अधर्म पर धर्म की जीत का पर्व - विजयदशमी

आपदामपहर्तार्म दातारं सर्वसम्पदाम |

लोकाभिरामम श्री रामम भूयो भूयो नमाम्यहम ||

रामाय रामभद्राय रामचन्द्राय मानसे |

रघुनाथाय नाथाय सीतायाः पतये नम: ||

नीलाम्बुजश्यामलकोमलाग सीतास्मारोपितवाम भागम |

माणओ महासायक चारुचापम नमामि रामम रघुवंश नाथम || 

विजयदशमी भारतीयों का एक प्रमुख त्योहार है। अश्विन मास के शुक्ल पक्ष की दशमी तिथि को इसका आयोजन होता है। प्रभु श्री राम ने इसी दिन लंकाधिपति रावण का वध किया था तथा हर साल इस उपलक्ष में हम दशानंद के पुतले को जलाते हैं लेकिन....
महसूस किया है कभी किसी ने जलते हुए दशानन्द का दुःख,
जो सामने खड़ी भीड़ से बार बार पूछता है कि

" तुम में से कोई प्रभु श्री राम है क्या" ?????

और क्या रावण के पुतले को जलाने से असत्य पर सत्य और अधर्म पर धर्म की जीत हो जाती है। दरअसल दशहरा रावण के वध से जुड़ा है। विजयदशमी का अर्थ शरद नवरात्रों के दशमी के दिन माँ दुर्गा की विजय के रूप में ही नही, बल्कि मर्यादा पुरुषोत्तम श्रीराम की अहंकारी रावण पर जीत से भी लिया जाता है। आज जगह - जगह रावण जलता है, लेकिन कड़वा सच यही है कि रावण कभी नही मरता। जरूरत इस बात की है कि हमें अपने अंदर छिपी बुराई को खत्म करना चाहिए।

प्रायः यह सुना जाता है कि विभीषण कुलद्रोही था। कहा है कि घर का भेदी लंका ढावे तो क्या विभीषण वास्तव में कुलद्रोही था या रामभक्त ? 

यदि इस विषय में विस्तार से विचार किया जाए तो यह निष्कर्ष निकलता है कि विभीषण कुलद्रोही नही था वह तो एक भक्त था। कुलद्रोही तो अपने आपमें स्वयं रावण ही था। विभीषण के कुलद्रोही होने के कही कोई प्रमाण नही मिलते हैं। विभीषण को तो किलद्रोही तो तब माना जाता जब कि स्वयं रावण के खिलाफ कोई षड्यंत्र रचता या उसमें स्वयं राजा बनने की प्रबल इच्छा होती। ऐसा कुछ भी पढ़ने या सुनने में नही आता । उसने तो राज्यहित में ही रावण को उचित सलाह देकर समझाया था कि पराई स्त्री को अपने राज्य में रखना उचित नहीं है। 

श्री गो. तुलसीदास जी ने सुंदरकांड में दोहा संख्या ३८ से पहले लिखा है - 

सो परनारि लिलार गोसाई। 

तजउ चउथि के चंद कि नाई।।

तथा दोहा संख्या  ४० से पहले लिखा है कि -

कालरात्रि निशिचर कुल केरी।

तेहि सीता पर प्रीति घनेरी।।

इस तरह विभीषण के बार - बार समझानेपर भी जब रावण की समझ में नही और अहंकारवश उसने भरी सभा में विभीषण पर चरण प्रहार  कर कहने लगा कि - 

मम पुर बसि तपसिन्ह पर प्रीति।

सठ मिलु जाई तिन्हहि कहु नीति।। 

( रा. मानस, सुंदर - कांड, दोहा संख्या ४१ से पहले)

इसके अनंतर अशोक वाटिका में जाकर रावण का माता सीता जी से यह कहना कि -

कह रावन सुनु सुमुखि सयानी।

मंदोदरी आदि सब रानी।।

तब अनुचरी करउं पन  मोरा।

एक बार बिलोकि मम ओरा।।

(रा. मानस सुंदरकांड दोहा संख्या ९ से पहले)

तदंतर उसकी गरिम के बिल्कुल विपरीत था। विभीषण जब लंका छोड़कर गए थे तब उनके पीछे रावण ने जो दूत भेजे थे और उन्होंने वहां जाकर रामादल का परिदृश्य अपनी आंखों से देखा और भगवान श्री राम जी की ताकत को आंका जिसका वर्णन दूतों ने रावण से किया किंतु रावण ने अहंकारवश दूतों की बातों को गंभीरता से न लेकर उनको यूं ही उड़ा दिया। 

इसके अतिरिक्त्त समुद्र पर पुल बांधकर जब रामचंद्र जी की सेना उस पार पुहंची तब रावण बड़ा विकल हुआ और अपने दसों मुखों से बोला-

बांध्याबननिधि, नीरनिधि, जलधि, सिंधु बारीस। 

सत्य तोयनीधि कंपति उदधि पयोधि नदीश।।

( रा. मानस लंकाकांड दोहा संख्या ५ )

तब मंदोदरी ने रावण की। मां स्थिति को देखकर समझाया कि आप भगवान रामचंद्र जी से बैर न किजिए, लेकिन रावण की मती भ्रष्ट हो चुकी थी, क्योँकि उसका अंत आ रहा था, क्योंकि गो. तुसलिदास जी ने भी लिखा है, प्रभु जिसको विपता देई, उसकी मती पहले ही रह लई। रावण समझ नही सका। मानव को समझना चाहिए कि कभी अहंकारी न बने और अपनी बुराई को खत्म करें।

तातो युद्ध परिश्रांतम
समरे चिंताया स्थितम
रावणम चाग्रातो धृषत्वा
युद्धया समुपस्थितम
देवा टैश्च्या समागमया
द्रश्तु मभया गतों रणम
उपगमया ब्रविद्रामम
अगसत्यो भगवान ऋषिही।
राम राम महाबाहो
श्रुनगुहुह्यम सनतानम
येन सर्वनारिन वत्स
समरे विजयश्यासी
आदित्य हृदयम पुण्यम सर्वशत्रुविनाशनम

सिया वर राजा रामचंद्र भगवान की जय।

पवन पुत्र महावीर हनुमान की जय।।

ARDHNARISHVARA - COMPLETENESS OF THE UNIVERSE

चाम्पेयगौरार्धशरीरकायै

कर्पूरगौरार्धशरीरकाय ।

धम्मिल्लकायै च जटाधराय

नमः शिवायै च नमः शिवाय ॥ १ ॥

कस्तूरिकाकुङ्कुमचर्चितायै

चितारजःपुञ्जविचर्चिताय ।

कृतस्मरायै विकृतस्मराय

नमः शिवायै च नमः शिवाय ॥ २ ॥

झणत्क्वणत्कङ्कणनूपुरायै

पादाब्जराजत्फणिनूपुराय ।

हेमाङ्गदायै भुजगाङ्गदाय

नमः शिवायै च नमः शिवाय ॥ ३ ॥

विशालनीलोत्पललोचनायै

विकासिपङ्केरुहलोचनाय ।

समेक्षणायै विषमेक्षणाय

नमः शिवायै च नमः शिवाय ॥ ४ ॥

मन्दारमालाकलितालकायै

कपालमालाङ्कितकन्धराय ।

दिव्याम्बरायै च दिगम्बराय

नमः शिवायै च नमः शिवाय ॥ ५ ॥

अम्भोधरश्यामलकुन्तलायै

तटित्प्रभाताम्रजटाधराय ।

निरीश्वरायै निखिलेश्वराय

नमः शिवायै च नमः शिवाय ॥ ६ ॥

प्रपञ्चसृष्ट्युन्मुखलास्यकायै

समस्तसंहारकताण्डवाय ।

जगज्जनन्यै जगदेकपित्रे

नमः शिवायै च नमः शिवाय ॥ ७ ॥

प्रदीप्तरत्नोज्ज्वलकुण्डलायै

स्फुरन्महापन्नगभूषणाय ।

शिवान्वितायै च शिवान्विताय

नमः शिवायै च नमः शिवाय ॥ ८ ॥

एतत्पठेदष्टकमिष्टदं यो

भक्त्या स मान्यो भुवि दीर्घजीवी ।

प्राप्नोति सौभाग्यमनन्तकालं

भूयात्सदा तस्य समस्तसिद्धिः ॥ ९ ॥

इति श्रीमच्छङ्कराचार्य कृत अर्धनारीश्वर स्तोत्रम् ।

चिदानंद रूपः शिवोहं शिवोहं

हम अनंत हैं, पर अधूरे हैं..अगर इस अनंतता को बांटने के लिए कोई साथ न हो, तो हम अधूरे ही रहेंगे....तुम मेरी अनंतता को पूर्ण करती हो ..अब मैं अधूरा नही हूँ .. । 

ये कितना सुखद है न ..एक वैरागी भी प्रेम राग के गीत गाने लगता है ...इससे सुखद क्या होगा ...न जाने कितनी सदिया बीत जाने के बाद भी आज स्त्रियों को भगवान शिव जैसे पति ही चाइए ...इस एक बात से पता चलता है सनातन सही मार्ग पे है विश्व को सदाचरण के पाठ देने हेतु ।।

भगवान शिव घर के वो बाबा प्रतीत होते है जिनके होने मात्र से ही हमारे जीवन का अर्थ है ...

कैसा लगता है न जब अपनी पत्नी की मृत्यु पे वो विक्षिप्त की भांति व्यवहार करते है ..कैसा लगता होगा न जब इस विश्व का सबसे योद्धा सब कुछ उजाड़ देने पे उतारू हो जाए अपनी पत्नी वियोग में ...।।

वो अर्धनारीश्वर ऐसे ही नहीं कहलाये ...ये शब्द उनके प्रेम की ही देन है ..वो वाकई उनका आधा अंग थी ..वो कभी उनसे अलग नही हुई ..

कोई अपनी अनंतता से जुड़ने के बाद कभी अलग नही हो सकता ...जैसे वो नही हुए शक्ति से ।

समस्त सनातनियों को प्रेम पहुँचे ।

Supreme lord deity in the Hindu (Shaivite) pantheon is "Ardhanarishwara" ("The Lord Who Is Half Woman"). All concepts in Hinduism are psychological or at micro level ( सूक्ष्म) and not at macro(स्थूल) level/physical.

An epitome of
*Equality & Totality
*Unity of Opposites
*Completeness of Universe
*Fusion of Shiva & Shakti

That is ARDHNARISHWAR

Ardhanarishwara symbolizes the unity of Purusha and Prakriti... of consciousness and energy... whose union has created the universe.

This eternal union of the cosmic male Shiva and the cosmic female Shakti is also symbolized in the Linga and Yoni portions of Shiva Linga.

It represents *synthesis* of Shiva and Shakti, male and female. But both these gender identities are expressed visually as coexisting *facets* of a single body.

The interpretive tradition may nudge us toward synthesis, but the visual iconography tells a different story.

Though ArdhaNarishwara also conveyed deep philosophical symbolism, here is its significance for material world perfectly in sync with Dharmashastra.

How many people know that first realisation Ardhnarishwara was to Devi Parvati herself! As per tradition, female anatomy is more closer to "form" of "Ishwara" hence the concept of "ArdhnarIshkara" and NOT "ArdhnarEshwara"!!

How Maa Parvati became half of the body of Bhagwan Shiva? Here is an explanation from Stri Dharma Paddhati by Tryambaka.

What the Supreme Goddess herself states in the  Devi Bhagwat Puran 'There is oneness between me and the Puruṣa; Who is I, that is Puruṣa; who is Puruṣa, that is I. The One Eternal Brahman becomes dual at the time of creation. As one face becomes two by reflection in a mirror; as one becomes double by his shadow Only during creation are these differences conceived. When everything melts away, then, I am not female, I am not male, nor I am hermaphrodite. I then remain as Brahman with Māyā latent in it.'

Nowdays Everyone is using Ardhanarishwara roop for their evil agenda. Ardhanarishvara is Purusha and Prakriti, not male and female gender. It is the functioning of consciousness & energy. Purusha does not mean male, Prakriti does not mean fema|e. Shiva-Shakti are one & indifferent. Lgbt shouldn't be spread through Hindu itihasa. Dharma isn't a ground for you to spread adharmik agenda. Now if we reveal the secrets of gêñders, it will be politically incorrect. Being a lgbt is a cúrse. It's unrighteousness & sin. Pull the reins before time ticks. 

Parambrahma Nirguna nirakara Sarveshwar has appeared in the form of Panchdeva ,i.e. Vishnu, Aditya, Binayak, Rudra & Shakti. All five of them are equal. Parambrahma appeared in both male and femã|e form, that's why they are worshipped, not because they are femã|e. There is no gendëπ difference between Gods. We worship the forms of God, not a wømãn or a man.

Now in unitarity level, relation is greater ;  not man or women. Who is greater mother or son? Mother. Father or daughter; who is elder? Father. So it's a simple matter that coz of a particular gēnder, one does not get respect.

Woman becomes mother, the lineage goes ahead because of the her. She is the first teacher, that's why she is more respectful. Look, when someone does his/her duty in rightful manner, respect is gained automatically. Respect isn't begged, unrightful respect isn't earned. 

MOTHER is heavier than Earth, FATHER is taller than heavens. Why do we need the sh!!tt from West- lgbt ?

Which is neither practically possible nor allowed in Shashtra ! Each and every smriti, Shrutis Upanishads, Puranas discard Lgbt. It's promoters are adharmiks. 

Those civilizations who followed lgbt turned to ashes within few years. This may not be visible to you as not everyone has that vision to see that. Don't say that there exists that tribe, that civilization. Just see their level and say next. Now let's move to the topic.

In Shakta theology, the female and male are interdependent realities, represented with Ardhanarishvara icon.

Amazingly, ancient Hindus respected the manifestation of non-binary beings in nature, as exemplified by the Ardhnarishwara concept expressed in sculptures like this one from the Chola dynasty (1050 CE)

This 11th-century Chola bronze trishula with Ardhanarishwara (half-Shiva, half-Parvati). Now at Cleveland museum. A curved trishula was the emblem of several 7th–12th century Hindu monasteries in India.

Exquisite details of a niche from Vaitala Deula, Bhubaneswar(Odisha)

Mathura Museum has housed this antique Ardhnarishwara sculpture dated back to Vikramaditya era. This form was first iconographically evolved during Vikramaditya era in 1c later which became impeccable in Gupta's era.

A 5th century Kalacuri art work representing this idea at the Elephanta Caves;

Sculpture of Ardhanarishvara, This 7th–8th century was found from cambodia of pre-Angkor period, currently at Met museum, NYC.

 Ardhanarishvara 15th Century, Vijayanagar

You can find this half-female/half-male figure in many Shiva temples in India. One of very few & rare temples dedicated to Ardhnarishwar in Mandi HimachalPradesh. The temple is believed to be built in sixteenth century &  was declared as Protected monument of National importance in 1982.

Beautiful archaeological designs engraved on interior & exterior faces of ArdhnarishwarTemple include images of many gods (Hanuman, Ganesha, Brahma, Bhairon etc) in addition to vahanas of gods, ganas, flowers, dwarpaals, apsaras, scholars, male & female figurines.

My salutations to both Parvathi and Shiva,

To Her whose dance marks the creation of the world,

To Him whose dance destroys everything,

To Her who is the mother of the universe,

To Him who is the father of the universe.

THE MIGHTY GWALIOR FORT - IMMORTAL RAJPUTS

The deserted Gwalior Fort that stands silent in the day, comes to life after dusk. Wearing a festive look, lights in red, gold, blue & green illuminate the ‘Man Mandir’ palace near the Elephant Gate.

it is an impressive sight with its colossal walls accented with shimmering blue and yellow tiles and topped with copper-and-gold chhatris.

Gwalior Fort’s moss-covered domes, giant faded doors and carved walls, looming over the old city of Gwalior, have withstood everything that came their way.

Over time, the palace was unable to survive, but the remains of the palace still display the beautiful carvings and designs of that period.

"Gwalior Fort" is a hill fort near Gwalior is a major city in the central Indian state of Madhya Pradesh and one of the Counter-magnet cities. The fort has existed at least since the 9th century. 

One of the most iconic monuments in the history is famous for monuments and forts is situated in Madhya Pradesh. You will get to experience the culture of ancient era, numerous facts, legends and will surely impress you when you walk out of the gates of Gwalior ka Kila..

Gopādri or Gopagiri was ancient name of Gwalior fort.

Vaillabhattasvamin Temple Inscription (875 CE) mentions Mihira Bhoja (Pratihāra Rājaputra) granting guardianship of Gopādri to his subordinate.

Kacchapaghāta epigraph (1104 CE) mentions the name "Gopālikera" for Gwalior.

Later The Tomar Rajputs, who were feudatories of the Sultanate, got Gwalior in the late 14th century. They later declared themselves independent of the Tuqhlaqs (of the Delhi Sultanate), but had to contend w/ sieges & invasions of the Tughlaqs & later their successors Lodis.

Ladhedi gate was built in central Gwalior between 1480 to 1486 CE by Tomar Rajput King Kalyanmal of Gwalior.

A beautiful water structure, a stepped tank outside Pichhor, Gwalior. 

See the ease of access that provides comfort to the user: the placement of steps and direction and the structure for shade and cloth changing within the pit. Nothing of the entire construction in the pit is above the ground level. Hydrated lime was used to fix bricks. A structure that one would see in proximity to a temple. Except there is no temple in the vicinity. It is visible frm the hilltop fort. 

Gwalior saw a golden period during the reign of the Tomar Rajputs. MahaRaja Man Singh Tomar (not to be confused w/ Mirza Raja Man Singh of Amber), who ruled for 30 years, was one of the most influential rules of the dynasty. He built the beautiful Man Mandir Palace in Gwalior fort.

Built by Raja Man Singh Tomar, Assi Khamba Ki Baori circular is a step-well with 80 pillars all around and is therefore called Assi Khamba Ki Baori.

In 1505, Sikandar Lodhi invaded Gwalior. In response, Man Singh ordered the Gwalior fort to be closed down. He ordered the construction of this huge baori for storage of water during the siege. It is said that because of urgency this huge baori was built by ancient engineers in just 5 days.

This Was part of an earlier shiva temple. Only mandapa remains now. The sanctum was destroyed. It is believed Jahangir himself threw the Shiva linga down. It was later retrieved by a farmer who was tilling his farm. There’s a small temple there that holds the lingam.

MahaRaja Man Singh Tomar died defending Gwalior against Ibrahim Lodi in 1516. Gwalior fort was later captured by the Mughals & remained in their possession till the death of Aurangzeb, except for a brief period when Sher Shah Suri took it. Mughal king Babur was so impressed by Gwalior Fort beauty that he described it as 'the pearl amongst the fortresses of Hind'.

Vikram Mahal in Gwalior fort. 

Ramparts of Gwalior fort and the tower of Vikram Mahal, adorned with arches.

Built by Raja Man Singh Tomar's son, Vikramaditya Singh in the early 16th century CE. which was also known as Vikram Mandir. 

The palace had a temple of Lord Shiva which was demolished during the Mughal Period. The temple has been rebuilt right in front of the palace. 

One can climb up to the top of each of those Chhatris (umbrella like structures) in the palaces inside Gwalior fort, though it can really get vertiginous in some cases, especially when climbing to the very top through steep stairs, open on one or both sides.

Jahangir & Shahjahan palaces are part of the same compound in Gwalior Fort. There are many staircases leading to the terrace all along the perimeter. From the terrace, one can climb the narrow steps to the many Chhatris. Caution must be exercised.

The city of Gwalior seen from the Vikram Mahal in the fort.

Karan Mahal in Gwalior Fort

One of many palaces in side Gwalior Fort is Karan Mahal Built by the second of the Tomar Rajput ruler Kirti Singh, who was also known to the Karan Singh.

 

Other than a few lattice-screens and some sculptures,the structure of the palace is simple. Recently restroed, Karan Palace is older than Man Mandir.

There are very narrow steps to the Chhatri that towers above the palace.

View from atop the highest Chhatri of Karan Mahal in Gwalior Fort.

Jauhar Kund in Gwalior Fort,seen from atop Karan Mahal.The lake supplied water to all palaces in the fort. Faced w/ enslavement & brutalisation at the hands of the invading Islamic ruler Iltumish, the Rajput queen and womens committed mass suicide, Jauhar, in this reservoir.

The Jauhar Kund in Gwalior Fort, seen from the ground level. The Rajput womens of the royal harem committed mass suicide called Jauhar in this tank in the face of impending capture & enslavement by the Islamic ruler Iltumish (of Delhi Sultanate) in 1232 CE.

The Karan Mahal in Gwalior Fort, when approached from the Jauhar Kund.

MahaRaja Ramshah Tomar (born Ramsingh Tomar) was the last Tomara king of Gwalior. 

Owing to his valour, Mewar MahaRana Udai Singh gave him the title of “Shaho Ka Shah” and also married one of his daughter to Maharaja Ramshah’s son Shalivahan Singh Tomar.

After being attacked by Turk lutera Jalaudin Akbar they left Gwalior fort after siege and continued offering resistance to mughals from his maternal home Mewar and later on Martyr fighting in the Battle of Haldighati.

Maharaja RamShah Tomar and his 3 sons; Shalivahan, Pratap & Bhavani Singh Tomar Attained martyrdom in the famous Battle of Haldighati, along with many Tomar clansmen of Gwalior.

Famous Brig. Bagh Singh of Daudasar Thikana of of Bikaner was a direct descendant of MahaRaja Ram Shah Tomar

Under The Mughals possesion they turned the Man Mandir Palace in Gwalior Fort into a jail for political prisoners after they captured the fort.

The Mughals used this room in Man Mandir Palace, Gwalior fort as an execution chamber. The gallows were so positioned that the body would fall through the opening (now closed with a grill) into the room below.

In this very room in the Man Mandir Palace of Gwalior Fort, the Mughal ruler Aurangzeb had his brother Murad and this nephews Suleman & Sepher Shikoh (sons of his brother Dara Shikoh) executed.

Later the Scindia clan of the Marathas captured Gwalior fort in the 18th century. (Incidentally, Scindia is an anglicised form of Shinde). They lost it to the British in the second Anglo-Maratha war, though subsequently it changed hands b/w them a few times.

Ruins of a British magazine in Gwalior fort. Located next to the Jauhar Kund.

In 1844, the Scindias got ownership of Gwalior fort, though as vassals of the British. In the 1857 revolt, Rani Laxmibai of Jhansi rode on horseback from Jhansi to Gwalior after her kingdom fell to the British in May 1858. The Rani wanted Scindia to join them against the British. However, Scindia collaborated w/ the British, & the Rani fell fighting on the battlefield, her valour immortalised in the poem of Subhadra Kumari Chauhan. 

The Rani's Samadhi is in a park in central Gwalior.

The Fort of Gwalior from the north west.
From the book:The Illustrated History of the British Empire in India and the East - From the earliest times to the suppression of the Sepoy mutiny in 1859
By Edward Henry Nolan Published by James S.Virtue, London - 1858

The facade of the Man Mandir Palace, the most spectacular of the palaces in the Gwalior Fort, decorated with blue, yellow & green tiles.

look at this magnificent “Dwadasha Sthara” (12 Layered) “Seersha” (the head of the Pillar) from the Man Mandir Palace of Gwalior Fort, Madhya Pradesh. Just Zoom it, and see the art, artistry, symmetry & dedication of our ancestors.

Built by Tomar Rajput Raja Man Singh between 1486 and 1516 CE. It has 4 floors, two above ground and two underground.

The present-day fort consists of a defensive structure and two main palaces, Man Mandir, built by Man Singh Tomar (reigned 1486–1516 CE)

Badal Mahal (now called as Gujjari mahal) 

There is no historical text available regarding Gujari dancer named Mriganayani for which Raja Man Singh. So historically The Badal palace was later converted into an Archaeological Museum, which remains open from 9:00 am to 5:00 pm. The museum has a wide collection of sculptures, artefacts, weapons, pottery, and coins.

Map of the Gwalior Fort with number keys to its Gates and the Man Mandir Palace:

1. Alamgiri Gate

2. Badalgarh/Hindola Gate

3. Bhairon/Bansor Gate

4. Ganesh Gate

5. Lakshman Gate

6. Hathi Gate

7. Hawa Gate

8. Man Mandir Palace

9. Dhonda Gate

10. Urwahi Gate 

A gateway leading to the main entrance of the Man Mandir Palace in Gwalior Fort. The main entrance is kept closed now and entry for visitors is from the opposite side of the palace.

Two views of Hathi Pol (elephant gate) of the Man Mandir in the Fort of Gwalior by Edwin Lord Weeks, 1880s. One shows men & elephant entering while other shows men & elephant exiting.

Fort of Gwalior looking northwards along the east side of the fort plateau with the exterior of the Man Mandir palace in the foreground and the Vikram Mandir beyond And down that road is inscribed the world's first zero!

The Chaturbhuj temple has the earliest known epigraphical evidence inscribed in stone that already knows and uses the notion of zero at that time of Great Pratihar Rajputs.

The job was got done by Alla Pratihar in the reign of Imperial Bhojdeva Pratihar. 

Alla Pratihar was appointed as Guardian (Kottapāla) of Gopagiri(Gwalior) at the time of Imperial King Bhojadeva.The Chaturbhuj temple was built by him .

Alla was the son of Väillabhatta and grandson of Nagarabhatta Parihar. 

The inscription states: the community planted a garden of 187 hastas by 270 hastas, that the garden yielded 50 garlands for the temple everyday. 

The last digits of270 & 50 are”O" shaped. 

As the idol of Vishnu has four arms,it is called Chaturbhuja temple which dates back to around 875 CE and has a circle, considered one of the earliest Epigraphical evidence of the number zero in the world.

Gwalior,Central India,Rajput Period.

Chaturbhuj Temple, Gwalior Fort, MP is known for the earliest known inscription of the circular symbol "0", to represent zero (Shunya).

The Oldest Recorded Origin Of ZERO

Carved into a sheer rock face, Chaturbhuj temple, also known as the temple of the four armed Lord, stands on the eastern approach to the Gwalior Fort. Dedicated to Lord Vishnu, the temple is said to have been constructed in 876 AD.

It is most famous for the world’s one of the oldest known zero inscribed onto stone. Inside the temple, there is an idol of Lord Vishnu and the inscription with the zero.

Temple houses an idol of four-armed Vishnu. The temple is partially damaged but the tower has been restored by ASI.

On a wall of this temple is a plaque dated 9th century which mentions a land grant of 270 hastas (a unit of measure used for land) for a flower garden and a daily grant of 50 flower garlands. The circular symbol 'zero' appears in '270' as well as '50'.

Sas Bahu Temple

At the eastern edge of the Gwalior Fort is a complex with two temples, originally called Sahastrabahu ("thousand arms").

The name later got corrupted to Sas-Bahu. 

Built by King Mahipal of Kachchhapaghata Rajput dynasty, Construction began in the reign of Kachchhapaghata Rajput King Ratnapala & was completed under King Mahipala in 1093.

the Sas Bahu temple is also known as Sahastrabahu temple. Vishnu in his Padmanabha form is worshipped in this temple. As per the folklore, the wife of Mahipal was a worshipper of Lord Vishnu

Teli ka Mandir

This temple is proof that in the past every section of Sanatan Dharma was devoted to its religion

Teli Ka Mandir is located in Gwalior Fort complex

It was demolished by Iltutmish, but much of what remains is enough to bear witness to the skills of our ancestors 

The elaborate doorway... Lower panels of river goddesses, lintel with Ganesha and Garuda on top.

River goddess on the right side of the doorway.. She might be Ganga, going by the animal below her, resembling a crocodile or Makara, and also take a closer look at the small figures on top, which depict the story of her descent on earth.

River goddess on the left side of the doorway.. Might be Yamuna.

Notice the smaller figures of the gods above her, which are not as mutilated as in the previous sculpture. You can see Brahma, with his three heads, flanked by two women, and above him, Vishnu seated on Garuda

Brahma, seated on a lotus, with three heads and the figure next to him could be Bhairava.

Another panel, with a sculpture of Kartikeya in one of the inner niches, seated on a peacock.

Teli ka Mandir in Gwalior Fort. Built in a style that is an amalgamation of the North & South Indian architectures, the temple is dated to the reign of Pratihara Rajput King Mihira Bhoja in 9th century CE. The expenses were born by an oil dealer, hence the name "Teli".

Plaque at temple gate.

Like other temples in the area, Teli ka Mandir was desecrated by the Muslim armies of Qutubuddin & Iltumish. Restored later by the Hindus, but was in ruins by the 19th century. Was restored by the British, w/ partial grants from the Scindia.

The sculptures of Jain Tirthankaras

Gopachal hill inside the fort premises houses 1500 idols. The stunning sculptures of Jain Tirthankaras were carved on the face of the cliff during the 15th century. The size of these idols ranges from 6 inches to 57 feet. 

Jain idols carved into the hillside along the path going up to the Gwalior fort. Systematically mutilated at the direct orders of Mughal ruler Babur. In most cases the head was broken off. Restored later by the Jain community using coloured stucco.

Gurudwara Data Bandi Chor, within the Gwalior Fort, seen from the ramparts. The modern day built gurudwara is said to be built at the same spot where the Mughal ruler Jahangir had kept the 6th Sikh Guru, Guru Hargobind imprisoned for a couple for years.

Also known as the Surya Mandir, the Sun Temple is one of the most popular religious centres in the Gwalior city. Although not constructed too long ago, but the Sun Temple has turned out to be one of the most popular tourist attractions in the city these days.