Banaras to wards the northern end of Asi ghat. Infact Ghat has a little cultural significance except the Beautiful carvings depiction the Rajput and local architectural grandeur of 16th cent. A.D. However the palace was built in the first half of 20th cent. A.D.
3. REWAN GHAT:
Rewan Ghat is an extended part of Assi Ghat and its building was constructed by Lala Mishir, royal purohit of King Ranjit Singh of Punjab. It was know as Lala Mishir Ghat. But in 1879 it was purchased by Maharaja Rewan. To save from Currents of Ganga, Ghat has pucca stairs and both the corners of stairs have ‘Ast pahal’ (a type of construction). In the later half of 20th cent. Maharaja Rewan had donated . This building to Banaras Hindu University. There is very little signifcance of cultural and social activity here.
4. TULSI GHAT:
It is named affter the great poet Tulsi (1547-1622 A.D.) who wrote Ramcharitmanas. Earlier it was know as Lolark ghat as evident in Gaharwa Danpatra and Girvanapadamanjari (17cent.A.D.). Letter in 1941 Baldeo Das Birala Made this Ghat pucca. This Ghat is associated With a number of important activities such as bath of Lolarkkunda (to get sons and their long life), bath to get rid of leprosy, During Hindu lunar month of Kartika(Oct./Nov.) Krishna lila is also performed here with great conventional Rites, Music concerts, Wrestling, and spiritual discourses are regular features here.
5. BHADAINI GHAT:
The earliest reference of this Ghat is given by Greves(1909). It has a huge pumping set of waterworks which supply water to whole city. This ghat has standing wall constructed by brick and stone. Bathing or religious activities are not performed here.
6. JANAKI GHAT:
In 1870 A.D. Maharani Kunwar of Sursand(Bihar) made this Ghat. Earlier it was know as "Nagamber ghat". After picca Constructions it is know as Janaki ghat. It has a little Religious important but people bath since it is safe and Clean.
7. MATA ANANDAMI GHAT:
Earlier it was know as ‘lmalia Ghat’ in 1944 Mata Anandamai purchased this area from British. She made this ghat pucca in addition to run a Ashrama. This Ashrama is involved in performing a number of religious activities here.
8. VACCHARAJA GHAT :
It is made pucca by a ‘merchant named Vaccharaja during later half of 18th cent. It is believed that seventh Jain Firthankar of Suparshvanatha was born nearby. At present most of Jain families live here. Upgoing stairs from Ganga river bank to street have three niches consist of Siva, Ganesh and beautiful ganga image riding on her vehicle crocodile. Occasional cultural programmes, bhajan and kirtans are organised here. It is a comfortable ghat for local people to take bath and do exercise.
9. JAIN GHAT:
Before 1931 Jain ghat was the part of Vaccharaja ghat. Later Jain community made a pucca ghat and named it as Jain ghat. On the southern end Jain communities take bath and perform their regular activities, but on the northern end Mallaha (boatman) families are living giving it a different look.
10. NISHAD GHAT:
Earlier it was a part of Prabhu Ghat till first half 20th cent. Now a large number of boatmen with their small boat & nets can be seen hear. Ghat has one Nishad raj Temple which in fact was constructed by boatmen families only a few year back.
11. PRABHU GHAT:
This Ghat was made in the early part of 20th cent by Nirmal Kumar of Bangal. Most of boatmen families are living here. Normally washermen washes clothes here. Ghat has very little social cultural significance.
12. PANCHKOTA GHAT:
On the northern end of Prabhu ghat a palatial building and a ghat was constructed by King of Panchakola (Bengal) in the later half of 19th cent. A.D. A series of thin stairs from ghat lead to palatial building where two temples are situated. Ghat is pucca but the place is of lesser importance.
13.CHETA SINGH GHAT:
It is a historical fortified ghat. The place has witnessed a fierce battle between the troops of Warren Hastings and Chet Singh in 1781. A.d/ The fort and ghat has been taken from British by Maharaja Prabhu Narayan Singh in the later half of 19th cent. Originally this Ghat was know at ‘Khirki Ghat; Now it has four parts known as Cheta Singh, Niranjani, Nirrvani and Shivala.
Ghat has three Shiva Temple belonging to 18th cent. Till first half 20th cent. It was culturally quit important. The famous Budhwa Mangal festival which was celebrated for seven days had been organised here. Due to sharp current of Ganga people avoid bathing here. This Ghat has been rejuvenated by state govt. in 1958.
14. NIRANJANI GHAT:
This Ghat belongs Naga Saints who established ‘Niranjani Akhara’ in 1897. Originally it was a part of Cheta Singh Ghat. Now there are four temples consisting of paduka (footprints) of Niranjani Maharaj Durga Gauri Shankar and ganga images. The people do not take bath here owing to lesser religions importance. The ghatabhere rejoined in 1948 by state Govt.
15.MAHANIRVANI GHAT:
It is situated on north end of Nirvani Ghat. It is named after Mahanirvani sect of Naga Saints . the famous Akhara is situated here. It has four small Shiva Temple made by Nepal’s Maharaja. It is legendary that Acharya Kapil Muni of Sankhya philosophy fame lived here during 7th cent.A.D. Near Mahanirvani Akhara Mother Teresa’s Home is situated.
16.SHIVALA GHAT:
It has been important ghat in early times. In mid nineteenth cent. It was separated into some small Ghat. At present one witnesses a colossal building constructed by Nepal King Sanjay Vikram Shah (19th cent ,A Shiva Temple and one Brahmendra Math established by Kashiraj. There is no significant cultural activities here. Only some of pilgrims and local inhabitants take bath.
17. GULARIA GHAT
This Ghat was named after a huge Gular tree which is not here at present. It was constructed Pucca by Laloo Ji Agrawal. This Ghat has a very little significance Debries of old houses are scattered On top of stairs.
18. DANDI GHAT
It is referred by Sherring (1968). It was made pucca by Lalooji Agrawal. This ghat is predominated by the Dandi ascetics carrying stick in their hand. This ghat is quit clean and worth taking bath.
19. HANUMAN GHAT
It is believed that grat saint Tulsidas has established a Hanuman Temple here during 18th cent. A.D. which made is famous as Hanuman ghat. The ancient name of this ghata was Ramesvaram ghat which was established by lord Ram himself. At present it is inside boundary of Juna Akhara. Many vairagi ascetics live in the temples. The neighborhood is dominated by south indian residents.
20. PRACHINA (OLD) HANUMANANA GHAT:
Both of the above (nos.19,20) ghat are made pucca y mahant Hariharanath in c.1825. This Ghat had affinity with a great bhakti saint Valabha (C.E.1479-1531), who laid the philosophical Foundations for a great resurgence of Krishna bhakti (Eck 1882: 223). His birth day is celebrated Here on 11th dark-half of aisakha (April-May). The temple of Rama consists of five Siva Lingams named after Rama ( Ramesvara), his two brothers (Laksmansevara and Bharatsvarar), His wife (Sitesvara) and his monkey- servant (Hanumadisvara).
21. KARNATAKA GHAT:
This ghat was build by the state of Mysore (now know as Karnataka) in early twentieth century (c.1910). There lies a site are shrine. There also is a shrine of Ruru (" the Dog") Bhairava, one of the 8th Bhairavas protecting the city from 8th directions .
22. HARISH CHANDRA GHAT:
This ghat is name after a mythological King Harish Chandra, who once worked the cremation ground here for the preservance of truth and charity but at the end the Gods rewarded him and restored his lost thorn and his dead son to him. This is one of the two cremation ghat, and some times referred as Adi Manikarnika (" the original creation ground", cf.KKm 2.225-26), still there exists Adi Manikarnika Tirtha. In 1986-87 an electric crematorium is opened here, how ever side – by – side funeral of wood – fire is continuing . This also the seat of old Harampapa water – tirtha. At the top in the temples there are images of Harischandrsvara, Rohitesvara, Adi Manikarnikesvara & Vrddha Kedara. In c. 1740 Narayana Diksit, a religious guru of pesavas renovated this ghat and made this partly pucca.
23. LALI GHAT:
In c. 1778 this ghat was built pucca by Raja of Banaras. At the upper side there are temple of Lambodara Cintamani and Jyestha Vinaykas, Kiratesvara, Jayanta Siva Lingam and Maha Laksmi. The vicinity is dominated by washermen.
24. VIJAYANAGARAM GHAT:
This was made pucca in c. 1890 by the Vijayanagaram State of South India. At the top of it is Svami Karapatri Asrama. Close by to this building are the shrines of Nilakantha (1) and Nispapesvara.
25.KEDAR GHAT :
This ghat is meticulously eulogized in the KKh ( 77.8-10,47-54:also KKm). This is the site of Haramapapa Tirtha. At the top exists the temple of Kedaresvara, the patron deity of the southern sacred segment. The attached shrines and sacred sites are: Tarakesvara, Gauri Kunda and Vitanka Nrsimha. In late Sixteenth century Kumarasvami, a devotee of Dattatreya made a monastery attached to the Kedaresvara, temple. According to a Gahadavala inscription ( c.C.E.1100). Svapnesvara Ghat wad existing close by this ghat, but now it has no representation.
26. CAOWKI GHAT :
This ghat is famous for the huge pipala (Ficus religiosa) tree at the top of the Steps which shelters a great array of stone figures of snakes, nagas. Havell (1905 : 118-119) described this Ghat: "under a fine old pipala-tree, there is a small shrine and a great number of old carved stones, some of Snakes, twined together like Mercuty’s caduceus, with some fine figure sculptures let into the upright face of the platform which surrounds the tree are probably reclis of the early Buddhist period". Closeby to this tree is the shrine of Rukmangesvara, and at some distance lies Naga Kupa ("Snake Well"). On the occasion of festival honouring snake, Naga Pancami, falling on the 5th light helf of Sravana (July –August), these shrines are especially worshipped. This ghat was built in c. 1790.
27. KSEMESVARA / SOMESVARA GHAT :
Its old name was Nala Ghat, and was built in early eighteenth century. The followers of Kumarasvami made a monastery in 1962 at the upper – side of the steps. The shrines of Kesemesvara and Ksemaka Gana are at the top portion of the steps. The neighborhood is dominated by Bengali residents.
28. MANASAROVARA GHAT :
At the top of this ghat there is a secred pond, in replicated from representing the famous sacred lake of the same name lying in Tibet. This ghat was built by Raja Mana Singh of Jaipur in c. 1585, and was rebuilt in c. 1805. The shrines of Rama, Laksamana, and Dattatreya are in the vicinity.
29. NARADA GHAT :
The old name of this ghat is Kuvai Ghat. This was constructed by Dattatreya Svami, a monastery chief, in c. 1788. The four important images in the upper- side are Naradesvara, Atrisvara, Vasukisvara and Dattatreyesvara.
30. RAJA GHAT :
Formerly known as Amrita Rao Ghat, this was firstly made by the first Maratha chief Gajirao Balaji in c.1720. This was rebuilt with stone slabs by Amrita Rao Pesac\va during 1780 – 1807. At the top of lofty stone steps he established four temples of Amritesvara, Vinayakesvara, Nayanesvara and Gangesvara and four auxiliary shrines, and also renovated the Prabhasa Tritha in 1780.
31. KHORI GHAT:
Also known as Ganga Mahala Ghat, this was made pucca in late nineteenth century by Kavindra Narayana Singh. At the top a compound of five temples presents a magnificent view.
32. PANDEY GHAT:
In c. 1805 this ghat was built in honour of a famous wrestler who established a wresting site (Akhara) there: his name was Babua Pande. The shrine of Somesvara exists closeby to it. In its vicinity lies the old site of Prabhasa Tirtha, but presently it is spatially transposed at Raja Ghat.
33. SARVESVARA GHAT :
Of course, this site had reference in a very early seventeenth century digest, however the overall ghat was erected under the patronage of Mathura Pandey in late eighteenth century. The Ganga Kesava
Tirtha and Servesvara image are near the Ghat.
34 DIGPATIA GHAT :
This was erected in c.1830 Raja of Digpatia (Bengal). The beautiful building along the ghat now known as "Kashi Ashram".
35. CAUSATTHI GHAT :
This ghat is described in the KKh (61.176-177) with respect to yogini Tirtha and Agatsya Tirtha. The number 64 (Causatha) is attributed to directional symbolism and also association between mother-goddesses and their assistant- goddesses, of course there are other interpretations too. This ghat had privilege to provide shelter to a great Sanskrit scholar, Madhusudana Sarsvati (c.e.1540-1623). Above the ghat there is temple of causatthi Devi, but only 60 images of yogonis are there, the rest four are at different places. In c. 1670 King of Udaipur (Rajasthan) renovated this ghat, and jater it became pucca On 12th dark-half of caitra (March-April) many pilgrims pay visit to the yogini temple and take ritual bath at this ghat.
Another important occasion of attraction is the evening on the day of Holi-a colourful festival showing start of Caitra-1, when homage ritual is performed at the ghat.
36. RANA MAHALA GHAT :
In fact, this is a extended part of the preceding ghat, and also made by king of Udaipur in c.1670. At the top there is shrine of Vakratunda Vinayaka, one among the fifty-six.
37. DARABHANGA GHAT :
Together with magnifivent building along the ghat and a grand Siva temple in Nilakantha area, the king of Darabhanga (Bihar) made them in 1915. The building along the ghat shows a massive Greek pillars style. The shrine of Kukutesvara lies at the top.
38. MUNSI GHAT :
The ghat was built by Sridhara Narayana Munsi a finance minister in the State of Darabhanga, in 1912 as an extended pare of Darabhanga Ghat. After his death in 1924 this portion ghat named in his honour.
39. AHILYABAI GHAT :
At the place of an old site of Kevelyagiri Ghat, in c. 1778 queen Ahilyabai Holkar of Indore made this a pucca ghat. For the first time name of a person was added after the ghat. She was also responsible for re-building the Visvesvara temle, as exists at present, in 1777.
40. SITALA GHAT :
In c. 1740 pt. Narayana Diksit the preceptor of Bajirao Pesava-1, made this ghat pucca. In fact, this is the southern extension of Dasasvamedha Ghat, where exists Dasasvamedha Tirtha and images of Dasasvamedhesvara and Dasaharesvara. After the famous sitala temple there, this ghat is called after. On the 8th light- half of lunar months of Caitra, Vaisakha Jyestha
41. DASASVAMEDHA GHAT
This is the most busiest and the ancient most referred ghat. According to the myth related to Divodasa, Lord Brahma (" the creator" in the Hind trinity gods) performed the ten-horses sacrifice (dasa-asvamedha) at this site. The historical sources infer that at this site the revivalist Hindu dynasty of the second century, the Bhara Siva Nagas had performed ten-horses sacrifice. The KKh (52.1-10:61.38) records many verses describing glory of this ghat. The temple of Sulatankesvara, Brahmesvara, Varahesvara, Abhaya Vinayaka, the Ganga ("goddess"), and Bandi Devi are closeby at the top of the ghat. These shrines are linked to several important pilgrimage journeys.
The southern part of the ghat was made pucca in 1740 by Bajirao Pesava-1, and late in c.1774 by Ahilyabai Holkar of lndore.
42. PRAYAGA GHAT :
This ghat (old Prayaga Tirtha) together with shrine of Prayagagesvara replicates the existence of Prayaga/ Allahabad in Varanasi. Prayaga, known as "Tirtharaja" (king of Tirthas), lies at the confluence of the Ganga, the Yamuna and the invisible Sarasvati rivers. It is commonly believed that doing rituals and taking sacred bath here provide exactly the same religious merit as those at Prayaga (80 km away in the west). The merit of this ares is eulogized in the KKh (61.36-38). About the present condition, Eck (1982.228) remarks that "Today, however, the name Prayaga Ghat, while it is painted boldly on temple that sits between the two branches of Dasasvamedha, is not commonly used. And even the temple there is utterly defunct, used only by boatmen who store their gear in its sanctum". The temple and the ghat-area were reconstructed by queen of Digpatia state (West Bengal). For the whole month of Magha (Jan-Feb.) devotees, mostly, use to take bath at this site.
43. RAJENDRA PRASASA GHAT :
In 1979 in memory and honour of the first president of India (1950-1962). Rajendra Prasad (1884-1963) this ghat was renamed, and made pucca by the Municipal Corporation of Varanasi.
In fact, this ghat was northern extension of Dasasvamedha Ghat. And until late nineteenth century a stone statue of horse was at the ghat witnessing the "ten-horses sacrifices" performed by Bhara Siva Nagas in second century, that is how the old name "Ghoda Ghat" ("Horse Ghat"). It is believed that same horse image is shifted to Sankatmochana temple. The myth refers that servants of Bhara Siva Nagas taken bath here.
44. MANA MANDIRA GHAT :
The old name of this ghat was Somesvara, but in c.e. 1585 when Raja Savai Mana Singh (of Amber) made his palace and ghat this is named after him. This ghat is "known primarily for the magnificent building with exquisite, ornately carved window carvings" (Eck 1982:228). On the top of the floor is a Hindu Observatory built by Savi Ji Singh-11 (1686-1743: the other places where he established such observatories are Jaipur, Delhi, Mathura and Ujjain. Under the direction of this astrologer-minister, Jagannatha, the king built this observation during the period of 1710-1737. There are four main astronomical instruments and renovation were made in 1850s and again in 1912 under the patronage of the King of jaipur.
The closeby shrines at the top of the ghat are Somesvara, Dalabhesvara, Remesvara and Sthuladanta Vinayaka. In the river lies the Prabhasa Tirtha. On the occasion of Holi the festival of colour, falling on the last day of Phalguna (Feb.-Narch), people perform celebration at the Dalabhesvara shrine.
45. TRIPURA BHAIRAVI GHAT :
This ghat is named after the Tripura Bhairavi Shrine, a female partner of Tripuresvara whose image also exists there. Another important shrine is of Varahi, one of the nine mother-goddesses. In late eighteenth century king of Banaras and pt. Mayananda Giri had patronize to make this ghat pucca.
46. MIRA GHAT :
This ghat represents two old sites of Jarasandhesvara and Vrdhaditya, which were converted by Mira Rustam Ali in 1735. Presently, in the name of these two shrines pilgrims throw flowers and raw-rice in the Ganga and remember them. The shrines and images in the vicinity are Vrdhaditya, Asa Vinayaka, Yajna Varahaand Visalaksi("The Wide-Eyed ", one of the 52 Sakti-pithas of goddesses.) another important site is Dharmakupa consisting of a sacred well surrounded by five temple, and also Divodasesvara lingam. The temple of Dharmesa is associated to the myth of Yama's (Lord of Death) power over the fate of the dead everywhere on the earth, except in Kashi.
With the notion that due to entrance of low castes ("untouchables") the temple of Visvesvara/ Visvanatha became impure, Svami Karapatri-Ji, a very conservative Brahmin and a cult-chief, has established a " New Visva’natha Temple" in 1956 at top of the ghat. On the steps, under a pipala tree, the water- pouring ritual in honour of ancestors in performed.
47. PHUTA/ NAYA GHAT :
This was and old site of Yajnesvara Ghat and was made pucca by Svami Mahesvarananda in mid nineteenth century. In the closeby stream lies the Visala Gaja Tittha.
48. NEPALI GHAT :
Havell 1905:130) described this ghat: "where, recessed in the stone embankment, and completely covered by the river in the rainy season, is a pretty little shrine of Ganga, the Ganges, represented as a female figure seated on crocodile. Above it a stair- case leads to the Nepalese temple, a very picturesque building, half-hidden by magnificent tamarind and pippal trees. It is built chiefly of wood and brick; the double-storied roof, with great projecting eaves supported by brackets, is characteristic of the architecture of Nepal and of other sub-Himalayan districts".
The great is patronized by a Nepalese, and was built pucca in c.1902 by Nanhi Babu. The area is dominated by Nepalese residents (Nepali Khapra).
49 LALITA GHAT :
This ghat is named after the famous goddess Lalita in Kasi and also in Prayaga. The well known lingam of Ganga Kesava and shrines of Gangatitya, Kasi Devi, Lalita Devi and Ghagirath Tirtha are affiliated to this site. People believe that a glimpse of Lalita Devi brings the same revard as circumambulating the entire world.
At the top of the ghat, close to the Nepali Ghat, as described earlier, lies the Nepali Temple built in c. 1841 under the patronage of king of Nepal and assumed that the lingam there replicates the famous Pasupatisvara at Kathmandu. The temple has some wooden carving of the erotic scenes, and all the four gateways and doors are fully decorated with geomagnetic architectural frame.
50. BAULI/ UMARAOGIRI/ AMROHA GHAT :
The old name of this ghat was Raja Rajesvari Ghat and was made in early nineteenth century by a rich merchant, Babu Kesava Deva. In the nearby stream lies the Bramhanala tirtha.
51. JALASAYI GHAT
Somehow in diverted from this ghat is also called as Jalasen Ghat. In fact and the followed one both are part of the cremation ghat. The name it self indicates "putting dead body into water" as part of ritual before putting the corpse on the funeral pyre. In the mid- nineteenth century the nearby building and the ghat were built.
52. KHIRKI GAHT :
The name of the ghat literally means "the windows" (Khirki) from where attendants can watch the cremation. Close to in 1940 Baldeo Dasa Birla has built a pilgrims rest house. Under a deserted pipal tree there are five Sati shrines.
Presently both of the above ghats are defuntional and present a view of nuisancesmoke-scape and deathscape!
53. MANIKARNIKA GHAT :
Two ancient sacred waterfront sites make this ghat, viz Sidha Vinayaka and Swargadvaresvara. Among the is popularly called as " the great cremation ground" (Mahasmasana). A myth mentions that Lord Siva gives Taraka mantra ( "Prayer of the crossing") in the ear of the dead, therefore the form of Siva as Tarakesvara, (the temple is at the ghat), is propitiated whenever a Hindu dies. The name Manikarnika derives its origin from the dropping rings of Siva dyring His transcendental dance here. The historical sources mention this site in the Gupta inscriptions of C.E.4th century. This is the first ghat made pucca by the two king brothers in C.E.1302; and was rebuilt and repaired in 1730 under the patronage of Bajirao Pesava, and in 1791 Ahilyabai Holkar rebuilt the entire ghat. Again in 1872 repairing and renovations were done.
In the vicinity are shrines of Manikarnikesvara (a little far in the upper side of the lane), Mahesvara (open air lingam at the ghat) and Siddha and Manikarna Vinayakas. The temple of Manikarnikesvara is the approachable from the ghat by taking a steepy ascending lane south of the Kunda. "The lingam of this temple-set dramatically underground at the bottom of a deep shaft – could at one time be reached by a tunnel originating on the ghat".
There also exists a sacred pond, Cakra- Puskarini Kunda ("Discus Lotus- Pool") and Visnu’s feet impression Carana Paduka. According to puranic myth long before the Ganga arrived at the heels of Bhagiratha, the Cakra-Puskarini Kunda was present. Says the KKh(60.137-138) . For the benefit of the three world king Bhagiratha brought the Ganga to the place where Manikarnika is –to Shiva’s Forest of Bliss ("Annandavana"), to Visnu’s Lotus Pool (Chakra-Puskarni Kunda). Presently the Kunda surrounded by a cast-iron railing , is some (60 ft) at the top, narrowing to about (20ft) it) at the water’s edge (Eck 1982: 239). Visnu and Laksmi images are located in the small shrine inside the Kunda on the western wall; while a series of dozen small niches containing Siva lingams also exit there. Along the sacred route, on the ghat itself, are the symbolically footprints of Visnu (Carana Paduka), set in a circular marble slab. For 7,000 years Visnu was said to have performed tapas on this spot, and through the centuries millions of Hindus have sprinkled it with the holy Ganga water and adorned it with flowers. A plate from Prinsep’s which the subtitle calls "The holiest spot in the sacred City".
The closeby place to this holy spot has been reserved for the cremation of a few selected, especially the Maharajas of Kasi (Eck 1982: 246 ).
This ghat area has ancient reputation as a cremation ground; saya Lord Siva: Having become Time itself, I destroy the world here, O Goddess !" (Padma Purana 1.33.14). However, it is not clear when this site was fully accepted for cremation. Moreover, the NP(11.48.67), the MP (182.23b-24) and the KKh (30.84-85) describe its glory in terms of cremation and death rituals. The raised platform attached to the ghat is used for death anniversary rituals. Between Jalasayi and Manikarnika ghat in the stream lies fourteen watertrithas, among which important are Visnu, Bhavani, Skanda, Taraka, Avimuktesvara and Pasupati.
Towering over Manikarnika ghat, there is a Siva –Durga temple of Raja of Amethy (Oudh; now Uttar Pradesh), built in c. 1850 which is distinct with its five deep- red spires and gilded pinnacles. Havell (1905: 169) describes.
"It is built on a terrace overlooking the river, and is approached by one of those steep, staircased streets, leading from the ghats up into the city, which suggest a town of southern ltaly or Spain. Clambering up a side staircase, you pass under the Naubata Khana, where musicians are chanting praises of the goddess with strange but not unpleasing accompaniments. On the right side of the entrance is a fine bronze lion of Durga, and on the left Siva’s bull. The quiet and cleanliness inside are a relief from the bustle, sloppiness, and dirt, and the somewhat sordid atmosphere of more popular Benares shrines".
54. BAJIRIO GHAT :
Bajiriao Pesava built this ghat in c. 1735, that is how it is named after him, and also a palace. Havell ( 1905:138) has described the condition as: " Before the basement had been raised many feet, the tremendous weight of the massive masonry caused a landslip, which made the whole fabric topple over, so that the work had to be abandoned. The unfinished façade and the ghat steps still remain…". In fact the entire structure sunk several metres into the earth since its erection (Sherring 1868: 72). Later in 1830 queen Baijabai of Gwalior get it repaired and rebuilt ; she had also erected the colonnade around the Jananavapi well. In the up stream part there is a temple of Dattatreyesvara, so that this was referred as Dattatreya ghat. Presently this is assumed to be a patr of the Scindhia ghat.
55. SCINDHIA GHAT:
Formerly it was known as Viresvara Ghat, after the temple of same name lying at the top. In 1780 Ahilabai Holker of Indore made the ghat pucca. In 1829 queen Baijabai had get it repaired and remodeled; and again in 1937 Daulatarao Scindhia made the entire ghat pucca. The shrines of Vsistha and Vamadeva, and Atmaviresvara are at the top. The Paravata tirtha lies in the close by Ganga river.
56. SANKATHA GHAT:
Its old name was Yameshvara Ghat after the name of the shrine. At the top in the lane lies temples of Yameshvara and harischandresvara which might be thought of the old cremation area; still at present on the ossasion of Yama Dvitiya devottees take sacred bath. In late 18th cent. king of Baroda made this ghat, but 1825 Beniram Pandit’s widow, known as "Panditain", and nephews built this ghat pucca together with a building structure of the temple of Sanktha Devi. At the top of the ghat towards the city there shrines of Katyayini and Siddhesvari goddesses; three Vinayakas: Hariscandra, Cintamani and Mitra; and Vasukisvara. A new image of Santosi Mata (" Mother of Satisfaction") has recently also been built at the top. Between the Manikarnika and Scindhia Ghats there exist three water-tirthas, Viz, Uma, Sarasvata and Kamblasvetara.
57. GANGA MAHAL GHAT (2):
This is a another ghat of the same name. This, in fact, is an old part of Yamesvara Ghat. King of Gwalior had built it in early 19th cent., and lather on repaired and rebuilt by Govinda Bali Kiratankara.
58. BHONSALA GHAT:
In c. 1780 Maratha king ‘Bhonsala’ of Nagpur made this ghat, and lather in 1795 this was a made pucca together with the establishment of the temple of Laksmi narayana and a place. Two important shrines near by to the palace are of Yamesvara and Yamaditya.
59. NAYA GHAT:
In Prinsep’s map of 1822 this was named as Gularia Ghat and perhaps was made only a few years before. This was made pucca in c. 1960.
60. GENESA GHAT:
This was formerly known as Agnisvara Ghat after the Agni Tirthan in the stream. After passage of time after Pasava’s Ganesa temple this is known by this name. Important shrines at the top are Bhadresvara and Nagesa Vinayaka. Another important water-tirtha in the stream is Iksavaku Tirtha. During 1761-1772 Madhorao Pesava made this ghat fully pucca and also done extensive repairing. In puranic description this ghat is referred as Vighnesvara Ghat. On 9th dark-half of Bhadrapada (Aug.-Sept.) a special celebration held here.
61. MEHTA GHAT:
Formally this saw part of the preceding ghat, but after the construction of V.S.Mehta hospital (1962)this is known to the name of latter one. The Varanasi Municipal Corporation made this ghat pucca in 1960s. there are three water-tirth as along this ghat: Maitravaruna, Marutta and Iksavaku.
62. RAMA GHAT:
This ghat has association with the Rama Tirtha and the shrine of Vira Ramesvara. Two other closeby water-tirth as are Kala Ganga and Tamra Varaha. The famous Vedic school of its own kind, the Sanga Veda School, is situated closeby where on the occasion of Rama's birth on 9th light-half of Chitra(March-April) and Ganesa's birth on 4th dark-half of Bhadrapada(Aug.-sept.) special celebrations are performed. The temple of Rama and Badi-Narayana is also a notable shrine at the ghat.
63. JATARA GHAT:
64. RAJA GWALIOR GHAT:
Both of these ghats and also Rama ghat were erected by the patronage of Madhorao Pesava in c. 1766. In fact, they are the two ends of the same ghat.
65. MANGALA GAURI GHAT:
This was built by Balaji Pasava-I in 1735, after whom this is also known as Bala Ghat. Later in c.1807 Lakmana Bala of Gwalior repaired and renovated this ghat. In a mid-seventeenth century it has a reference. At the top of the ghat in temple compound there are images of Gabhastisvara, Mangala Gauri and Mangala Vinayaka. Mangala ("Auspiciousness") Gauri is one among the nine motherly white Goddesses (cf.KKh 100.68-72.At the ghat there are shrines of typical covered structure of Raghavendresvara, and Carcika Devi.
66. VENIMADHAVA GHAT:
This is the part of the Pancaganga Ghat and also known as Vindu Madhava Ghat after the name of the famous tenth century temple. This has been eulogized in the KKh (59.120-121; also 61.243-244). The Vindu Madhava temple which was in ruin since AD 1496 was rebuilt by Maharaja of Amber in 1585 together with a alace at mana Mandira Ghat (cf.motichand 1985;226). But in 1669 the temple was demolished by the order of Aurangazed and concerted into a mosque (still serves as landmark at this site). The image of Vindu has been re-established in the upper storey of Laksmanabala building and still it attracts a thousand of devotees and pilgrims for glimpse and worship.
67. PANCAGANGA GHAT:
This is one of the five water-front sacred most sites, and believed To be the meeting point of five drains,viz. The Ganga, the Yamuna, the Sarsvati the Kirana and the Dhupapapa, among which only the first one is visible and rest are vanished, or assumed in the form of manifestation. The merit and glory of this ghat are described in an eleventh century text and also in the KKh (59;116-144). This was the chief resort of a great teacher of Vadanta, Ramananda (CF 1299-1411) to whom Kabira (1398-1623) a great reformist bhakit poet, accepted as guru. Ramananda's monastery is still there. Tulsi (1547-1623) was initially living (c.1580s-1590s) at this ghat where he composed the famous writing, the Vindu-patrika ("The petition to Rama"), describing the glory of Vindu Madhava temple (VP 61-63,see allchin 1966;129-132, compare KKh 60,61).
The ghat was made of stone steps in 1580 by Raghunatha Tandan (Todara Mala?), the finance secretary of the Mughal King Akbar. In c. 1735 Bajirao Pesava-I together with Sadasive Naik rebuilt and repaired it. Again in 1775 renovations and repairing were done by Sripatirao Pesava, and Pant Pririnidhi of Andha. There are eight water-front sacred tirthas at the ghat: Pippalada, Vindu Makha, Mayukharka, Jnanahrda and Pancanada. There are two monasteries at the ghat, viz. Sri and Ramannada.
At the ghat, close to the riverfront, there are "the dozens of three-sided cubicle shrine rooms that open out into the river. Some contains a lingam or an image, such as the lanky bara and used primarily for yogic exercises and meditation". Sherring has vividly described this ghat:
"The ghat is broad and deep,and exceedingly strong. Its stairs and turrets are all of stone, and from their great number, afford accommodation to a multitude of worshippers and bathers. The turrets are low and hollow, and are employed as temples and shrines. Each one contains several deities, which are, mostly, emblems of Siva. An ordinary observer would be in ignorance of the fact these are filled with idols, and would scarely imagine that he was walking upon the top of a long succession of shrines, and over the heads of hundreds of gods. He would have to descend several steps, before discovering the sacrilege which he was ignorantly committing; but having done so, he would at once perceive that the turrets are open towards the river, and are, therefore, very convenient for devotional purposes".
The Ganga -arati (offering oil lamps) at the time of sun rise and sun set is the most attractive site and scene at this ghat, which is performed is honour of the Ganga. The shrine of the goddess Ganga is also here. During the month of Vaisakha (April-May)& Karttika (oct.-Nov.), devotees, mostly ladies,use to take sacred bath in the morning at this ghat special festivity and sacred bathing are performed here on the birthday of the Ganga,i.e. Vaisakha (Apr.-May), on the 7th light-half. In the month of Karttika(Oct.-Nov.) ritual of offering oil lamps to ancestors, arranged in the sky with the bamboo stands, is performed by the ghatiyas (ghat-triests) on behalf of the devotees who patronize the cost, or materials and rewards (in cash, or kinds, or both) for the service. There is a stone pillar with a thousand sockets stone made structure to hold the lamps lighted on the night of full moon in the month of Karttika.
68. DURGA GHAT:
The name derived its association with the Brahmacarini Durga temple. In 1772 Narayana Diksit, a guru of Pesavas, had purchased land from local resident fishermen and built two ghats: Durga and the succeeding one, Brahma Ghat. This was rebuilt and repaired in c. 1830 by Nana Phadanavisa, a Divana of Gwalior State, whose building at the top of the ghat is know as Phadanavisa Wada. At the ghat exist Marakandeya and Kharva Nrsimha Tirthas, and at the there is a shrine of Kharva Nrsimha. On the full-moon day of the month of Karttika youngmen make show fighting and mettle.
69. BRAHMA GHAT:
This is named after the temples of Brahma and Brahmesvara. The other notable tirtha and shrine are of Bhairava Tirtha and Vindu Madhava. At the ghat exists a monastery seat,viz. Kasi Matha Sansthana:Sudhindra Tirtha Svami.
70. BUNDI PARAKOTA GHAT:
Formerly it was known as Raja Mandira Ghat. In c. 1580 king of Bundi, Raja Surajana Hada made this ghat; and it was made pucca in mid nineteenth century. In its vicinity at the top exists the shrines of Sesa Madhava, Karnadity and Laksmi Nrsimha.
71. (Adi)SITALA GHAT:
This is an extended part of the preceding ghat, also made by Hada in c. 1580, but later in 1772 was repaired and rebuilt by narayana Diksit. This ghat is named after the old temple of Sitala, known as "Badi" (elder) sitala. The other goddess-shrines in the vicinity are of Nagesvari Devi ("Snake Goddess") and Narayani. Karanaditya Tirtha at the bank and Sankha Madhava are other sacred spots. There are there Sati stones of memory in the vicinity. Like that of the earlier Sitala Ghat, on every 8th light-half of the months of Caitra, Vaisakha, Jyestha and Asadha (March-July) festivities take place in honour of mother goddess.
72. LALA GHAT:
This ghat was erected by a rich merchant in c. 1800 after whose name it is now known. As part of this ghat in 1935 Baldeo Das Birla has built a small ghat called as Gopi Givinda Ghat at the top of which exists a pilgrims'rest house made by him.
73. HANUMANAGARDHI GHAT:
This was perhaps founded in late nineteenth century. It represents the famous site of Hanumanagadhi in Ayodhya (the birth palce of Rama). Hanumana is the monkey assistant to Lord Rama. The Ganga Akhara (wrestling site), and a Sati-stone are along ghat. The other shrines in the vicinity are Gopi Govinda and Gopreksevara.
74. GAYA/GAI GHAT:
This ghat records a reference in a 17th century txxt, the Grivana Manjari. In 12th cent. Varanasi this was considered to be the southern limit of the city; in the vicinity still exists the symbolic relic of that period, Patana Darvaja. At the ghat there is a huge image of a cow (gaya/gai), symbolizing the earth, that is how the ghat is known as Gaya Ghat. In early 19th cent. the ghat was made pucca by Balabai Sitole of Gwalior. At the top of the ghat, closeby there are four images : Bagesvari Devi, Nagesvari Devi("Snake Goddess"), Mukarnirmalika Devi("Pure-Faced Goddess") and Samhara Bhairava.
75.BADRI NAYARANA GHAT:
This ghat was earlier known as Mahatha/Matha, or Balabai Ghat Balabai of Gwalior had patronize to make this ghat pucca in early 19th century. Later on the Municipal Corporation of Varanasi had get it repaired and renovated. The associated sacred shrines are nagesavara tirtha, Nagesvara, Nagesa Vinayaka and Nara-narayana Kesava. The last shrine is originally at Badrinatha, that it how the name of ghat derives: Badri (the site)and Narayana (the deity). On the occasion of full-moon day of pausa(dec.-jan.), a special festivity in honour of Visnu in the form of Nara-Narayana is celebrated. Also, on 3rd light-half of Vaisakha(Apr.-May) there takes a sacred bath ceremony.
76.TRILOCANA GHAT:
The name derives after famous image of Shiva, Trilochana ("Three-Eyeed"), whose lingam is known as Trilocanesavara. The KKh (75.12., 18-10, 72-74) and other contemporary digests have composed many metres in glory of this ghat and its associated water tirtha, Pilapippala Tirtha. In the Gahadavala rule, c.C.E. 1100, this was a very famous site for sacred bath and rituala. The renovations and repairings were done by Narayana Dixsit in c. 1772. Later around 1795 Nathu Bala of Pune made the ghat pucca.
77. GOLA GHAT:
Since late 12th cent. this site was used as ferry point and was also known for a number of granaries(gold), from where the name Gola Ghat devired. However, after opening the bridge at Raja Ghat in 1887 the site had lost its importance. At this ghat there is a Puranic reference of Pisegila Tirtha, while at the top exits the shrine of Burgu Kesava (Visnu).
78. NANDESAVARA /NANDU GHAT:
This ghat in early 20th cent. by the local neighbourhood residents. There appears an Akhara (wrestling site) of the same name.
79. SAKKA GHAT:
It has reference to late 18th cent., and it has a reference of an old water-front sacred spot, Pranava Tirtha. Close to the ghat towards the top is HaridashanSavasrama Trust (Mukimgung). Most parts of the ghat are occupied by washermen.
80. TELIANALA GHAT:
It has reference to late 18th cent.; and known for an ancient sacred spot, Hiranyagarbha Tirtha. Legends say that the area was dominated by the oilpressing caste (Teli) settled along a small drain (nala) meeting here, that is how the name derived.
81. NAYA/PHUTA GHAT
In medieval digests a sacred water-front site, Gopratara Tirtha, and an image of Gopratatesvara are referred at this ghat. During 18th century the ghat – area became deserted (Phuta), but later on it was renovated. This way the ghat was formerly known as phuta, and later as Naya. In 1940 Narsingh Jaipala Chainput-Bhabhua(Bihar) made this ghat pucca.
82. PRAHALADA GHAT:
This is the named after Prahalada, a great mythological devottee of Lord Visnu. In 11th-12th cent. the Ghadavala inscriptions mentioned this ghat. This is spread over a longer distance. In 1937 with the construction of a new Nisada Ghat in the centre (where exists Satsanga Akhara), now the ghat is divided into two parts : the southern and northern. In the southern part exists the shrines of Prahaladesvara, Prahalada Kesava, Vidara Narsimha, and Varada and Picindala Vinayakas. Around the northern site exists Mahisasura Tirtha, Svaralingesvara,Yajna Varaha and Sivaduti Devi.
On 14th light- half of Vaisakha (April-May), a grand festive celebration to honour the appearance of Nrsimha ("Lion-Man" incarnation of Lord Visnu; i.e. 4th among the ten) is performed on massive scale in the temple of Prahaladesvara.
83. RAJA GHAT:
Upto 1887 this was a famous ferry ghat. On 1st jan. 1887, Lord Duffrin bridge (road-cum-rail) was made and its importance as ferry points had lost. The bridge is named as Malaviya Bridge in 1948 after the founder of Banaras Hindu University, Pt. Madan Mohan Malaiya. In the Gahadavala inscriptions (c. 1100) this ghat is mentioned many times in terms of its glory and merit. There are four water-trithas affiliated to this ghat: Sankhya,Uddalaka, Hayagriva and Nilagriva.
84. ADI KESHAVA GHAT:
In Ghadavala inscription (c. C.E. 1100) this ghat was referred as Vedesvara Ghat. This is assumed to be the oldest and the original (Adi) site of Lord Visnu ( Kesava). The temple complex of Adi Kesava has a pleasant pastoral setting on he bank above the confluence of the Varana and the Ganga rivers. Among the oldest puranic listings of sacred sites in the city, this is one of them. This sacred spot is fully eulogized in the MP (185-68), the VP (3.34-50), the KKh (84.109; see also 51.44-82). This was the most favourite holy site of the Gahadavala kings, as evident from the Gahadavala inscription that" a great number of regal ritual occasions in Varanasi included the worship of Adi Kesava or a dip in the Ganga at the Varana confluence: (Niyogi 1959: app. B as in Eck 1982:233). The ghat was made pucca in 1790 by a Divan of Scindhia State.
According to a flok legend the five most sacred water-fron holy spots represent the bodily parts of the Lord:" Asi is the head; Dasasvamedha is the chest; Manikarnika is the naval; Pancaganga is the thighs; and Adi Kesava is the feet" (Eck 1982:233). This reminds that Vianu first placed his holy feet here in Varanasi. His foot prints (Carana Paduka) in the Adi Kesava temple symbolize that occasion; another foot prints are at Manikarnika Ghat.
Bathing at confluence of the Varana and the Ganga and paying visit to Sangamesvara ("Lord of Confluence") give a special religious merit, as referred in the Linga Purana (92.87-89):
"An excellent lingam has been installed by Brahama at this confluence. It is know in the world as Sangamesvara. If a man shall become pure taking his bath at the confluence of the divine river and then worship Sangamesa, whence need he fear rebirth".
The Sangamesvara lingam is located in temple attached to Adi Kesava; and from the pavilion of Adi Kesava, one can look down into the courtyard of the Sangamesvara. Closeby to it is the Brahmesvara lingam (a four- faced lingam) and believed to be established by Brahma ("The Creator").
Between Prahalada and Adi Kesava Ghat (from south to north) there are ten water-tirthas lying along the bank: Sankha Madhava, Sasa, Laksminrsimha, Gopigivinda, Vindara Nrsimha, Yajna Varaha, Mara- Narayana, Vamana, Pranava and Dattatreyesvara. And between Adi Kesava Ghat and confluence of the Varana there are twelve water-tirthas: Aditya Kesava, Ambarisa, Narada, Garuda, Mahalaksmi, Padma, Gada, Cakra, Sankha, Ksirabdhi, Svetadvipa and padodaka.
In the vicinity of Adi Kesava temple are located two Vinayakas: Cinatamani ("relieving worry") and Kharva ("the dwarf"), and jnana Kesava ("wisdom"), P/rayaga lingam and Kesavaditta ("Kesava-Sun").
The barth day of Vamana ("the Dwarf"; 5th incarnation of Visnu among the ten) is celebrated on massive scale in the Adi Kesava temple on 12th light- half of Bhadrapada (Aug. Sept.).
At the time of sunrise and sun set both, one can see the natural beauty of reflecting colourful light in the Ganga, in the morning the reflection of sunlight on the palatial buildings and in the evening the shadows of those building in Ganga make the scene unique which is more an aspect of experience than reading about it.
ASSI GHAT
Assi Ghat an important ghat of Varanasi traditionally constitutes the southern end of conventional city. Numerous References about this ghat are found in early literature Particulalry in matsypurana, again purana, kurma purana, padma purana and kashi khanda. According to a belief goddess Durga after slaining demon Shumbha- Nishumbha had thrown her sword. The place, where sword (Khadga) had fallen resulted in flowing of big stream known as asi river. The on confuewce place of river Ganga and Asi known as Asi or Assi ghat. In Kashi Khand it is referred as Asi "Saimbeda Tirtha" one gets punaya of all the Tirthas ( religious places) by taking a dip here. Infact this ghats was extended from Assi to Bhaidaini ghata ealier . In Gaharwal Danpatra(11th 12th cent.) reference of Lolark ghat is given As famous Aditya Pitha (place of sun worksing).During 16th , 17th Cent. .A.D.Sant Tulasi Das has written Ramcharitmanas here, After 19th Cent.A.D.Asi Ghat was divided in five Ghats i.e.Asi, Gangamahal (First) Rewan, Tulasi and Bhadaini. Followers of Hindu relegions , take sacred dip here, particularly in Chaitya (March/ April) and Magh (Jan/Feb.). Other important occasion are soler/ lumar eclipse, Ganga Dashahra. Probodhoni Ekadashi, Makar Shankranti, etc.
2. GANGA MAHAL GHAT(I):
Ganga Mahal Ghat is named after a palation building of ex. Maharaja of Banaras to wards the northern end of Asi ghat. Infact Ghat has a little cultural significance except the Beautiful carvings depiction the Rajput and local architectural grandeur of 16th cent. A.D. However the palace was built in the first half of 20th cent. A.D.
3. REWAN GHAT:
Rewan Ghat is an extended part of Assi Ghat and its building was constructed by Lala Mishir, royal purohit of King Ranjit Singh of Punjab. It was know as Lala Mishir Ghat. But in 1879 it was purchased by Maharaja Rewan. To save from Currents of Ganga, Ghat has pucca stairs and both the corners of stairs have ‘Ast pahal’ (a type of construction). In the later half of 20th cent. Maharaja Rewan had donated . This building to Banaras Hindu University. There is very little signifcance of cultural and social activity here.
4. TULSI GHAT:
It is named affter the great poet Tulsi (1547-1622 A.D.) who wrote Ramcharitmanas. Earlier it was know as Lolark ghat as evident in Gaharwa Danpatra and Girvanapadamanjari (17cent.A.D.). Letter in 1941 Baldeo Das Birala Made this Ghat pucca. This Ghat is associated With a number of important activities such as bath of Lolarkkunda (to get sons and their long life), bath to get rid of leprosy, During Hindu lunar month of Kartika(Oct./Nov.) Krishna lila is also performed here with great conventional Rites, Music concerts, Wrestling, and spiritual discourses are regular features here.
5. BHADAINI GHAT:
The earliest reference of this Ghat is given by Greves(1909). It has a huge pumping set of waterworks which supply water to whole city. This ghat has standing wall constructed by brick and stone. Bathing or religious activities are not performed here.
6. JANAKI GHAT:
In 1870 A.D. Maharani Kunwar of Sursand(Bihar) made this Ghat. Earlier it was know as "Nagamber ghat". After picca Constructions it is know as Janaki ghat. It has a little Religious important but people bath since it is safe and Clean.
7. MATA ANANDAMI GHAT:
Earlier it was know as ‘lmalia Ghat’ in 1944 Mata Anandamai purchased this area from British. She made this ghat pucca in addition to run a Ashrama. This Ashrama is involved in performing a number of religious activities here.
8. VACCHARAJA GHAT :
It is made pucca by a ‘merchant named Vaccharaja during later half of 18th cent. It is believed that seventh Jain Firthankar of Suparshvanatha was born nearby. At present most of Jain families live here. Upgoing stairs from Ganga river bank to street have three niches consist of Siva, Ganesh and beautiful ganga image riding on her vehicle crocodile. Occasional cultural programmes, bhajan and kirtans are organised here. It is a comfortable ghat for local people to take bath and do exercise.
9. JAIN GHAT:
Before 1931 Jain ghat was the part of Vaccharaja ghat. Later Jain community made a pucca ghat and named it as Jain ghat. On the southern end Jain communities take bath and perform their regular activities, but on the northern end Mallaha (boatman) families are living giving it a different look.
10. NISHAD GHAT:
Earlier it was a part of Prabhu Ghat till first half 20th cent. Now a large number of boatmen with their small boat & nets can be seen hear. Ghat has one Nishad raj Temple which in fact was constructed by boatmen families only a few year back.
11. PRABHU GHAT:
This Ghat was made in the early part of 20th cent by Nirmal Kumar of Bangal. Most of boatmen families are living here. Normally washermen washes clothes here. Ghat has very little social cultural significance.
12. PANCHKOTA GHAT:
On the northern end of Prabhu ghat a palatial building and a ghat was constructed by King of Panchakola (Bengal) in the later half of 19th cent. A.D. A series of thin stairs from ghat lead to palatial building where two temples are situated. Ghat is pucca but the place is of lesser importance.
13.CHETA SINGH GHAT:
It is a historical fortified ghat. The place has witnessed a fierce battle between the troops of Warren Hastings and Chet Singh in 1781. A.d/ The fort and ghat has been taken from British by Maharaja Prabhu Narayan Singh in the later half of 19th cent. Originally this Ghat was know at ‘Khirki Ghat; Now it has four parts known as Cheta Singh, Niranjani, Nirrvani and Shivala.
Ghat has three Shiva Temple belonging to 18th cent. Till first half 20th cent. It was culturally quit important. The famous Budhwa Mangal festival which was celebrated for seven days had been organised here. Due to sharp current of Ganga people avoid bathing here. This Ghat has been rejuvenated by state govt. in 1958.
14. NIRANJANI GHAT:
This Ghat belongs Naga Saints who established ‘Niranjani Akhara’ in 1897. Originally it was a part of Cheta Singh Ghat. Now there are four temples consisting of paduka (footprints) of Niranjani Maharaj Durga Gauri Shankar and ganga images. The people do not take bath here owing to lesser religions importance. The ghatabhere rejoined in 1948 by state Govt.
15.MAHANIRVANI GHAT:
It is situated on north end of Nirvani Ghat. It is named after Mahanirvani sect of Naga Saints . the famous Akhara is situated here. It has four small Shiva Temple made by Nepal’s Maharaja. It is legendary that Acharya Kapil Muni of Sankhya philosophy fame lived here during 7th cent.A.D. Near Mahanirvani Akhara Mother Teresa’s Home is situated.
16.SHIVALA GHAT:
It has been important ghat in early times. In mid nineteenth cent. It was separated into some small Ghat. At present one witnesses a colossal building constructed by Nepal King Sanjay Vikram Shah (19th cent ,A Shiva Temple and one Brahmendra Math established by Kashiraj. There is no significant cultural activities here. Only some of pilgrims and local inhabitants take bath.
17. GULARIA GHAT
This Ghat was named after a huge Gular tree which is not here at present. It was constructed Pucca by Laloo Ji Agrawal. This Ghat has a very little significance Debries of old houses are scattered On top of stairs.
18. DANDI GHAT
It is referred by Sherring (1968). It was made pucca by Lalooji Agrawal. This ghat is predominated by the Dandi ascetics carrying stick in their hand. This ghat is quit clean and worth taking bath.
19. HANUMAN GHAT
It is believed that grat saint Tulsidas has established a Hanuman Temple here during 18th cent. A.D. which made is famous as Hanuman ghat. The ancient name of this ghata was Ramesvaram ghat which was established by lord Ram himself. At present it is inside boundary of Juna Akhara. Many vairagi ascetics live in the temples. The neighborhood is dominated by south indian residents.
20. PRACHINA (OLD) HANUMANANA GHAT:
Both of the above (nos.19,20) ghat are made pucca y mahant Hariharanath in c.1825. This Ghat had affinity with a great bhakti saint Valabha (C.E.1479-1531), who laid the philosophical Foundations for a great resurgence of Krishna bhakti (Eck 1882: 223). His birth day is celebrated Here on 11th dark-half of aisakha (April-May). The temple of Rama consists of five Siva Lingams named after Rama ( Ramesvara), his two brothers (Laksmansevara and Bharatsvarar), His wife (Sitesvara) and his monkey- servant (Hanumadisvara).
21. KARNATAKA GHAT:
This ghat was build by the state of Mysore (now know as Karnataka) in early twentieth century (c.1910). There lies a site are shrine. There also is a shrine of Ruru (" the Dog") Bhairava, one of the 8th Bhairavas protecting the city from 8th directions .
22. HARISH CHANDRA GHAT:
This ghat is name after a mythological King Harish Chandra, who once worked the cremation ground here for the preservance of truth and charity but at the end the Gods rewarded him and restored his lost thorn and his dead son to him. This is one of the two cremation ghat, and some times referred as Adi Manikarnika (" the original creation ground", cf.KKm 2.225-26), still there exists Adi Manikarnika Tirtha. In 1986-87 an electric crematorium is opened here, how ever side – by – side funeral of wood – fire is continuing . This also the seat of old Harampapa water – tirtha. At the top in the temples there are images of Harischandrsvara, Rohitesvara, Adi Manikarnikesvara & Vrddha Kedara. In c. 1740 Narayana Diksit, a religious guru of pesavas renovated this ghat and made this partly pucca.
23. LALI GHAT:
In c. 1778 this ghat was built pucca by Raja of Banaras. At the upper side there are temple of Lambodara Cintamani and Jyestha Vinaykas, Kiratesvara, Jayanta Siva Lingam and Maha Laksmi. The vicinity is dominated by washermen.
24. VIJAYANAGARAM GHAT:
This was made pucca in c. 1890 by the Vijayanagaram State of South India. At the top of it is Svami Karapatri Asrama. Close by to this building are the shrines of Nilakantha (1) and Nispapesvara.
25.KEDAR GHAT :
This ghat is meticulously eulogized in the KKh ( 77.8-10,47-54:also KKm). This is the site of Haramapapa Tirtha. At the top exists the temple of Kedaresvara, the patron deity of the southern sacred segment. The attached shrines and sacred sites are: Tarakesvara, Gauri Kunda and Vitanka Nrsimha. In late Sixteenth century Kumarasvami, a devotee of Dattatreya made a monastery attached to the Kedaresvara, temple. According to a Gahadavala inscription ( c.C.E.1100). Svapnesvara Ghat wad existing close by this ghat, but now it has no representation.
26. CAOWKI GHAT :
This ghat is famous for the huge pipala (Ficus religiosa) tree at the top of the Steps which shelters a great array of stone figures of snakes, nagas. Havell (1905 : 118-119) described this Ghat: "under a fine old pipala-tree, there is a small shrine and a great number of old carved stones, some of Snakes, twined together like Mercuty’s caduceus, with some fine figure sculptures let into the upright face of the platform which surrounds the tree are probably reclis of the early Buddhist period". Closeby to this tree is the shrine of Rukmangesvara, and at some distance lies Naga Kupa ("Snake Well"). On the occasion of festival honouring snake, Naga Pancami, falling on the 5th light helf of Sravana (July –August), these shrines are especially worshipped. This ghat was built in c. 1790.
27. KSEMESVARA / SOMESVARA GHAT :
Its old name was Nala Ghat, and was built in early eighteenth century. The followers of Kumarasvami made a monastery in 1962 at the upper – side of the steps. The shrines of Kesemesvara and Ksemaka Gana are at the top portion of the steps. The neighborhood is dominated by Bengali residents.
28. MANASAROVARA GHAT :
At the top of this ghat there is a secred pond, in replicated from representing the famous sacred lake of the same name lying in Tibet. This ghat was built by Raja Mana Singh of Jaipur in c. 1585, and was rebuilt in c. 1805. The shrines of Rama, Laksamana, and Dattatreya are in the vicinity.
29. NARADA GHAT :
The old name of this ghat is Kuvai Ghat. This was constructed by Dattatreya Svami, a monastery chief, in c. 1788. The four important images in the upper- side are Naradesvara, Atrisvara, Vasukisvara and Dattatreyesvara.
30. RAJA GHAT :
Formerly known as Amrita Rao Ghat, this was firstly made by the first Maratha chief Gajirao Balaji in c.1720. This was rebuilt with stone slabs by Amrita Rao Pesac\va during 1780 – 1807. At the top of lofty stone steps he established four temples of Amritesvara, Vinayakesvara, Nayanesvara and Gangesvara and four auxiliary shrines, and also renovated the Prabhasa Tritha in 1780.
31. KHORI GHAT:
Also known as Ganga Mahala Ghat, this was made pucca in late nineteenth century by Kavindra Narayana Singh. At the top a compound of five temples presents a magnificent view.
32. PANDEY GHAT:
In c. 1805 this ghat was built in honour of a famous wrestler who established a wresting site (Akhara) there: his name was Babua Pande. The shrine of Somesvara exists closeby to it. In its vicinity lies the old site of Prabhasa Tirtha, but presently it is spatially transposed at Raja Ghat.
33. SARVESVARA GHAT :
Of course, this site had reference in a very early seventeenth century digest, however the overall ghat was erected under the patronage of Mathura Pandey in late eighteenth century. The Ganga Kesava
Tirtha and Servesvara image are near the Ghat.
34 DIGPATIA GHAT :
This was erected in c.1830 Raja of Digpatia (Bengal). The beautiful building along the ghat now known as "Kashi Ashram".
35. CAUSATTHI GHAT :
This ghat is described in the KKh (61.176-177) with respect to yogini Tirtha and Agatsya Tirtha. The number 64 (Causatha) is attributed to directional symbolism and also association between mother-goddesses and their assistant- goddesses, of course there are other interpretations too. This ghat had privilege to provide shelter to a great Sanskrit scholar, Madhusudana Sarsvati (c.e.1540-1623). Above the ghat there is temple of causatthi Devi, but only 60 images of yogonis are there, the rest four are at different places. In c. 1670 King of Udaipur (Rajasthan) renovated this ghat, and jater it became pucca On 12th dark-half of caitra (March-April) many pilgrims pay visit to the yogini temple and take ritual bath at this ghat.
Another important occasion of attraction is the evening on the day of Holi-a colourful festival showing start of Caitra-1, when homage ritual is performed at the ghat.
36. RANA MAHALA GHAT :
In fact, this is a extended part of the preceding ghat, and also made by king of Udaipur in c.1670. At the top there is shrine of Vakratunda Vinayaka, one among the fifty-six.
37. DARABHANGA GHAT :
Together with magnifivent building along the ghat and a grand Siva temple in Nilakantha area, the king of Darabhanga (Bihar) made them in 1915. The building along the ghat shows a massive Greek pillars style. The shrine of Kukutesvara lies at the top.
38. MUNSI GHAT :
The ghat was built by Sridhara Narayana Munsi a finance minister in the State of Darabhanga, in 1912 as an extended pare of Darabhanga Ghat. After his death in 1924 this portion ghat named in his honour.
39. AHILYABAI GHAT :
At the place of an old site of Kevelyagiri Ghat, in c. 1778 queen Ahilyabai Holkar of Indore made this a pucca ghat. For the first time name of a person was added after the ghat. She was also responsible for re-building the Visvesvara temle, as exists at present, in 1777.
40. SITALA GHAT :
In c. 1740 pt. Narayana Diksit the preceptor of Bajirao Pesava-1, made this ghat pucca. In fact, this is the southern extension of Dasasvamedha Ghat, where exists Dasasvamedha Tirtha and images of Dasasvamedhesvara and Dasaharesvara. After the famous sitala temple there, this ghat is called after. On the 8th light- half of lunar months of Caitra, Vaisakha Jyestha
41. DASASVAMEDHA GHAT
This is the most busiest and the ancient most referred ghat. According to the myth related to Divodasa, Lord Brahma (" the creator" in the Hind trinity gods) performed the ten-horses sacrifice (dasa-asvamedha) at this site. The historical sources infer that at this site the revivalist Hindu dynasty of the second century, the Bhara Siva Nagas had performed ten-horses sacrifice. The KKh (52.1-10:61.38) records many verses describing glory of this ghat. The temple of Sulatankesvara, Brahmesvara, Varahesvara, Abhaya Vinayaka, the Ganga ("goddess"), and Bandi Devi are closeby at the top of the ghat. These shrines are linked to several important pilgrimage journeys.
The southern part of the ghat was made pucca in 1740 by Bajirao Pesava-1, and late in c.1774 by Ahilyabai Holkar of lndore.
42. PRAYAGA GHAT :
This ghat (old Prayaga Tirtha) together with shrine of Prayagagesvara replicates the existence of Prayaga/ Allahabad in Varanasi. Prayaga, known as "Tirtharaja" (king of Tirthas), lies at the confluence of the Ganga, the Yamuna and the invisible Sarasvati rivers. It is commonly believed that doing rituals and taking sacred bath here provide exactly the same religious merit as those at Prayaga (80 km away in the west). The merit of this ares is eulogized in the KKh (61.36-38). About the present condition, Eck (1982.228) remarks that "Today, however, the name Prayaga Ghat, while it is painted boldly on temple that sits between the two branches of Dasasvamedha, is not commonly used. And even the temple there is utterly defunct, used only by boatmen who store their gear in its sanctum". The temple and the ghat-area were reconstructed by queen of Digpatia state (West Bengal). For the whole month of Magha (Jan-Feb.) devotees, mostly, use to take bath at this site.
43. RAJENDRA PRASASA GHAT :
In 1979 in memory and honour of the first president of India (1950-1962). Rajendra Prasad (1884-1963) this ghat was renamed, and made pucca by the Municipal Corporation of Varanasi.
In fact, this ghat was northern extension of Dasasvamedha Ghat. And until late nineteenth century a stone statue of horse was at the ghat witnessing the "ten-horses sacrifices" performed by Bhara Siva Nagas in second century, that is how the old name "Ghoda Ghat" ("Horse Ghat"). It is believed that same horse image is shifted to Sankatmochana temple. The myth refers that servants of Bhara Siva Nagas taken bath here.
44. MANA MANDIRA GHAT :
The old name of this ghat was Somesvara, but in c.e. 1585 when Raja Savai Mana Singh (of Amber) made his palace and ghat this is named after him. This ghat is "known primarily for the magnificent building with exquisite, ornately carved window carvings" (Eck 1982:228). On the top of the floor is a Hindu Observatory built by Savi Ji Singh-11 (1686-1743: the other places where he established such observatories are Jaipur, Delhi, Mathura and Ujjain. Under the direction of this astrologer-minister, Jagannatha, the king built this observation during the period of 1710-1737. There are four main astronomical instruments and renovation were made in 1850s and again in 1912 under the patronage of the King of jaipur.
The closeby shrines at the top of the ghat are Somesvara, Dalabhesvara, Remesvara and Sthuladanta Vinayaka. In the river lies the Prabhasa Tirtha. On the occasion of Holi the festival of colour, falling on the last day of Phalguna (Feb.-Narch), people perform celebration at the Dalabhesvara shrine.
45. TRIPURA BHAIRAVI GHAT :
This ghat is named after the Tripura Bhairavi Shrine, a female partner of Tripuresvara whose image also exists there. Another important shrine is of Varahi, one of the nine mother-goddesses. In late eighteenth century king of Banaras and pt. Mayananda Giri had patronize to make this ghat pucca.
46. MIRA GHAT :
This ghat represents two old sites of Jarasandhesvara and Vrdhaditya, which were converted by Mira Rustam Ali in 1735. Presently, in the name of these two shrines pilgrims throw flowers and raw-rice in the Ganga and remember them. The shrines and images in the vicinity are Vrdhaditya, Asa Vinayaka, Yajna Varahaand Visalaksi("The Wide-Eyed ", one of the 52 Sakti-pithas of goddesses.) another important site is Dharmakupa consisting of a sacred well surrounded by five temple, and also Divodasesvara lingam. The temple of Dharmesa is associated to the myth of Yama's (Lord of Death) power over the fate of the dead everywhere on the earth, except in Kashi.
With the notion that due to entrance of low castes ("untouchables") the temple of Visvesvara/ Visvanatha became impure, Svami Karapatri-Ji, a very conservative Brahmin and a cult-chief, has established a " New Visva’natha Temple" in 1956 at top of the ghat. On the steps, under a pipala tree, the water- pouring ritual in honour of ancestors in performed.
47. PHUTA/ NAYA GHAT :
This was and old site of Yajnesvara Ghat and was made pucca by Svami Mahesvarananda in mid nineteenth century. In the closeby stream lies the Visala Gaja Tittha.
48. NEPALI GHAT :
Havell 1905:130) described this ghat: "where, recessed in the stone embankment, and completely covered by the river in the rainy season, is a pretty little shrine of Ganga, the Ganges, represented as a female figure seated on crocodile. Above it a stair- case leads to the Nepalese temple, a very picturesque building, half-hidden by magnificent tamarind and pippal trees. It is built chiefly of wood and brick; the double-storied roof, with great projecting eaves supported by brackets, is characteristic of the architecture of Nepal and of other sub-Himalayan districts".
The great is patronized by a Nepalese, and was built pucca in c.1902 by Nanhi Babu. The area is dominated by Nepalese residents (Nepali Khapra).
49 LALITA GHAT :
This ghat is named after the famous goddess Lalita in Kasi and also in Prayaga. The well known lingam of Ganga Kesava and shrines of Gangatitya, Kasi Devi, Lalita Devi and Ghagirath Tirtha are affiliated to this site. People believe that a glimpse of Lalita Devi brings the same revard as circumambulating the entire world.
At the top of the ghat, close to the Nepali Ghat, as described earlier, lies the Nepali Temple built in c. 1841 under the patronage of king of Nepal and assumed that the lingam there replicates the famous Pasupatisvara at Kathmandu. The temple has some wooden carving of the erotic scenes, and all the four gateways and doors are fully decorated with geomagnetic architectural frame.
50. BAULI/ UMARAOGIRI/ AMROHA GHAT :
The old name of this ghat was Raja Rajesvari Ghat and was made in early nineteenth century by a rich merchant, Babu Kesava Deva. In the nearby stream lies the Bramhanala tirtha.
51. JALASAYI GHAT
Somehow in diverted from this ghat is also called as Jalasen Ghat. In fact and the followed one both are part of the cremation ghat. The name it self indicates "putting dead body into water" as part of ritual before putting the corpse on the funeral pyre. In the mid- nineteenth century the nearby building and the ghat were built.
52. KHIRKI GAHT :
The name of the ghat literally means "the windows" (Khirki) from where attendants can watch the cremation. Close to in 1940 Baldeo Dasa Birla has built a pilgrims rest house. Under a deserted pipal tree there are five Sati shrines.
Presently both of the above ghats are defuntional and present a view of nuisancesmoke-scape and deathscape!
53. MANIKARNIKA GHAT :
Two ancient sacred waterfront sites make this ghat, viz Sidha Vinayaka and Swargadvaresvara. Among the is popularly called as " the great cremation ground" (Mahasmasana). A myth mentions that Lord Siva gives Taraka mantra ( "Prayer of the crossing") in the ear of the dead, therefore the form of Siva as Tarakesvara, (the temple is at the ghat), is propitiated whenever a Hindu dies. The name Manikarnika derives its origin from the dropping rings of Siva dyring His transcendental dance here. The historical sources mention this site in the Gupta inscriptions of C.E.4th century. This is the first ghat made pucca by the two king brothers in C.E.1302; and was rebuilt and repaired in 1730 under the patronage of Bajirao Pesava, and in 1791 Ahilyabai Holkar rebuilt the entire ghat. Again in 1872 repairing and renovations were done.
In the vicinity are shrines of Manikarnikesvara (a little far in the upper side of the lane), Mahesvara (open air lingam at the ghat) and Siddha and Manikarna Vinayakas. The temple of Manikarnikesvara is the approachable from the ghat by taking a steepy ascending lane south of the Kunda. "The lingam of this temple-set dramatically underground at the bottom of a deep shaft – could at one time be reached by a tunnel originating on the ghat".
There also exists a sacred pond, Cakra- Puskarini Kunda ("Discus Lotus- Pool") and Visnu’s feet impression Carana Paduka. According to puranic myth long before the Ganga arrived at the heels of Bhagiratha, the Cakra-Puskarini Kunda was present. Says the KKh(60.137-138) . For the benefit of the three world king Bhagiratha brought the Ganga to the place where Manikarnika is –to Shiva’s Forest of Bliss ("Annandavana"), to Visnu’s Lotus Pool (Chakra-Puskarni Kunda). Presently the Kunda surrounded by a cast-iron railing , is some (60 ft) at the top, narrowing to about (20ft) it) at the water’s edge (Eck 1982: 239). Visnu and Laksmi images are located in the small shrine inside the Kunda on the western wall; while a series of dozen small niches containing Siva lingams also exit there. Along the sacred route, on the ghat itself, are the symbolically footprints of Visnu (Carana Paduka), set in a circular marble slab. For 7,000 years Visnu was said to have performed tapas on this spot, and through the centuries millions of Hindus have sprinkled it with the holy Ganga water and adorned it with flowers. A plate from Prinsep’s which the subtitle calls "The holiest spot in the sacred City".
The closeby place to this holy spot has been reserved for the cremation of a few selected, especially the Maharajas of Kasi (Eck 1982: 246 ).
This ghat area has ancient reputation as a cremation ground; saya Lord Siva: Having become Time itself, I destroy the world here, O Goddess !" (Padma Purana 1.33.14). However, it is not clear when this site was fully accepted for cremation. Moreover, the NP(11.48.67), the MP (182.23b-24) and the KKh (30.84-85) describe its glory in terms of cremation and death rituals. The raised platform attached to the ghat is used for death anniversary rituals. Between Jalasayi and Manikarnika ghat in the stream lies fourteen watertrithas, among which important are Visnu, Bhavani, Skanda, Taraka, Avimuktesvara and Pasupati.
Towering over Manikarnika ghat, there is a Siva –Durga temple of Raja of Amethy (Oudh; now Uttar Pradesh), built in c. 1850 which is distinct with its five deep- red spires and gilded pinnacles. Havell (1905: 169) describes.
"It is built on a terrace overlooking the river, and is approached by one of those steep, staircased streets, leading from the ghats up into the city, which suggest a town of southern ltaly or Spain. Clambering up a side staircase, you pass under the Naubata Khana, where musicians are chanting praises of the goddess with strange but not unpleasing accompaniments. On the right side of the entrance is a fine bronze lion of Durga, and on the left Siva’s bull. The quiet and cleanliness inside are a relief from the bustle, sloppiness, and dirt, and the somewhat sordid atmosphere of more popular Benares shrines".
54. BAJIRIO GHAT :
Bajiriao Pesava built this ghat in c. 1735, that is how it is named after him, and also a palace. Havell ( 1905:138) has described the condition as: " Before the basement had been raised many feet, the tremendous weight of the massive masonry caused a landslip, which made the whole fabric topple over, so that the work had to be abandoned. The unfinished façade and the ghat steps still remain…". In fact the entire structure sunk several metres into the earth since its erection (Sherring 1868: 72). Later in 1830 queen Baijabai of Gwalior get it repaired and rebuilt ; she had also erected the colonnade around the Jananavapi well. In the up stream part there is a temple of Dattatreyesvara, so that this was referred as Dattatreya ghat. Presently this is assumed to be a patr of the Scindhia ghat.
55. SCINDHIA GHAT:
Formerly it was known as Viresvara Ghat, after the temple of same name lying at the top. In 1780 Ahilabai Holker of Indore made the ghat pucca. In 1829 queen Baijabai had get it repaired and remodeled; and again in 1937 Daulatarao Scindhia made the entire ghat pucca. The shrines of Vsistha and Vamadeva, and Atmaviresvara are at the top. The Paravata tirtha lies in the close by Ganga river.
56. SANKATHA GHAT:
Its old name was Yameshvara Ghat after the name of the shrine. At the top in the lane lies temples of Yameshvara and harischandresvara which might be thought of the old cremation area; still at present on the ossasion of Yama Dvitiya devottees take sacred bath. In late 18th cent. king of Baroda made this ghat, but 1825 Beniram Pandit’s widow, known as "Panditain", and nephews built this ghat pucca together with a building structure of the temple of Sanktha Devi. At the top of the ghat towards the city there shrines of Katyayini and Siddhesvari goddesses; three Vinayakas: Hariscandra, Cintamani and Mitra; and Vasukisvara. A new image of Santosi Mata (" Mother of Satisfaction") has recently also been built at the top. Between the Manikarnika and Scindhia Ghats there exist three water-tirthas, Viz, Uma, Sarasvata and Kamblasvetara.
57. GANGA MAHAL GHAT (2):
This is a another ghat of the same name. This, in fact, is an old part of Yamesvara Ghat. King of Gwalior had built it in early 19th cent., and lather on repaired and rebuilt by Govinda Bali Kiratankara.
58. BHONSALA GHAT:
In c. 1780 Maratha king ‘Bhonsala’ of Nagpur made this ghat, and lather in 1795 this was a made pucca together with the establishment of the temple of Laksmi narayana and a place. Two important shrines near by to the palace are of Yamesvara and Yamaditya.
59. NAYA GHAT:
In Prinsep’s map of 1822 this was named as Gularia Ghat and perhaps was made only a few years before. This was made pucca in c. 1960.
60. GENESA GHAT:
This was formerly known as Agnisvara Ghat after the Agni Tirthan in the stream. After passage of time after Pasava’s Ganesa temple this is known by this name. Important shrines at the top are Bhadresvara and Nagesa Vinayaka. Another important water-tirtha in the stream is Iksavaku Tirtha. During 1761-1772 Madhorao Pesava made this ghat fully pucca and also done extensive repairing. In puranic description this ghat is referred as Vighnesvara Ghat. On 9th dark-half of Bhadrapada (Aug.-Sept.) a special celebration held here.
61. MEHTA GHAT:
Formally this saw part of the preceding ghat, but after the construction of V.S.Mehta hospital (1962)this is known to the name of latter one. The Varanasi Municipal Corporation made this ghat pucca in 1960s. there are three water-tirth as along this ghat: Maitravaruna, Marutta and Iksavaku.
62. RAMA GHAT:
This ghat has association with the Rama Tirtha and the shrine of Vira Ramesvara. Two other closeby water-tirth as are Kala Ganga and Tamra Varaha. The famous Vedic school of its own kind, the Sanga Veda School, is situated closeby where on the occasion of Rama's birth on 9th light-half of Chitra(March-April) and Ganesa's birth on 4th dark-half of Bhadrapada(Aug.-sept.) special celebrations are performed. The temple of Rama and Badi-Narayana is also a notable shrine at the ghat.
63. JATARA GHAT:
64. RAJA GWALIOR GHAT:
Both of these ghats and also Rama ghat were erected by the patronage of Madhorao Pesava in c. 1766. In fact, they are the two ends of the same ghat.
65. MANGALA GAURI GHAT:
This was built by Balaji Pasava-I in 1735, after whom this is also known as Bala Ghat. Later in c.1807 Lakmana Bala of Gwalior repaired and renovated this ghat. In a mid-seventeenth century it has a reference. At the top of the ghat in temple compound there are images of Gabhastisvara, Mangala Gauri and Mangala Vinayaka. Mangala ("Auspiciousness") Gauri is one among the nine motherly white Goddesses (cf.KKh 100.68-72.At the ghat there are shrines of typical covered structure of Raghavendresvara, and Carcika Devi.
66. VENIMADHAVA GHAT:
This is the part of the Pancaganga Ghat and also known as Vindu Madhava Ghat after the name of the famous tenth century temple. This has been eulogized in the KKh (59.120-121; also 61.243-244). The Vindu Madhava temple which was in ruin since AD 1496 was rebuilt by Maharaja of Amber in 1585 together with a alace at mana Mandira Ghat (cf.motichand 1985;226). But in 1669 the temple was demolished by the order of Aurangazed and concerted into a mosque (still serves as landmark at this site). The image of Vindu has been re-established in the upper storey of Laksmanabala building and still it attracts a thousand of devotees and pilgrims for glimpse and worship.
67. PANCAGANGA GHAT:
This is one of the five water-front sacred most sites, and believed To be the meeting point of five drains,viz. The Ganga, the Yamuna, the Sarsvati the Kirana and the Dhupapapa, among which only the first one is visible and rest are vanished, or assumed in the form of manifestation. The merit and glory of this ghat are described in an eleventh century text and also in the KKh (59;116-144). This was the chief resort of a great teacher of Vadanta, Ramananda (CF 1299-1411) to whom Kabira (1398-1623) a great reformist bhakit poet, accepted as guru. Ramananda's monastery is still there. Tulsi (1547-1623) was initially living (c.1580s-1590s) at this ghat where he composed the famous writing, the Vindu-patrika ("The petition to Rama"), describing the glory of Vindu Madhava temple (VP 61-63,see allchin 1966;129-132, compare KKh 60,61).
The ghat was made of stone steps in 1580 by Raghunatha Tandan (Todara Mala?), the finance secretary of the Mughal King Akbar. In c. 1735 Bajirao Pesava-I together with Sadasive Naik rebuilt and repaired it. Again in 1775 renovations and repairing were done by Sripatirao Pesava, and Pant Pririnidhi of Andha. There are eight water-front sacred tirthas at the ghat: Pippalada, Vindu Makha, Mayukharka, Jnanahrda and Pancanada. There are two monasteries at the ghat, viz. Sri and Ramannada.
At the ghat, close to the riverfront, there are "the dozens of three-sided cubicle shrine rooms that open out into the river. Some contains a lingam or an image, such as the lanky bara and used primarily for yogic exercises and meditation". Sherring has vividly described this ghat:
"The ghat is broad and deep,and exceedingly strong. Its stairs and turrets are all of stone, and from their great number, afford accommodation to a multitude of worshippers and bathers. The turrets are low and hollow, and are employed as temples and shrines. Each one contains several deities, which are, mostly, emblems of Siva. An ordinary observer would be in ignorance of the fact these are filled with idols, and would scarely imagine that he was walking upon the top of a long succession of shrines, and over the heads of hundreds of gods. He would have to descend several steps, before discovering the sacrilege which he was ignorantly committing; but having done so, he would at once perceive that the turrets are open towards the river, and are, therefore, very convenient for devotional purposes".
The Ganga -arati (offering oil lamps) at the time of sun rise and sun set is the most attractive site and scene at this ghat, which is performed is honour of the Ganga. The shrine of the goddess Ganga is also here. During the month of Vaisakha (April-May)& Karttika (oct.-Nov.), devotees, mostly ladies,use to take sacred bath in the morning at this ghat special festivity and sacred bathing are performed here on the birthday of the Ganga,i.e. Vaisakha (Apr.-May), on the 7th light-half. In the month of Karttika(Oct.-Nov.) ritual of offering oil lamps to ancestors, arranged in the sky with the bamboo stands, is performed by the ghatiyas (ghat-triests) on behalf of the devotees who patronize the cost, or materials and rewards (in cash, or kinds, or both) for the service. There is a stone pillar with a thousand sockets stone made structure to hold the lamps lighted on the night of full moon in the month of Karttika.
68. DURGA GHAT:
The name derived its association with the Brahmacarini Durga temple. In 1772 Narayana Diksit, a guru of Pesavas, had purchased land from local resident fishermen and built two ghats: Durga and the succeeding one, Brahma Ghat. This was rebuilt and repaired in c. 1830 by Nana Phadanavisa, a Divana of Gwalior State, whose building at the top of the ghat is know as Phadanavisa Wada. At the ghat exist Marakandeya and Kharva Nrsimha Tirthas, and at the there is a shrine of Kharva Nrsimha. On the full-moon day of the month of Karttika youngmen make show fighting and mettle.
69. BRAHMA GHAT:
This is named after the temples of Brahma and Brahmesvara. The other notable tirtha and shrine are of Bhairava Tirtha and Vindu Madhava. At the ghat exists a monastery seat,viz. Kasi Matha Sansthana:Sudhindra Tirtha Svami.
70. BUNDI PARAKOTA GHAT:
Formerly it was known as Raja Mandira Ghat. In c. 1580 king of Bundi, Raja Surajana Hada made this ghat; and it was made pucca in mid nineteenth century. In its vicinity at the top exists the shrines of Sesa Madhava, Karnadity and Laksmi Nrsimha.
71. (Adi)SITALA GHAT:
This is an extended part of the preceding ghat, also made by Hada in c. 1580, but later in 1772 was repaired and rebuilt by narayana Diksit. This ghat is named after the old temple of Sitala, known as "Badi" (elder) sitala. The other goddess-shrines in the vicinity are of Nagesvari Devi ("Snake Goddess") and Narayani. Karanaditya Tirtha at the bank and Sankha Madhava are other sacred spots. There are there Sati stones of memory in the vicinity. Like that of the earlier Sitala Ghat, on every 8th light-half of the months of Caitra, Vaisakha, Jyestha and Asadha (March-July) festivities take place in honour of mother goddess.
72. LALA GHAT:
This ghat was erected by a rich merchant in c. 1800 after whose name it is now known. As part of this ghat in 1935 Baldeo Das Birla has built a small ghat called as Gopi Givinda Ghat at the top of which exists a pilgrims'rest house made by him.
73. HANUMANAGARDHI GHAT:
This was perhaps founded in late nineteenth century. It represents the famous site of Hanumanagadhi in Ayodhya (the birth palce of Rama). Hanumana is the monkey assistant to Lord Rama. The Ganga Akhara (wrestling site), and a Sati-stone are along ghat. The other shrines in the vicinity are Gopi Govinda and Gopreksevara.
74. GAYA/GAI GHAT:
This ghat records a reference in a 17th century txxt, the Grivana Manjari. In 12th cent. Varanasi this was considered to be the southern limit of the city; in the vicinity still exists the symbolic relic of that period, Patana Darvaja. At the ghat there is a huge image of a cow (gaya/gai), symbolizing the earth, that is how the ghat is known as Gaya Ghat. In early 19th cent. the ghat was made pucca by Balabai Sitole of Gwalior. At the top of the ghat, closeby there are four images : Bagesvari Devi, Nagesvari Devi("Snake Goddess"), Mukarnirmalika Devi("Pure-Faced Goddess") and Samhara Bhairava.
75.BADRI NAYARANA GHAT:
This ghat was earlier known as Mahatha/Matha, or Balabai Ghat Balabai of Gwalior had patronize to make this ghat pucca in early 19th century. Later on the Municipal Corporation of Varanasi had get it repaired and renovated. The associated sacred shrines are nagesavara tirtha, Nagesvara, Nagesa Vinayaka and Nara-narayana Kesava. The last shrine is originally at Badrinatha, that it how the name of ghat derives: Badri (the site)and Narayana (the deity). On the occasion of full-moon day of pausa(dec.-jan.), a special festivity in honour of Visnu in the form of Nara-Narayana is celebrated. Also, on 3rd light-half of Vaisakha(Apr.-May) there takes a sacred bath ceremony.
76.TRILOCANA GHAT:
The name derives after famous image of Shiva, Trilochana ("Three-Eyeed"), whose lingam is known as Trilocanesavara. The KKh (75.12., 18-10, 72-74) and other contemporary digests have composed many metres in glory of this ghat and its associated water tirtha, Pilapippala Tirtha. In the Gahadavala rule, c.C.E. 1100, this was a very famous site for sacred bath and rituala. The renovations and repairings were done by Narayana Dixsit in c. 1772. Later around 1795 Nathu Bala of Pune made the ghat pucca.
77. GOLA GHAT:
Since late 12th cent. this site was used as ferry point and was also known for a number of granaries(gold), from where the name Gola Ghat devired. However, after opening the bridge at Raja Ghat in 1887 the site had lost its importance. At this ghat there is a Puranic reference of Pisegila Tirtha, while at the top exits the shrine of Burgu Kesava (Visnu).
78. NANDESAVARA /NANDU GHAT:
This ghat in early 20th cent. by the local neighbourhood residents. There appears an Akhara (wrestling site) of the same name.
79. SAKKA GHAT:
It has reference to late 18th cent., and it has a reference of an old water-front sacred spot, Pranava Tirtha. Close to the ghat towards the top is HaridashanSavasrama Trust (Mukimgung). Most parts of the ghat are occupied by washermen.
80. TELIANALA GHAT:
It has reference to late 18th cent.; and known for an ancient sacred spot, Hiranyagarbha Tirtha. Legends say that the area was dominated by the oilpressing caste (Teli) settled along a small drain (nala) meeting here, that is how the name derived.
81. NAYA/PHUTA GHAT
In medieval digests a sacred water-front site, Gopratara Tirtha, and an image of Gopratatesvara are referred at this ghat. During 18th century the ghat – area became deserted (Phuta), but later on it was renovated. This way the ghat was formerly known as phuta, and later as Naya. In 1940 Narsingh Jaipala Chainput-Bhabhua(Bihar) made this ghat pucca.
82. PRAHALADA GHAT:
This is the named after Prahalada, a great mythological devottee of Lord Visnu. In 11th-12th cent. the Ghadavala inscriptions mentioned this ghat. This is spread over a longer distance. In 1937 with the construction of a new Nisada Ghat in the centre (where exists Satsanga Akhara), now the ghat is divided into two parts : the southern and northern. In the southern part exists the shrines of Prahaladesvara, Prahalada Kesava, Vidara Narsimha, and Varada and Picindala Vinayakas. Around the northern site exists Mahisasura Tirtha, Svaralingesvara,Yajna Varaha and Sivaduti Devi.
On 14th light- half of Vaisakha (April-May), a grand festive celebration to honour the appearance of Nrsimha ("Lion-Man" incarnation of Lord Visnu; i.e. 4th among the ten) is performed on massive scale in the temple of Prahaladesvara.
83. RAJA GHAT:
Upto 1887 this was a famous ferry ghat. On 1st jan. 1887, Lord Duffrin bridge (road-cum-rail) was made and its importance as ferry points had lost. The bridge is named as Malaviya Bridge in 1948 after the founder of Banaras Hindu University, Pt. Madan Mohan Malaiya. In the Gahadavala inscriptions (c. 1100) this ghat is mentioned many times in terms of its glory and merit. There are four water-trithas affiliated to this ghat: Sankhya,Uddalaka, Hayagriva and Nilagriva.
84. ADI KESHAVA GHAT:
In Ghadavala inscription (c. C.E. 1100) this ghat was referred as Vedesvara Ghat. This is assumed to be the oldest and the original (Adi) site of Lord Visnu ( Kesava). The temple complex of Adi Kesava has a pleasant pastoral setting on he bank above the confluence of the Varana and the Ganga rivers. Among the oldest puranic listings of sacred sites in the city, this is one of them. This sacred spot is fully eulogized in the MP (185-68), the VP (3.34-50), the KKh (84.109; see also 51.44-82). This was the most favourite holy site of the Gahadavala kings, as evident from the Gahadavala inscription that" a great number of regal ritual occasions in Varanasi included the worship of Adi Kesava or a dip in the Ganga at the Varana confluence: (Niyogi 1959: app. B as in Eck 1982:233). The ghat was made pucca in 1790 by a Divan of Scindhia State.
According to a flok legend the five most sacred water-fron holy spots represent the bodily parts of the Lord:" Asi is the head; Dasasvamedha is the chest; Manikarnika is the naval; Pancaganga is the thighs; and Adi Kesava is the feet" (Eck 1982:233). This reminds that Vianu first placed his holy feet here in Varanasi. His foot prints (Carana Paduka) in the Adi Kesava temple symbolize that occasion; another foot prints are at Manikarnika Ghat.
Bathing at confluence of the Varana and the Ganga and paying visit to Sangamesvara ("Lord of Confluence") give a special religious merit, as referred in the Linga Purana (92.87-89):
"An excellent lingam has been installed by Brahama at this confluence. It is know in the world as Sangamesvara. If a man shall become pure taking his bath at the confluence of the divine river and then worship Sangamesa, whence need he fear rebirth".
The Sangamesvara lingam is located in temple attached to Adi Kesava; and from the pavilion of Adi Kesava, one can look down into the courtyard of the Sangamesvara. Closeby to it is the Brahmesvara lingam (a four- faced lingam) and believed to be established by Brahma ("The Creator").
Between Prahalada and Adi Kesava Ghat (from south to north) there are ten water-tirthas lying along the bank: Sankha Madhava, Sasa, Laksminrsimha, Gopigivinda, Vindara Nrsimha, Yajna Varaha, Mara- Narayana, Vamana, Pranava and Dattatreyesvara. And between Adi Kesava Ghat and confluence of the Varana there are twelve water-tirthas: Aditya Kesava, Ambarisa, Narada, Garuda, Mahalaksmi, Padma, Gada, Cakra, Sankha, Ksirabdhi, Svetadvipa and padodaka.
In the vicinity of Adi Kesava temple are located two Vinayakas: Cinatamani ("relieving worry") and Kharva ("the dwarf"), and jnana Kesava ("wisdom"), P/rayaga lingam and Kesavaditta ("Kesava-Sun").
The barth day of Vamana ("the Dwarf"; 5th incarnation of Visnu among the ten) is celebrated on massive scale in the Adi Kesava temple on 12th light- half of Bhadrapada (Aug. Sept.).
At the time of sunrise and sun set both, one can see the natural beauty of reflecting colourful light in the Ganga, in the morning the reflection of sunlight on the palatial buildings and in the evening the shadows of those building in Ganga make the scene unique which is more an aspect of experience than reading about it.
culture capital of India
1. Importance of Banaras in India and especially for Hindus; various aspects of Banaras, its many names and what makes it the cultural capital of India.
2. Archaeology, Mythology, Geography, and History of Banaras- its unique situation on Ganges, and its journey through the history of India, and quest to know what makes it oldest living city.
3. Religious Varanasi- Many religions, place and types of worship, a religious place and institutions. You will find that even Primitive worship cults are still practiced in this city. Discover the city of Buddha, Jain Tirthankars, Shaiva and Vaishnava saints or Devoted saints like Kabir and Tulsi.
4. Arts, Crafts and Architecture of Banaras: You will be amused to see that Varanasi is a Museum architectural designs. It presents changing patterns and movements in course of history. It has a rich and original variety of paintingand sculptor styles and equally rich treasures of folkart. During the ages Varanasi has produced master craftsmen and Varanasi has earned name and fame for its Sarees, handicrafts, textiles, Toys, ornaments, metal work, clay and wood work, leaf and fibre crafts. With ancient crafts, Banaras has not lagged behind in Modern Industries.
5. Discover Ganga- the holiest of the holy river- its mythology, geography, socio- economic aspects, its monumental ghats and their story and the present condition of pollution.
6. The Capital of all knowledge- Discover the most ancient seat of education in India World the famous scholars and their `Shastrarthas', the great scholars, universities, college, schools, Madarsas and Pathshalas and Guru Shishya traditions, the epics, famous literary works, languages and dialects, journalistic traditions- newspapers and magazine, and famous libraries.
7. Discover the social and cultural fabric- Organisation of sacred complex and social spaces, the cultural pluristic, linguistic and ethnic groups. Discover the city of affluence, intellectuals, oral traditions, castes and customs, personalities, professions, communal harmony . Discover the rural Varanasi. And finally (and with deep insight) peep into, the pleasure of Pans, Thandai, Gamcha, Bahri Alang and Mauj Masti.
8. The City of Music and Drama and Entertainment: Banaras has been famous for its Music both vocal instrumental, it has its own dance tradition. Add to this a very rich stock of folk Music and drama (esp. Ramlila), the tradition Musical soirees, fairs and festival the rich tradition of Akharas, games and sports. Add to this classical Banaras Transport vehicles like Ekka and Modern Traffic Jam.
9. Industrial City: Discover the fast developing city of heavy, light and cottage industries, local handicrafts and other small scale industrial units. ( DLW, BHEL, Electric, Cycle,Pumps, Paper, Glass, Fertilizer etc.)
10. Medical World of Varanasi: Discover the ancient College of Plastic Surgery, Sushruta, Dhanvantri (God of Medicine), Divodas, and practice of all the ancient and modern systems of medicine in action.
11. The Unseen Banaras: Discover the spots around Varanasi, instituions, story of freedom struggle and the martyrs, history of Kashiraj, history of Sarnath, history of Bhadohi (Carpet town), of Mirzapur, of Ghazipur, know about the famous travellers and tourists, of the `Nijam'. And finally having seen the Panorama of Banaras, its continuity of culture, discover the identity of Banaras
Banaras Hindu University
The Banaras Hindu University or BHU is an internationally reputed University and is situated in Varanasi. The great nationalist leader, Pandit Madan Mohan Malaviya, founded the Banaras Hindu University in the year 1916. Dr Annie Besant also played an important role in the formation of the BHU. The Banaras Hindu University played an important role in the Indian independence movement. Over a period of time, it has developed into one of the greatest centers of learning in India. The BHU has produced many great freedom fighters and Nation builders. It has immensely contributed to the progress of the nation through a large number of renowned scholars, artists and scientists.
Kashi Vidya PeethThe Kashi Vidya Peeth was set up in 1920 by Babu Shiv Prasad Gupta to provide alternate education arrangement during the Non-cooperation movement during India's freedom struggle. It soon became a center of National education with Hindi as the medium of instruction. Acharya Narendradev, Babu Sampurnanand, Babu Sriprakash and many more luminaries of the time have been associated with this institute. Over a period of time, the Kashi Vidyapeeth has flourished into an educational institute of repute.
Today, the university offers courses almost on all disciplines ranging from humanities and management to life sciences. A medical college is also being planned in the University. Besides, the Mahatma Gandhi Kashi Vidyapeeth has taken a great leap forward by keeping pace with the changing times and offering new courses according to the needs of the times and also the students. As a result of this many new departments and faculties have come up at the University campus in the last few years.
The Banaras Hindu University has a sprawling campus, spanning across 1300 acres. It has well maintained roads (crossing each other at right angle), extensive greenery, a temple, an airstrip and buildings, which are an architectural delight. There is another campus of the Banaras Hindu University at Barkachha, in Mirzapur district, covering an area of 2700 acres. The BHU comprises of 3 Institutes, 14 Faculties, 124 Departments, 4 Interdisciplinary Centers and 3 Constituent Schools, spanning a vast rang of subjects pertaining to all branches of humanities, social sciences, science, technology, medicine, fine arts and performing arts.
Banaras Hindu University also has 6 centers of advanced studies, 10 Departments under Special Assistance Programme and a large number of specialized Research Centers. There are four Degree Colleges in Varanasi that are affiliated to the BHU. The Bharat Kala Bhavan, an art and archaeological museum, is a treasure trove of rare collections. The Banaras Hindu University also has a medical college (Institute of Medical Sciences) and an engineering institute (IT BHU). Sir Sundar Lal Hospital (having a capacity of 927 beds) is equipped with all the modern amenities and caters to the medical needs of a large population. The University also provides for a well-developed sports infrastructure. BHU has wide range of facilities for sports and hobbies. It has large playgrounds, a big auditorium, a flying club and many other services and utilities like Printing Press, Publication Cell, Fruit Preservation Center, subsidized Canteens, Employment and information Bureau, Security, etc.
The Banaras Hindu University consists of about 15000 students, coming from to all streams of life, castes, religions and races. It has about 2000 teachers and nearly 5000 non-teaching staff. Another important feature of the BHU is the number of foreign students. A large number of students come from the U.S.A., Europe, Asia, Middle East, Africa, etc.
the taj of varnasi vishwanath temple
A Brief History vishwanath temple
Standing on the western bank of India's holiest river Ganges, Varanasi is the oldest surviving city of the world and the cultural capital of India. It is in the heart of this city that there stands in its fullest majesty the Kashi Vishwanath Temple in which is enshrined the Jyotirlinga of Shiva, Vishweshwara or Vishwanatha. Here gravitate the teeming millions of India to seek benediction and spiritual peace by the darshan of this Jyotirlinga which confers liberation from the bondages of maya and the inexorable entanglements of the world. A simple glimpse of the Jyotirlinga is a soul-cleansing experience that transforms life and puts it on the path of knowledge and bhakti. Vishweshwara Jyotirlinga has a very special and unique significance in the spiritual history of India. Tradition has it that the merits earned by the darshan of other jyotirlinga scattered in various parts of India accrue to devotee by a single visit to Kashi Vishwanath Temple. Deeply and intimately implanted in the Hindu mind, the Kashi Vishwanath Temple has been a living embodinent of our timeless cultural traditions and highest spiritual values. The Temple has been visited by all great saints- Adi Shankaracharya, Ramkrishna Paramhansa, Swami Vivekanand, Goswami Tulsidas, Maharshi Dayanand Saraswati, Gurunanak and several other spiritual personalities. The Kashi Vishwanath Temple attracts visitors not only from India but abroad as well and thereby symbolises man's desire to live in peace snd harmony with one another. Vishwanath being a supreme repository of this spiritual truth thus strengthens the bonds of universal brotherhood and fellow feeling at the national as well as global levels. On January 28, 1983 the Temple was taken over by the Govt. of Uttar Pradesh and it's management ever since stands entrusted to a Trust with Dr. Vibhuti Narayan Singh. Former Kashi Naresh, as president and an Executive Committee with Divisional Commissioner as Chairman. The Temple in the present shape was built way back in 1780 by Late Maharani Ahilya Bai Holkar of Indore. In the year 1785 a Naubatkhana was built up in front of the Temple by the then Collector Mohd. Ibrahim Khan at the instance of Governor General Warren Hastings. In 1839, Two domes of the Temple were covered by gold donated by Punjab Kesari Maharaja Ranjeet Singh. Third dome but was remained uncovered, Ministry of cultures & Religious affairs of U.P. Govt. took keen interest for gold plating of third dome of Temple.
RITUALS
The Temple opens daily at 2.30a.m. in Mangala Aarati 3 to 4 a.m. ticket holders are permitted to join. From 4 to 11 a.m. general Darshan is allowed. 11.30 to 12 a.m. mid day Bhog Aarati is done. Again 12 noon to 7 p.m. devotees are free to have darshan. From 7 to 8.30 p.m. evening Sapta Rishi Aarati is done after which darshan is again possible uptill 9 p.m. when Shringar/Bhog Aarati starts. After 9 p.m. Darshan from out side only is possible. Shayana Aarti starts at 10.30p.m.The Temple closes at 11p.m.
Most of the Prasad,milk,clothes and other such offerings are given to the poors.
Contribution in cash or kind towards development or specific purposes are accepted giving due thought and a receipt thereof is issued and the donation is used for the desired seva. Devotees are requested to record complaint/suggestions,if any,on the complaint/suggestion book at the counter. Matters requiring quick action can be brought to the notice of the Chief Executive Officer directly. All donation Cheques/Drafts be drawn in the name "Shri Kashi Vishwanath Mandir Fund" and sent at the address below-
Chief Executive Officer
SHRI KASHI VISHWANATH MANDIR
Vishwanath Gali,VARANASI-221001
ARTI-DARSHAN
TEMPLE MANGLA BHOG SANDHYA SRINGAR SHAYAN
SRI VISHWANATH JI 3.00A.M. 1.30NOON 7.00P.M. 9.00P.M. 10.30P.M.
SRI ANNAPURNA JI 4.00A.M. 11.30NOON 7.00P.M. 10.00P.M.
SRI KALBHAIRO JI 5.00A.M. 01.30NOON 8.00P.M. 12.00P.M.
SRI SANKATHA JI 4.30/6.30A.M. 02.30NOON 11.00P.M. 11.00P.M.
SRI DURGA JI(DURGA KUNDA) 5.00A.M. 7.00P.M. 11.00P.M.
SRI SANKAT MOCHAN 4.30A.M. 12.00NOON 3.00P.M. 8.00P.M. 10.30P.M.
ACCESSIBILITY
AIR
The nearest airport is Babatpur : 30 km.
RAIL
Sarnath is directly connected by Varanasi- Gorakhpur Exp 0549 / 0550 and Varanasi – Bhatni- Varanasi Exp 0551/ 0552. See Varanasi also.
ROAD
Sarnath 10 km from Varanasi, is well connected by road.
PLACES OF INTEREST
CHAUKHANDI STUPA
Chaukhandi is the first monument one encounters as one enters Sanath. It is a lofty mound of brick –work whose square endifice is surrounded by a octagonal tower. Originally said to built by Emperor Ashoka.
DHAMEK STUPA
The most remarkable structure at Sarnath, is the cylindrical Dhamek Stupa, 28 mts in diameter at the base and 43.6 mts in height, built partly of stone and partly of brick. The stone facing the lower part is adorned with delicate floral carvings of Gupta origin.
MULAGANDHA KUTI VIHAR
This mordern temple has been erected by the Mahabodhi Society. It has excellent frescoes by Kosetsu Nosu japan’s foremost painter and is a rich repository of Buddhist literature. The ancient Mulagandha Kuti temple is among the brick ruins of Sarnath.
SARNATH MUSEUM
Sarnath yielded a rich collection of sculptures comprising numerous Buddha and Bodhisattva images. Considerde amongst the finest specimens of Buddhist art, these have been housed at the museum, adjiacent to the site. The museum is open from 10 am to 5 pm, and closed on Fridays. Apart from the above the other objects of lnterest at Sarnath are the Dharmrajika Stup, magnificent Lion capital, India’s National Emblem at Sarnath museum, the Saddharmachakra Vihar’s at excavated ruins.
ACCOMMODATION
Forest Rest House, Sarnath.
Mahabodhi Dharamshala, Sarnath.
Jain Dharamshala, Sarnath.
UP TOURISM ACCOMMODATION
Tourist Bungalow, UPSTDC, Sarnath.
RESTAURANTS
Anand Restaurant, Sarnath.
Rangoli Garden, Sarnath.
Mrigdav Restaurant, Sarnath
BANK
State Bank of India, Ashapur, Sarnath
Canara Bank
Central Bank, Ashapur
POST & TELEGRAPH
Post Office, Sarnath
HOSPITALS
Govt. Hospitals, Sarnath
Buddhists wordwide look upon India as the land of the B
uddha and a visit to this country means a pilgrimage to those places sacred to the memory of the Enlightened One. After the Bouddha attanined enlightenment in Bodh Gaya he came to sarnath. Here in the Deer Park, he delivered his first sermon, or in religious language, set in motion the wheel of Law (maha- Dharmachakra Pravartan). On the day before his death Buddha included Sarnath along with Lumbini, Bodh Gaya and Kushinagar as the four places he thought to be sacred to his followers.
The Emperor Ashoka, who spread the Buddha’s message of love and compassion throughout his vast empire, visited Sarnath around 234BC,and erected a stupa here. Several Buddhist structures were raised at Sarnath between the 3rd century BC and the 11th century AD, and today it presents the most expansive ruins amongst places on the Buddhist trail. Sarnath is 10 km from the holy city of Varanasi, and is an exceedingly tranqiuil place. The ruins, the museum and temple are all within walking distance.
GENERAL INFORMATION
Area : 2.80 sq. km.
Altitude : 80.71 mtrs. Above sea level.
soul of world in varanasi
MUSIC is the soul of life, OM or PRANAV is supposed to be the root of creation. SAMVEDA, one of our earliest scriptures is also our earliest music. Later SAMGAAN developed into various forms and styles of music.it is known that every land has its own music. These are called after the place as for example Karnatak Music or Pahari Music. Similarly a person of a group develops its own style and that becomes a school or Gharana of Music.
Kashi-Varanasi- Banaras is the oldest living city of the world and no wonder it has its own rich history and treasure of music.
When and in what form music developed in this area, it is difficult to say. When Renu (son of Vishwamitra) and Mahagovind founded this city, they also brought with them the Aryan traditions and the Vedic culture. It can therefore, safely be coneluded that during the Vedic period SAMGAAN must have echoed everywhere. The presiding diety of this city is Shiva- Mahadeva, the lord of Dance and Music (Natraj). Naturally the city worshipped him with Taals, Songs and Dance. This city has been called the capital of all learning and the Goddess Saraswati must have played her Veena here. Pauranic tales describe the Apsaras, Gandharvas and Kinnars lived here and made the city musical.
Jatak tales narrate the story of Veena competition in the "Sudershan" city. Ashwaghosh in his famous work "Sunnderanand" describes GANIKAS of kashi. During the Mahajanpada period we have a glimpse of Banarasi way of life full of Fairs and Fastivals with Music & Dancing. Guttal Jatak tells us that Kashi was the centre of Music and there was lot of Dancing and Singing in the temples.
During the Goiden Age of Guptas, we find Kashi vibrating with the poems of great poets like Kalidas and with Dhruvagayan & Prabandh Sangeet. The "Chatrurbhani" of the fifth century shows us a "Gayika"of Varanasi playing "Pichola" standing in a window in Ujjain. Excavations at Rajghat have given us a marvellous terracota wherein two musicians are playing percussion instruments with intense joy & pleasure.
During the nineth century Damodar Bhatt in his famous work "Kuttanimattam" Faithfully describes the "Shringar Heat" of Kashi and tells us of Music and Drama during Sheo Puja Krishna Mishra in "Prabodh Chandrodaya" describes the "Rasiks" ( Music-lovers) of Varanasi. The 12th century scholar Hemchandra describes "Banarasipan". Jin- prabha Suri in his Vividh Teerth Kalpa "describes"MADAN VARANASI". "Vikrant Kauravam" is a drama written in the 14th century buy Hastimal and here we find a beautiful description of Banarasi Music.
Fifteenth Century is the age of "Bhalci Movement" (Age of Devotion). Great saint Shri Chaitanya Mahaprabhu came to Kashi and made the city "Kirtanmaya". Mahaprabhu Vallabhacharya settled in Varanasi and the Vaishnava temples echoed with "Haveli Sangeet". Saints like Sur, Kabeer, Raidas, Meera, Tulsi made rich and valuable contributions to the Devotional Music and their Bhajans are still very popular. Ascetics of Banaras sing Nirgun Bhajans on Khanjari or Ektara.
During this period music took a new turn and developed DHRUPAD GAYAKI. We have a galaxy of great Dhrupadias like Swami Haridas. Baijiu, Tansen, Gopal Nayak who made the country vibrate with there music. Dhrupad had four schools: Dagar Bani, Gobarhaar, Noharbani and Khanhaar Bani. And Banaras was a centre of this Dhrupad style. Do you know Makrand pandey, father of great Tansen, breathed his last in Kashi?
In the 16th century Govind Chandra ruled Varanasi and during his reign Dhrupad was the royal music. With Dhrupad came its associates- the Dhamar, Hori & Chaturang and they still are a speciality of Banarasi Music.
This is the period when one ofthe great trios of Karnatak Msuic-Sri Muthuswami Dixitar lived here on the banks of Ganges for five years. Great writers of this are Ganapati in his "Madhvanal Kamkandha" and Damoodar in "Unkti Vyakti Prakaranam" give us a glimpse of music, Puppetry, Bhand plays. Similarly Banarasi Das in his "Aardh Kathanak" describes these very colourful music of Banaras.
During this period Jaunpur a city adjacent to Kashi had a Musical King the "Sharki" and he gave us "Jaunpuri", "Hussaini Todi" Almost during this period Indian Music took another turn and "Khayal" became the latest style. Sadarang and Adarang gave new dimensions to Khayal "gayaki" with slow and rapid speed. RABAB and SURBAHAR were great instruments the day.
While Nirgunias of Kashi sang the Famous Assarwari "Ghunghat ke pat Khol...", Nababs Awadh ruled Varanasi and the turbulent 18th century saw Meer Rustom Ali ruling Banaras as its Subedaar. Meer became a true Banarasi and patrnised Music Festivals like Jhoola, Jhoomar, Kajri, Birha, Dangal, Gulab Bari and Music Festivals on Boats. Soon a new Banarasi style emerged. Banaras bade tearful farewell to Meer and Raja Balwant Singh became Kashiraj. In his court we find great Kalawants like Jagraj Das, Khusal Khan and others.
He was succeeded by Raja Chet Singh and his court honoured musicians. Budhwa Mangal received Royal patronage and Dulari, Kajjan, Kishori, Rukmini,Chittan sang on the waves of Ganges.
In the court of Raja Maheep Narayan Singh, Tansen's sons Jivan Shah and Pyare Khan were appointed as the court singers. Next came Raja Udit Narayan Singh and during his reign Jahandar Shah ll- the Moghul prince came and stayed at Raja's palace in Shivala and in the retinue of Shah there were a number of Court Mussicians of Delhi.
Nabab Asafudaula was a music-lover and he gave a new turu to "Besarageeti" and called it "Tappa". Now the great savant of Tappa was Shori Miya. His disciple Gammu Khan with his son Shade Khan came and settled in Banaras and gave a new form to Tappa called "Banarasi Tappa". Shade Khan's disciple Nagendra Nath Bhattacharya taught this Tappa style to two of his worthy students-Chitra and Imambardi and when they sang in Calcutta, Tappa became a craze of the country.
Later in Kashiraj Darbar we find many musicians of Senia Gharana (of Tansen) like Zafar Khan, Basat Khan, Umrao Khan, Mohammed Ali and others.
In Nineteenth century we see Kali Mirza Mahesh Chandra in the darbar of Maharaja Ishwari Prasad Narayan Singh. Thakurdayal Mishra, a disciple of Adarang-Sadarang, and his two sons Prasiddhu-Manohar called "Shrutidhars" won acclaim all over the country. They were the music teachers of the last Moghul King Bahadur Shah Zafar. Nineteenth century of Banaras had great musicians like Badku, Rasulbux, Manju Khan, Mithai Lal, Dargahilal and other. There was a pair nicknamed "Demons of Music" the great Shiva- Pashupati, who had no equal in the country.
This century also saw a great galaxy of Gayikas Suggan, Maina, Tokhi, Gaffuran, Munna, Rajeshwari,Husna and others. Bhaiya Saheb Ganpatrao of Gwalior, great Harmonium player and Music Guru settled in Varanasi and his court we find Shyamlalji, Gauharjaan, Malka, and the phenomenal musician the doyen of Banarasi Thumri Moijuddin Khan and with him was the King of Banarasi Thumri Jagdeepji.
In the present era Maharaj Prabhu Narayan Singh gave shelter to Bahadur Shah's court Musicians like Waris Ali, Akbar Ali, Nisar Khan, Sadiq Ali and great Ashiq Ali Khan. Ali Mohammad and Ali Bux the sons of Basat Khan were considered the "jewels" of Kashiraj Darbar.
This galaxy of great musicians gave Banaras a place of pride in the country. Banaras developed unique Banarasi Thumri, Dadra, Chaiti,, Hori, Bhairavi, Kajri, Tarana, Ghato and what not, There was now less known, Tirwat, Sadra, Khamsa, Lavni,, Chaturang,, Sargam, Ragmala, Kirtan, Qauwali, Kathagayan, Bhajan, Ramayan and Birth and all of these reigned supreme.
Banaras has a very rich store of Folk Music like Bedesia, Pitma, Lachri, Badhaiya, Pujaiyao Geet, Fauwara, Gauri, Ghori, Nahchu, Alha, Sohar, Chandini, Nirwahi, Lachchan, Barahmasa, Maand, Sawani<>
Pandit Gudai Maharaj
Pandit Hanuman Prasad Mishra
Pandit Mahadev Mishra
Alaknanda
Kashi-Varanasi- Banaras is the oldest living city of the world and no wonder it has its own rich history and treasure of music.
When and in what form music developed in this area, it is difficult to say. When Renu (son of Vishwamitra) and Mahagovind founded this city, they also brought with them the Aryan traditions and the Vedic culture. It can therefore, safely be coneluded that during the Vedic period SAMGAAN must have echoed everywhere. The presiding diety of this city is Shiva- Mahadeva, the lord of Dance and Music (Natraj). Naturally the city worshipped him with Taals, Songs and Dance. This city has been called the capital of all learning and the Goddess Saraswati must have played her Veena here. Pauranic tales describe the Apsaras, Gandharvas and Kinnars lived here and made the city musical.
Jatak tales narrate the story of Veena competition in the "Sudershan" city. Ashwaghosh in his famous work "Sunnderanand" describes GANIKAS of kashi. During the Mahajanpada period we have a glimpse of Banarasi way of life full of Fairs and Fastivals with Music & Dancing. Guttal Jatak tells us that Kashi was the centre of Music and there was lot of Dancing and Singing in the temples.
During the Goiden Age of Guptas, we find Kashi vibrating with the poems of great poets like Kalidas and with Dhruvagayan & Prabandh Sangeet. The "Chatrurbhani" of the fifth century shows us a "Gayika"of Varanasi playing "Pichola" standing in a window in Ujjain. Excavations at Rajghat have given us a marvellous terracota wherein two musicians are playing percussion instruments with intense joy & pleasure.
During the nineth century Damodar Bhatt in his famous work "Kuttanimattam" Faithfully describes the "Shringar Heat" of Kashi and tells us of Music and Drama during Sheo Puja Krishna Mishra in "Prabodh Chandrodaya" describes the "Rasiks" ( Music-lovers) of Varanasi. The 12th century scholar Hemchandra describes "Banarasipan". Jin- prabha Suri in his Vividh Teerth Kalpa "describes"MADAN VARANASI". "Vikrant Kauravam" is a drama written in the 14th century buy Hastimal and here we find a beautiful description of Banarasi Music.
Fifteenth Century is the age of "Bhalci Movement" (Age of Devotion). Great saint Shri Chaitanya Mahaprabhu came to Kashi and made the city "Kirtanmaya". Mahaprabhu Vallabhacharya settled in Varanasi and the Vaishnava temples echoed with "Haveli Sangeet". Saints like Sur, Kabeer, Raidas, Meera, Tulsi made rich and valuable contributions to the Devotional Music and their Bhajans are still very popular. Ascetics of Banaras sing Nirgun Bhajans on Khanjari or Ektara.
During this period music took a new turn and developed DHRUPAD GAYAKI. We have a galaxy of great Dhrupadias like Swami Haridas. Baijiu, Tansen, Gopal Nayak who made the country vibrate with there music. Dhrupad had four schools: Dagar Bani, Gobarhaar, Noharbani and Khanhaar Bani. And Banaras was a centre of this Dhrupad style. Do you know Makrand pandey, father of great Tansen, breathed his last in Kashi?
In the 16th century Govind Chandra ruled Varanasi and during his reign Dhrupad was the royal music. With Dhrupad came its associates- the Dhamar, Hori & Chaturang and they still are a speciality of Banarasi Music.
This is the period when one ofthe great trios of Karnatak Msuic-Sri Muthuswami Dixitar lived here on the banks of Ganges for five years. Great writers of this are Ganapati in his "Madhvanal Kamkandha" and Damoodar in "Unkti Vyakti Prakaranam" give us a glimpse of music, Puppetry, Bhand plays. Similarly Banarasi Das in his "Aardh Kathanak" describes these very colourful music of Banaras.
During this period Jaunpur a city adjacent to Kashi had a Musical King the "Sharki" and he gave us "Jaunpuri", "Hussaini Todi" Almost during this period Indian Music took another turn and "Khayal" became the latest style. Sadarang and Adarang gave new dimensions to Khayal "gayaki" with slow and rapid speed. RABAB and SURBAHAR were great instruments the day.
While Nirgunias of Kashi sang the Famous Assarwari "Ghunghat ke pat Khol...", Nababs Awadh ruled Varanasi and the turbulent 18th century saw Meer Rustom Ali ruling Banaras as its Subedaar. Meer became a true Banarasi and patrnised Music Festivals like Jhoola, Jhoomar, Kajri, Birha, Dangal, Gulab Bari and Music Festivals on Boats. Soon a new Banarasi style emerged. Banaras bade tearful farewell to Meer and Raja Balwant Singh became Kashiraj. In his court we find great Kalawants like Jagraj Das, Khusal Khan and others.
He was succeeded by Raja Chet Singh and his court honoured musicians. Budhwa Mangal received Royal patronage and Dulari, Kajjan, Kishori, Rukmini,Chittan sang on the waves of Ganges.
In the court of Raja Maheep Narayan Singh, Tansen's sons Jivan Shah and Pyare Khan were appointed as the court singers. Next came Raja Udit Narayan Singh and during his reign Jahandar Shah ll- the Moghul prince came and stayed at Raja's palace in Shivala and in the retinue of Shah there were a number of Court Mussicians of Delhi.
Nabab Asafudaula was a music-lover and he gave a new turu to "Besarageeti" and called it "Tappa". Now the great savant of Tappa was Shori Miya. His disciple Gammu Khan with his son Shade Khan came and settled in Banaras and gave a new form to Tappa called "Banarasi Tappa". Shade Khan's disciple Nagendra Nath Bhattacharya taught this Tappa style to two of his worthy students-Chitra and Imambardi and when they sang in Calcutta, Tappa became a craze of the country.
Later in Kashiraj Darbar we find many musicians of Senia Gharana (of Tansen) like Zafar Khan, Basat Khan, Umrao Khan, Mohammed Ali and others.
In Nineteenth century we see Kali Mirza Mahesh Chandra in the darbar of Maharaja Ishwari Prasad Narayan Singh. Thakurdayal Mishra, a disciple of Adarang-Sadarang, and his two sons Prasiddhu-Manohar called "Shrutidhars" won acclaim all over the country. They were the music teachers of the last Moghul King Bahadur Shah Zafar. Nineteenth century of Banaras had great musicians like Badku, Rasulbux, Manju Khan, Mithai Lal, Dargahilal and other. There was a pair nicknamed "Demons of Music" the great Shiva- Pashupati, who had no equal in the country.
This century also saw a great galaxy of Gayikas Suggan, Maina, Tokhi, Gaffuran, Munna, Rajeshwari,Husna and others. Bhaiya Saheb Ganpatrao of Gwalior, great Harmonium player and Music Guru settled in Varanasi and his court we find Shyamlalji, Gauharjaan, Malka, and the phenomenal musician the doyen of Banarasi Thumri Moijuddin Khan and with him was the King of Banarasi Thumri Jagdeepji.
In the present era Maharaj Prabhu Narayan Singh gave shelter to Bahadur Shah's court Musicians like Waris Ali, Akbar Ali, Nisar Khan, Sadiq Ali and great Ashiq Ali Khan. Ali Mohammad and Ali Bux the sons of Basat Khan were considered the "jewels" of Kashiraj Darbar.
This galaxy of great musicians gave Banaras a place of pride in the country. Banaras developed unique Banarasi Thumri, Dadra, Chaiti,, Hori, Bhairavi, Kajri, Tarana, Ghato and what not, There was now less known, Tirwat, Sadra, Khamsa, Lavni,, Chaturang,, Sargam, Ragmala, Kirtan, Qauwali, Kathagayan, Bhajan, Ramayan and Birth and all of these reigned supreme.
Banaras has a very rich store of Folk Music like Bedesia, Pitma, Lachri, Badhaiya, Pujaiyao Geet, Fauwara, Gauri, Ghori, Nahchu, Alha, Sohar, Chandini, Nirwahi, Lachchan, Barahmasa, Maand, Sawani<>
Pandit Gudai Maharaj
Pandit Hanuman Prasad Mishra
Pandit Mahadev Mishra
Alaknanda
Friday, April 25, 2008
shiv ki nagari KASHI
Varanasi : History of Varanasi 
The land of Varanasi (Kashi) has been the ultimate pilgrimage spot for Hindus for ages. Often referred to as Benares, Varanasi is the oldest living city in the world. These few lines by Mark Twain say it all: "Benaras is older than history, older than tradition, older even than legend and looks twice as old as all of them put together". Hindus believe that one who is graced to die on the land of Varanasi would attain salvation and freedom from the cycle of birth and re-birth. Abode of Lord Shiva and Parvati, the origins of Varanasi are yet unknown. Ganges in Varanasi is believed to have the power to wash away the sins of mortals.
Ganges is said to have its origins in the tresses of Lord Shiva and in Varanasi, it expands to the mighty river that we know of. The city is a center of learning and civilization for over 3000 years. With Sarnath, the place where Buddha preached his first sermon after enlightenment, just 10 km away, Varanasi has been a symbol of Hindu renaissance. Knowledge, philosophy, culture, devotion to Gods, Indian arts and crafts have all flourished here for centuries. Also a pilgrimage place for Jains, Varanasi is believed to be the birthplace of Parsvanath, the twenty-third Tirthankar.
Vaishnavism and Shaivism have co-existed in Varanasi harmoniously. With a number of temples, Mrs. Annie Besant chose Varanasi as the home for her 'Theosophical Society' and Pandit Madan Mohan Malviya, to institute 'Benares Hindu University, the biggest University in Asia. Ayurveda is said to be originated at Varanasi and is believed to be the basis of modern medical sciences such as Plastic surgery, Cataract and Calculus operations. Maharshi Patanjali, the preceptor of Ayurveda and Yoga, was also affiliated with Varanasi, the holy city. Varanasi is also famous for its trade and commerce, especially for the finest silks and gold and silver brocades, since the early days.
Varanasi has also been a great center of learning for ages. Varanasi is associated with promotion of spiritualism, mysticism, Sanskrit, yoga and Hindi language and honored authors such as the ever-famous novelist Prem Chand and Tulsi Das, the famous saint-poet who wrote Ram Charit Manas. Aptly called as the cultural capital of India, Varanasi has provided the right platform for all cultural activities to flourish. Many exponents of dance and music have come from Varanasi. Ravi Shankar, the internationally renowned Sitar maestro and Ustad Bismillah Khan, (the famous Shehnai player) are all sons of the blessed city or have lived here for major part of their lives
History of Varanasi
The land of Varanasi (Kashi) has been the ultimate pilgrimage spot for Hindus for ages. Often referred to as Benares, Varanasi is the oldest living city in the world. These few lines by Mark Twain say it all: "Benaras is older than history, older than tradition, older even than legend and looks twice as old as all of them put together". Hindus believe that one who is graced to die on the land of Varanasi would attain salvation and freedom from the cycle of birth and re-birth. Abode of Lord Shiva and Parvati, the origins of Varanasi are yet unknown. Ganges in Varanasi is believed to have the power to wash away the sins of mortals.Ganges is said to have its origins in the tresses of Lord Shiva and in Varanasi, it expands to the mighty river that we know of. The city is a center of learning and civilization for over 3000 years. With Sarnath, the place where Buddha preached his first sermon after enlightenment, just 10 km away, Varanasi has been a symbol of Hindu renaissance. Knowledge, philosophy, culture, devotion to Gods, Indian arts and crafts have all flourished here for centuries. Also a pilgrimage place for Jains, Varanasi is believed to be the birthplace of Parsvanath, the twenty-third Tirthankar.
Vaishnavism and Shaivism have co-existed in Varanasi harmoniously. With a number of temples, Mrs. Annie Besant chose Varanasi as the home for her 'Theosophical Society' and Pandit Madan Mohan Malviya, to institute 'Benares Hindu University, the biggest University in Asia. Ayurveda is said to be originated at Varanasi and is believed to be the basis of modern medical sciences such as Plastic surgery, Cataract and Calculus operations. Maharshi Patanjali, the preceptor of Ayurveda and Yoga, was also affiliated with Varanasi, the holy city. Varanasi is also famous for its trade and commerce, especially for the finest silks and gold and silver brocades, since the early days.
Varanasi has also been a great center of learning for ages. Varanasi is associated with promotion of spiritualism, mysticism, Sanskrit, yoga and Hindi language and honored authors such as the ever-famous novelist Prem Chand and Tulsi Das, the famous saint-poet who wrote Ram Charit Manas. Aptly called as the cultural capital of India, Varanasi has provided the right platform for all cultural activities to flourish. Many exponents of dance and music have come from Varanasi. Ravi Shankar, the internationally renowned Sitar maestro and Ustad Bismillah Khan, (the famous Shehnai player) are all sons of the blessed city or have lived here for major part of their lives
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 | Varanasi, also known as Kashi and Benaras, is the cultural capital of India. Varanasi is a melting pot, where both death and life come together. "Older than history, older than tradition, older even than legend, And looks twice as old as all of them put together " - Mark Twain |  |
Varanasi Tourism
Varanasi, the holy city of India, is also known by the name of Kashi and Benaras. Kashi, the city of Moksha for Hindus since centuries, is known for its fine-quality silks, 'paan' and Benares Hindu University and Avimukta of the ancient days, Varanasi is the most popular pilgrimage point for the Hindus. One of the seven holiest cities, Varanasi city is also one the Shakti Peethas and one of the twelve Jyotir Linga sites in India. In Hinduism it is believed that those who die and are cremated here get an instant gateway to liberation from the cycle of births and re-births. Considered as the abode of Lord Shiva, Varanasi is situated on the banks of River Ganges, which is believed to have the power of washing away all of one's sins. As pundits here will tell you, whatever is sacrificed and chanted here or given in charity reaps its fruits thousand times more than those good deeds performed at other places because of the power of that place. It is believed that three nights of fasting in Varanasi city can reap you rewards of many thousands of lifetimes of asceticism! Varanasi is the oldest city of the world. Varanasi is more than 3000 years old and is famous as the city of temples. In Varanasi, there are temples at every few paces. Looking at the number of temples in Varanasi, it is hard to believe that a large number of them were demolished during the medieval times. Jyotirlinga Visvanatha Temple or Golden Temple, rebuilt in 1776, is dedicated to Lord Shiva. The Jnana Vapi well (meaning 'Well of Wisdom) is believed to have been dug by Lord Shiva himself. It is believed that the majestic Alamgir mosque has replaced one of the most ancient shrines known as the temple of Bindu Madhava. The thirty-three hundred million shrines fill one with awe and wonder with sheer numbers. The Ganga Ghats (river front) are the most popular pilgrimage spot of Varanasi and are centers of music and learning. There is a great tradition of Yatras in the holy city of Kashi and the most sacred path is that of Panchkoshi Parikrama, the fifty-mile path with a radius of five miles that cover 108 shrines along the way, with Panchakoshi Temple as its main shrine. Other popular pilgrimage route is Nagara Pradakshina, which covers seventy-two shrines along the way. Since time immemorial Varanasi is a great center of learning. The holy city has been a symbol of spiritualism, philosophy and mysticism for thousands of years and has produced great saints and personalities like Guatama Buddha, Mahavira, Kabir, Tulsi Das, Shankaracharaya, Ramanuja and Patanjali. |
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