NOVEMBER 2023 : ISSUE 08

Contents
01 Growing Stronger at Four:
the Indian.Temples Journey
Yoga Rakshitha Dasi

10 News Update

11 The Architectural Legacy of

Chalukyas - Juie Kulkarni

17 UNESCO World Heritage

Volunetter camp at Ramappa -
Yoga Rakshita Dasi

23 The Legend and Iconography of

Uma Maheshwar Sculptures - Dr
Dinesh Soni

27 Indian.Temples Update

30 The Dancing Stones : The

Medieval Marvels - The Grandeur
of Cholas - Dr Hima Bindu Kanoj

31 The Innovator’s mindset :

Nurturing creativity and change -
Dr Dinesh H. Soni

35 Book Suggestion

36 Heritage Crossword

37 Testimonials

Pic:
Top : Uttareshwar temple,
Diveagar, Dist Raigad, Maharashtra
Bottom: Kartikeya and Devsena,
Pachchala Someshwara, Pannagallu, Telangana
Both pics clicked By Dr Dinesh Soni
 GROWING STRONGER AT FOUR:
THE INDIAN.TEMPLES JOURNEY
Yoga Rakshitha Dasi
On 15th October 2023, the
Indian.Temples movement turns 4.
The journey, started in 2019 by Dr
dinesh Soni, has become a synonym
for accurate and factual information
about temples and heritage. Over
the 4 years, Indian.Temples has
grown from an Instagram page to a
research organisation. It has
ventured into multiple facets of
social media like youtube and
podcasting. The digital magazine
“The Heritage Diary” is read by
many. The 4 years have been full of
learning, understanding,
implementing and exciting
moments.
1| THE HERITAGE DIARY
THE BEGINNING
The beginning of this journey finds
its roots in September 2019. An avid
traveller since childhood, Dr Dinesh
Soni was on a tour to Tiruchirapalli,
Thanjavur and Pondicherry that
time. The mesmerizing grandeur of
the Brihadeeshwara had literally
hypnotised him. After the tour, he
thought of getting in touch with
some experts on the topic of
temples and get detailed
information on the topic. He
searched Instagram for pages on
the topic. And to his despair, he
couldn’t find many pages that would
provide authentic, research based
or propaganda free information on
the topic. And at this point, he
thought maybe I should start
sharing some knowledge on the
topic.
When asked about his motivation in
starting the page, he says “When I
started the page, there were very
few pages that provided accurate
and propoganda free information.
But there were a few who were truly
passionate about the heritage and
culture promotion. My primary
intention was to find out these
enthusiasts who are exploring
temples and have deep
understanding of temple
architecture and iconography.
Sharing my knowledge about
temples and heritage never was an
intention. The intention was to learn
through friendship.”
The early days of the page was
mostly about reposting photos of
temples by other photographers.
But with time, and with feedback
from followers, the post style
changed. Dinesh started to conduct
own study and research; and would
post based on the research.
Throughout the four years, one part
remained constant in the post
strategy. The integrity towards
providing content free of any
religious or political propaganda
and sensationalism.
In fact, this integrity is what helped
the page get some early
momentum. The momentum that
continued for whole 4 years. In an
age when sensationalism and
propaganda get most traction, the
page reached a milestone of 100k
followers in 3 and half years. And
that is some serious achievement,
considering a page that only
provides authentic and research-
based content.
2| THE HERITAGE DIARY
YOUTUBE AND PODCAST
While Dinesh enjoyed getting
connected to like-minded experts
on various topics, he also wanted
the world to know about the
interesting information and insights
by these experts. For this, a youtube
channel was started where live
interactions and interviews were
conducted. Later, he also started a
podcast; and it is available on
spotify, Amazon music, Google
podcasts and apple podcasts.
The guests that appeared on these
interviews include renowned
Kuchipudi dance researcher Dr
Hima Bindu Kanoj, Equal Right
activity Harish Iyer, Writer and
columnist Monidipa Bose Day,
Tourism and Iconography expert
Ramkrishna Kongalla, Archaeologist
& Goan culture researcher Sawani
Shetye Malik, Writer Jeffery
Armstrong.
Cyclist Santosh Balgir, Solo traveler
Priyanka Dalal, Photographer and
trekker Pranjal Wagh, Founder of
Ekarik Private Ltd Meghna Bhutoria,
Architect & Temple digital
restoration expert Parnavi Bangar,
Writer Meena Arora Nayak, CEO of
Chittam Games Charannya Kumar,
Writer and film director Rewa
Rawat, Goan culture researcher
team of Yugaantar Goa, Traveler &
explorer Drew Galaxy and travel
influencer Shweta Papaiyawala have
also graced the channel with their
presence. In coming times, he aims
to interview more experts on
various topics related to heritage
and culture.
TEAM EXTENSION
Dr Hima Bindu Kanoj, a renowned
Kuchipudi dancer and researcher,
joined the team towards the end of
2021. She appeared on an interview
with youtube channel in June 2021.
Later Dinesh and Hima decided to work
together on some research projects.
They are currently working together on
Project Nrityarchana, a project by
Department of Language & Culture,
Government of Telangana. They are
also involved in research about
temples and iconography of
Marathwada region of Maharashtra.

Through these interviews, Dinesh

also got some new friends and
explorer buddies. “I find myself to
be very fortunate that I could reach
out to so many interesting
personalities through this page.
Through the interviews, through
messages and through overall
interactions; I could know many
interesting personalities.

And over time, I met many of them

in different heritage explorations.
We even had a meetup in Pune. The
Biryani we had, sitting on ground
outside the Pachchala Someshwara
temple with Hima has been one the
most memorable time of my life.”

3| THE HERITAGE DIARY

When asked about this association,
Dinesh says “Having Hima on team
has been a very magnificent value
addition to my work. While I was
doing my bit to promotion of
heritage, there was someone who
had done a thorough research into
the field. One who holds a doctorate
in the field. A lot of new ideas,
explorations and research activities
were born through this union. In
fact, Hima is the one who helped
me in a big way in achieving my
doctorate as well. She is truly an
inspiration and a great companion.”
Hima is not the only one who joined
Dinesh in this endeavour. Madhu
Chandrasekaran, Spoorthy Kotala
and Geetha Shree S have helped
Dinesh and Hima in building
content strategy and creating
content. Avinash Jadhav of VJ
Analytics helped with Social media
marketing.
RECEPTION BY BRANDS AND
YOUTUBERS
Dinesh still feels that he is just
another content creator on
Instagram. But there are brands out
there who think he has power to
influence minds. The content on
Instagram and Youtuber also
attracted a lot of brands, who
wanted to use this platform for
promotion. Dinesh has always been
very choosy about which brands
and products he wants to promote
through the page. His focus has
always been on providing a space of
cultural startups and only the
heritage related contents. Morality
always came before money for him.

Yoga Rakshitha Dasi came forward

to look after the e-newsletter “The
Heritage Diary”. Ethirajan Srinivasan
(Sculptographer on Instagram) has
recently joined the team. “Without
all these great minds extending
their hand, I would have just been
yet another content creator on
Instagram. My journey from content
creator to influencer would not have
been possible without these great
minds.” Dinesh explains the position
of his team in these words.

4| THE HERITAGE DIARY

2| THE HERITAGE DIARY
2| THE HERITAGE DIARY
“I kept myself strictly away from
posting anything that didn’t suit my
morality. I was offered huge sum for
just putting up logo of one of the
betting apps in my posts. But that
wasn’t morally correct. I often get
requests to post some religious
propaganda or hatred posts.
I have also sometimes received
threats for refusing to post these.
But I don’t pay much heed to them.”
Dinesh has this to say about the
promotions. Not only the brands,
many youtubers and podcasters
also wanted to get associated with
Dinesh via interviews. Dinesh
appeared as guest on multiple
podcasts and youtube interviews.
His articles got published in various
magazines and he was also invited
at various places to deliver sessions.
The most recent one being the
session he delivered at MIT World
Peace University, Pune. Dinesh is
also soon starting to write a series
of articles for a Marathi weekly
published from Mumbai.
7| THE HERITAGE DIARY
AWARDS AND RECOGNITIONS
The good work being done on
Instagram and youtube didn’t go
unnoticed from the eyes from
brands, youtubers and podcasters,
educational institutes and social
organisation. So it was obviously not
gonna be missed from the eyes of
award juries. Dinesh is already
recipient of an appreciation award
by Department of Ethnology,
Academia Sinica, Taiwan. In the
course of the four years of
Indian.Temples Research & Media
Services; he received some awards
including the Paul Harris Fellow
recognition of Rotary International;
Lokmat Digital Influencer Award by
Maharashtra’s media powerhouse
Lokmat. He was also featured in the
list of “40 under 40 Rising and
Emerging Industry Experts of India”.
He also received doctorate in
Cultural Studies based on the
research activities he was doing for
the page.
Dr Hima Bindu Kanoj too received
prestigious “India Excellence Award”
for her commitment towards
promoting culture and heritage
through her dance performances.
He recently did a series about “75
lesser-known ancient temples of
India” as celebration of 75 years of
India’s independence. Dinesh
received a special G20 lapel pin for
this post series.
With the kind of response being
received by the posts and activities,
the followers and friends would
definitely be expecting a lot from
the page.
8| THE HERITAGE DIARY
“I keep receiving many suggestions
about how to scale up the activities.
I am cautious about where to step
in. With my business and family life,
this research work is an additional
responsibility for me. But this
activity gives me pleasure and
satisfaction. And that’s what matters
at the end of the day.” Dinesh’s
words when asked about the scaling
up of the activities.
Indian.Temples Research & Media
Services are already involved in
research activities. In coming times,
they wish to create documentary
series about the findings of
research. They have already been
promised help and assistance from
film director Rewa Rawat for this
activity. They also are working on an
idea of providing a book publishing
platform for upcoming writers.
“Many of us have immense knowledge about some culture or heritage aspect. But
they don’t receive the right platform to showcase their knowledge to the world. A
book would be a great way for that. And it is our duty to provide a staircase to the
amazing talent”, Dinesh, a writer of 16 books himself, says when asked about the
book publishing idea. There are 4 book titles in the process of writing. And
hopefully they will be ready for publishing soon.

Dinesh is also working around on options of organising heritage walks and get
togethers at some interesting heritage locations. “While some heritage locations
are always flooded with tourists, there are many others that don’t get the
recognition they deserve. Many of us are not well aware of the great heritage we
have within our vicinity. I wish to attempt and organise some local heritage walks
and get togethers, so that more people could be made aware about their local
heritage. This, hopefully, will motivate them to take batter care of the heritage in
their vicinity. The heritage walks and get togethers could be done with help of
heritage enthusiasts in the region”, Dinesh explains the idea behind the heritage
walks and get togethers.

The four years of Indian.Temples Research & Media Services have been a
multifaceted experience. The page has provided accurate information and
knowledge to thousands of us. No wonder the page enjoys being followed by more
than a lakh Instagrammers. The page, that is loved by brands, instagrammers and
heritage enthusiasts alike; continues to grow stronger and more popular with every
single day. And Dinesh is hopeful of more positive experiences in coming times.
And we are too.. Here’s wishing a very happy fourth to Indian.Temples.

9| THE HERITAGE DIARY

 NEWS UPDATES
POSTAL DEPARTMENT RELEASES SET OF
SPECIAL POSTCARDS ON STEPWELLS IN
MAHARASHTRA
The Maharashtra circle of the postal department has
released a set of special postcards highlighting eight
ancient stepwells in the state, including four from the
Marathwada region. Stepwells are wells with
underground flights of stairs leading down to the water
table. These structures with ornamental and architectural features were popular
throughout India, particularly in the arid regions..

ASI TO OFFER FELLOWSHIPS FOR

EXCAVATION, RESEARCH
The Archaeological Survey of India (ASI) on Sunday
said it will offer fellowships and scholarships to
universities, and collaborate with state archaeology
departments for research and excavations. Under
this initiative, ASI will collaborate and extend
support and resources to universities for research
and excavation.

ASITO TAKE UP RESTORATION WORK OF

GUPTA PERIOD MANIYAR MATH IN RAJGIR
The Archaeological Survey of India (ASI) has decided to
initiate conservation efforts at Maniyar math, an ancient
structure belonging to the Gupta period, located in Rajgir in
Bihar's Nalanda district.
Officials said an ASI will soon start conservation work at the
site to give a fresh lease of life to the ancient structure.

10 | THE HERITAGE DIARY

 THE ARCHITECTURAL LEGACY OF
CHALUKYAS
Remember the iconic 2012 movie
Rowdy Rathore? The Akshay Kumar
and Sonakshi Sinha starrer had
created a buzz in the box office. In
this movie, along with the actors,
the location had played a very
important role. The previously less
explored location in the northern
Karnataka was showcased very
amazingly in this movie. And after
the movie, many tourists flocked the
region in North Karnataka. In this
article, let’s explore this particular
region.
Bagalkot district in northern
Karnataka is home to many
prominent monuments. The region
also hosts the UNESCO World
Heritage Site of Pattadakkal. The
monuments at Badami and Aihole
are also in the tentative list of
UNESCO World Heritage. These
monuments in the basin of
Malprabha river were built by the
Chalukya dynasty.
11 | THE HERITAGE DIARY
Juie Kulkarni
Art and Architecture of the Chalukya
dynasty:
During 6th century CE, Chalukya
dynasty succeeded in establishing
their reign at Vatapi, present day
Badami in Karnataka state of India.
They built several monuments at
Badami, Aihole, Mahakuta and
Pattadakal which are situated in the
valley of Malaprabha river. These
structures are no doubt spectacular
and monumental, but more
important because one can see the
evolution of temple architecture and
experimentation with different
styles like Nagara and Dravida, from
early stages to mature stages,
frozen in stone and seen at same
place. Several inscriptions found at
these places have further helped in
sequencing and understanding this
evolution. Monuments created by
Chalukyas include cave monuments,
free standing ones and hybrid
monuments.
Cave temples
A set of four caves at Badami and
two caves at Aihole are the known
examples of cave temples
excavated during Chalukya period.
Caves at Badami have simple plan,
consisting of Mukhamandapa,
Mahamandapa and Grabhagriha
which is the inner most section of
the cave. Cave 1 is dedicated to
Shiva, Caves 2 and 3 are dedicated
to Vishnu, and Cave 4 is Jaina cave.
Pillars in Badami caves are typically
squarish, with simple bases and
have simple decoration. Only in
case of second row of pillars, part
fluted shafts and cushion-like
capitals can be seen. Cave 2 and 3
are dedicated to Vishnu. Cave 3 was
consecrated by Chalukya king
Mangalesha in 578 CE. Out of two
cave temples at Aihole, cave at
Ravanaphadi is dedicated to Shiva
and the other one is Jaina cave.
12| THE HERITAGE DIARY
Hybrid structures
Buddhist temple at Meguti hill is an
example of hybrid structure. This is
a two storied stone structure with
dry masonry in front, consisting of
plain square pillars. The pillars stand
directly on the floor, which is
characteristic of Chalukya style.
Backside of the structure has a
small chamber carved into the cliff.
Buddha image is carved into the
ceiling of the upper level.
Free standing monuments
Nagara and Dravida style of temple
architecture was still evolving during
Chalukya period. Architects were
experimenting a lot with Nagara and
Dravida elements. Probably because
of this, temples of early Chalukyas
have distinct and unique
appearance.
Mallikarjuna group of temples and a
couple of others from Jyotirlinga
group at Aihole display temples with
simple plan which have Phansana
style shikharas.
Ladkhan temple and Gaudargudi
temple at Aihole have simple plans.
Ladkhan temple is a square
structure with 16 solid square pillars
arranged in 4 rows of 4 pillars. The
slanting roof is made of stone slabs
with joints covered with convex
stone slabs so as to prevent
entering rain water inside. A roof-
top shrine is accessible by stone
carved stair case. Images of Vishnu
and Surya adorn outer side of the
roof top garbhagriha. Inscriptions
on the exterior side indicate that the
structure served as a venue for
auspicious ceremonies like
weddings.
Further development in temple
architecture can be seen at
Huchimalligudi temple at Aihole
which has rectangular plan with
square sanctum and curvilinear
shikhara. This is Sandhar type
temple with covered
circumambulatory path provided
with perforated stone windows to
allow light and air inside, a vestibule
(Antarala), pillared hall (Mandapa)
and porch (mukhamandapa) with
stone benches provided on both
sides (Kashasana).

Gaudargudi has rectangular

sanctuary at center, surrounded by
verandah like structure covered
with sloping roof made of stone
slabs. Inscriptions in the temple
indicate that it was dedicated to
goddess Gauri. The structure has
square pillars installed directly on
the floor.

Mixture of Nagara style and Dravida

style can be seen at Durga temple
and Chakradudi temple, which lie a
few meters away from these early
structures. Durga temple has an
apsidal shape. The Nagara style
shikhara adorns the shrine.
Throughout the mandapa, Nagara
and Dravida style elements can be
seen. Chakragudi temple has fully
preserved Nagara style shikhara
complete with amalaka at top.

13| THE HERITAGE DIARY

 The Meguti Jaina temple at Aihole
has developed a Mandapa style. The
garbhagriha is square with
provision for circumambulation,
however the path has been
converted into cells by construction
walls. The temple includes antarala
and large mukhamandapa. A roof
top shrine is accessible by means of
staircase carved in stone.
At Badami – the later capital of
Chalukyas – Dravida style temples
can be found. Upper shivalaya,
Lower Shivalaya and Malegitti
Shivalaya exhibit Dravida elements
in their architecture. Upper
Shivalaya has sandhara garbhagriha
(sanctum) in front of which is a
pillared mandapa.
14 | THE HERITAGE DIARY
Multi-storeyed square shikhara
adorn the sanctum, and the
Shukanasika is prominently visible,
which is the characteristic feature of
Chalukyan architecture. The temple
has eaved roof, with kudus
decorating the eaves. Lower
Shivalaya has octagonal griva and
shikhara having kutas, which is
characteristic of Dravida style. The
shikhara is crowned with amalaka.
Malegitti Shivalaya is nirandhar type
temple – with open
circumambulatory path around the
sanctum – and closed mandapa in
front of it. The octagonal shikara is
adorned with karnakutas and
shalas. The shikhara is crowned by a
heavy dome.
 Most developed form of early This sandhar temple has
Chalukya temples can be seen at mahamandapa followed by
Pattadakal. Some 40-odd temples ardhamandapa. Latticed windows
stand in this area built in various allow light and air into
styles and often utilising Nagara and mahamandapa and the
Dravida elements. The Papanatha, circumambulatory path.
Kashivishveshwara, Jambulinga and
Galaganatha temple represent the The Virupaksha temple at
Rekha-nagar style of shikhara. Pattadakal shows influence of
Mallikarjuna, Sangameshwara and Kailasnatha temple at Kanchipuram,
Virupaksha temples display Dravida which was erected by contemporary
Vimana type shikharas. Pallavas. Virupaksha temple – which
was known as Shri Lokeshwara
Galaganatha temple is a sandhara Mahashilaprasada – was built by
temple with curved Nagara style Lokamahadevi, one of the queens of
shikhara. Crowned with amalaka. Vikramaditya II to commemorate his
Only the sanctum and victory over Pallavas.
circumambulatory path survives
today, with Mahamandapa and The temple has square sanctum
other structures missing. This with circumambulatory path,
temple is almost an exact copy of antarala and sabhamandapa with
Swargabrahma temple at Alampur. entrance from three sides. Outer
Sangameshwara temple was built projections of temple wall have
by Chalukya king Vijayaditya in images of deities and recesses in
Dravida style but does not have the between are filled with latticed
characteristic shukanasika. It has a windows. The temple has three-
three storeyed (tri-taala) square storied shikhara (tri-taala vimana)
shikhara crowned by Kalasha. First adorned with kutas and shalas, and
and second level of shikhara is shukanasika containing image of
decorated with Shalas and Kutas. Nataraja.

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Chalukyan temples have been witness to an interesting phase in the development of
Indian temple art and architecture. Nagara and Dravida style was still under development
and a lot of experimentation was being done. Chalukyas were receiving cultural waves
from North India and from further south like Pallavas and their architects were trying out
interesting combinations of different elements from both styles, developing new schemes
and elements at the same time.

Development of Shukanasika, a characteristic of Chalukya style, can be a good example of

this. Development of Rekhanagara shikhara is another such example. These developments
can be seen in their various phases at Badami, Aihole, Mahakuta and Pattadakal, all lying
close to each other.

Along with temple architecture, art in these temples also displays confluence of different
styles, picked from North Indian and Pallava styles. For example, early Chalukyan temples
utilize classic Gupta style door jams with T structure while Ganga and Yamuna adorn the
bases of door frames. It appears that guilds of artisans drawing from different parts and
cultures of India were at work at these places, as seen from the names they have inscribed
at various temples and sculptures.

PS: In recent past, there was a lot of discussion about Sengol all over the country. At
the World Heritage Site of Pattadakkal, we witness one of the earliest
representation of Sengol carved.

Writer is an Indologist and an ardent conservator, actively associated

with Pune's heritage by working for cultural mapping projects, and by
promoting and researching on the architectural treasures . Having
completed her graduate studies in commerce from Symbiosis, she
sincerely pursued her passion for Heritage conservation and allied fields
from some of the esteemed organizations of the country. Loves to explore
the undiscovered places and stories hidden behind them.

16| THE HERITAGE DIARY

 UNESCO WORLD HERITAGE
VOLUNTEER CAMP-RAMAPPA
Participants from all corners of
India, from Gujarat in the west to
Tripura in the east, and from Delhi
in the north to Tamil Nadu in the
south, have gathered together to
learn about the Architecture,
Advanced Construction Technology,
Heritage Management, and Geo-
engineering aspects of the UNESCO
World Heritage site in Telangana –
the Kakatiya Rudreshwara Temple,
famously known Ramappa Temple.
This temple has a rich cultural
heritage and is of great importance.
This UNESCO World Heritage
Volunteer camp at Kakatiya
Rudreshwara temple was an
initiative of Kakatiya Heritage Trust
(based in Warangal) in collaboration
with the Archaeological Survey of
India, INTACH, ICOMOS, Telangana
Tourism and SRI City.
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Yoga Rakshitha Dasi
The main objective was to promote,
explore, and know the significance
of the Ramappa temple, and various
Kakatiya heritage sites in and
around the Warangal region.
The schedule for the 12-day
program (2nd October-13th
October) includes theory classes
and site visits. Distinguished
speakers from various professional
backgrounds delivered lectures
concerning arts, heritage, culture
and engineering technologies that
were in practice during the
Kakatiyan rule. These talks provided
insightful details and made the
volunteers understand the need to
safeguard our heritage.
Ramappa Temple
Rudreshwara Temple is a Shavite
temple, constructed during the reign of
Kakatiyas, in 1213 AD. The temple took
its shape under the direction of
Recharla Rudra, the general of the
Kakatiyan kingdom. The architectural
features include the Stellate or the Star-
shaped design, classified under the
Vesara-style temple architecture.
Sulavai Red Sandstone was the source
material used in the temple
construction. Dolerite rocks were used
to sculpt the intricate depictions of
Madanikas and also the inner pillars of
the Ranga Mandapa or Natya
Mandapa. This exquisite spiritual
structure is a rich repository for the
representations of Puranic stories,
Culture, and the Art forms of those
days. These include Perini dance form,
Kolatam, Warfare, Fashion and Various
dressing styles, etc.
This provided earthquake resistance to
the structure. The Vimana of the main
temple Garbhagriha comprises of
floating bricks, which have less density
and are utilized to reduce the load on
the whole structure.
From the speeches presented by
several speakers on Kakatiya rulers
administration and town planning,
volunteers got to learn about the “T-T-
T”, which stands for Town-Tank-
Temple. Recharla Rudra also focused
on building an artificial water tank near
the temple. Three Thousand Million
Cubic (TMC) feet of water in Ramappa
Lake is channelled to seven mandals
for irrigation. There are other activities
such as fishing and boating in the lake.

There are motifs of Persian and

Egyptian persons on the outer walls,
which might symbolize the trade
connections with the other countries of
that period. Famous Italian explorer,
Marco Polo was so mesmerized by the
beauty of Ramappa that he called it
“the brightest star in the galaxy of the
Deccan Plateau”.

A detailed investigation and analysis

done by Dr.Pandu Ranga Rao and other
researchers at NIT Warangal,
demonstrated the use of the “Sand-box
method”, employed by the architects of
that time.

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Perini Dance

Ranjith and the group performed Perini Shivathandava (dance form) in the Ranga
Mandapa of temple premises. The word Perini is derived from the Telugu word
“Prerana”, which means “Inspiration”. This dance was performed to prepare the soldiers
for the war, and it is Telangana’s official dance form. One can find sophisticated
iconographic representations of these art forms carved on the Dolerite rocks, present
on either side near Ranga or Natya mandapa or towards the entrance to the Antarala.

Kota Gullu

On a visit to the Ghanpur group of temples known as Kota Gullu, volunteers got to
observe and study the architectural and iconographic similarities between Ramappa
and the main temple complex of Ghanpur. Like the main temple of Ramappa, the
central temple of Ghanpur has a stellate architecture, fashioned with red sandstone,
along with the human motifs of Persian and Jains. The principal deity of the main temple
is Shiva. There is a ranga mandapa, and there are sculpted columns of Perini dance on
Dolerite rocks, present in the same spot, similar to Ramappa. Along with the main
temple, there are about 22 temples.

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Warangal Fort

After a stopover at Warangal Fort, one can understand the history and the war
conditions that prevailed during the time of Kakatiyas. Currently, the fort lies in ruins
with scattered slabs and pillars in the open ground. During the Kakatiyas period, the
convention of constructing gopuras was absent. Instead, Kakatiyas built huge Kala
Thoranas at the four cardinal directions of the temple. These are called the Kakatiya
Kala Thoranas. Thoranas at the Warangal fort are known as Hamsa Thoranas, as there
are Swans on both ends. During the Kakatiya rule, Sthapathis constructed Thoranas
instead of Gopurams due to Buddhist architectural influence. These marvellous
structures are the identity and the official emblem of Telangana state. While travelling
towards the Thousand Pillars temple from the Warangal fort, volunteers witnessed the
mud and wall fortifications constructed during that time.

Pandavula Gutta

Pandavula Gutta is a pre-historic site, with rock shelters and paintings. Volunteers had
an adventurous trekking experience and also got a detailed understanding of one of the
kinds of Rock-shelters in the Bhupalpally district of Telangana.

208| THE HERITAGE DIARY

Thousand Pillars Temple

Thousand Pillars Temple is magnificent, has three shrines, and is a model of the
Trikutalaym style of temple architecture. This three-shrine complex consecrates Lord
Shiva, Lord Vishu and Lord Surya. This temple has detailed carvings of elephants and
Nandi idols. All volunteers had the chance to meet with Prof. Pandu Ranga Rao, who
played a crucial role in restoring the Kalyana mandapa at the temple. Every stone and
pillar of the Kalyana mandapa was assigned a number in an order and was
disassembled in 2006. Restoration of the entire structure with the original material
began with funds from the Archaeological Survey of India. Prof. Pandu Ranga Rao
provided inputs stating that the restoration process is expected to be completed by the
end of this year. The Kalyana mandapa was rebuilt using the same material through a
process known as Anastylosis, which is a heritage conservation technique.

The foundation of the mandapa is secured by an Aseismic design, and it is known as the
“Sand-box technology”. Volunteers gained insights about this ancient advanced aseismic
technique and the components that were present in the sand mixture, through the
lectures delivered by various speakers, and practical field visits to the Ramappa and
Thousand Pillars temple.

21| THE HERITAGE DIARY

 Medaram Jatara

In this engaging learning experience, the volunteers

gained exposure to the intangible heritage of
Telangana. Volunteers visited Medaram and
understood the importance of the Medaram Jatara
(festival/carnival), which takes place every two years.
It is considered to be one of the largest crowd
gatherings after Kumbh Mela in India. This tribal
festival is celebrated to commemorate the fight of a
mother and daughter, Sammakka and Saralamma
against injustice faced by the Koya tribes, in terms
of forced taxes during the Kakatiya’s rule.

Koya Tribe and Kommu Dance

To gain a better understanding of the Koya tribe’s way of life, culture, and customs,
volunteers are taken to Chintalamori, a Koya settlement near Vajedu. One could spot
the settlement after a short walk into the forest area from the main road. The Koyas
performed their cultural dance, known as the “Kommu dance”, near their settlements.
The Koya performers wore a Bison-horn headdress and were also carrying drums. The
Koya women also danced, and they also sang some of their cultural songs. Volunteers
had joined the Koyas, while they were dancing, and it was a memorable experience.
Pandavula Gutta is a pre-historic site, with rock shelters and paintings. Volunteers had
an adventurous trekking experience and also got a detailed understanding of one of the
kinds of Rock-shelters in the Bhupalpally district of Telangana.

Learning about the ancient architecture, history, and geo-engineering in Telangana region
was a remarkable experience. Their magnificent and massive structures have survived till
date. This initiative by the Kakatiya Heritage Trust provides a new perspective on
Telangana’s history for the volunteers.
22| THE HERITAGE DIARY
THE LEGEND AND ICONOGRAPHY OF
UMA MAHESHWARA SCULPTURES
Dr Dinesh Soni
As a child, I would often visit the
Siddheshwara temple in my
hometown Latur. And while having
circumambulation, I would stumble
upon an idol of Mahadeva and
Parvati. While exploring ancient
temples, one often comes across
the sculptures of Shiva with Parvati.
The sculpture is called as Uma-
Maheshwara.

Uma–Maheshvara, the divine

couple of Shiva and Parvati, is a very
commonly found sculpture in Hindu
iconography. It features the two
principal Hindu deities in a loving
and youthful form. It is one of the
panchavimshatimurti (twenty-five
forms of Shiva in Hindu
iconography), as has been
described in the Agamas,
particularly in the Shaiva Siddhanta
tracts of Southern India, and in the
Silpa texts.
The Uma–Maheshvara images are
found in the Garbhgriha of several
temples, and also on the temple
walls and pillars. Many of the
sculptures also appear in museum
collections and private collections.
Images of Uma Maheshwara exist
as paintings and sculptures made
out of various materials that
represent the potent symbol of the
two deities. The sculptures can also
be seen in many neighboring
countries.
23| THE HERITAGE DIARY
Santana or Hindu religion has
always been a polytheist religion.
Because of this, there were multiple
sects in Hinduism. Three most
popular among these are Shaiva
(those who worship Shiva as
supreme deity), Vaishnav (those
who worship Vishnu as the supreme
one) and Shakta (those who worship
Shakti or goddess as the supreme
being). Along with these, there are
also sects dedicated to other deities
like Surya, Ganesha, Bramha,
Kartikeya etc. While there are many
sects, they co-existed peacefully. So
much so that the deities often find
place in temples of other sects.
We have Harihar where Shiva and The iconography of depicting Uma-
Vishnu are together, we see Maheshwara varies widely over time
Lakshmi and Vishnu together, we and region. The Uma–Maheshwara
see Surya Shiva or Surya Vishnu too. image can also be found in the
Similarly, here we see Shiva and Shaiva sculptures and coins from
Shakti being depicted together. Mathura, with the earliest depiction
Uma–Maheshvara symbolises the of Shiva–Parvati on a gold coin
union of the supreme Shiva with his issued by Huvishka, the Kusana
consort, the elemental feminine Emperor.
cosmic energy, the supreme
goddess Uma. Shiva is a The Uma-Maheshwara depiction
manifestation of the Purusha, while can be seen in temples built by
Uma, as the goddess, represents almost every dynasty there-after.
Prakriti. This divine union of And the iconographical feature kept
Purusha and Prakriti, the male and changing heavily in all of these. But
the female forms, results in srishti, one common theme is that all of
or procreation, and maintains the them exude a certain warmth,
constant cycle of creation and youthfulness and beauty of the
balance. couple. Apart from Shiva, no other
male deity in early Indian
Uma, literally means light. Uma is iconography have been depicted
said to be a form of Shakti. After Sati with their spouses.
immersed herself into the sacrificial
fire, she is said to have reborn as
Uma. Uma is the one who
comforted the angry Shiva and
maintained the procreative balance
of the universe. Thus, Uma is also
like the caring mother goodess of
the earth. Her story finds a mention
in the Kena Upnishad. In Nepal and
Combodia, she is described as a
powerful and divine deity in her
own right. In parts of Bengal and
Assam, she is described as the
daughter of the Mountain, Himavat.
In some cultures, she is also
worshipped as a mountain goddess.

24| THE HERITAGE DIARY

Shiva and Uma are often
represented sitting face to face or
what is called the sammukha
mudra. They can also be seen in
various postures connoting love and
desire such as embracing each
other in the alingana pose. Shiva in
some representations touches and
caresses Uma’s breasts, or holds
her in his lap, in what is called the
kuca-sparsa pose, and the
atikarohana form respectively. In
the cibukothhapana pose, Shiva
holds Uma’s chin, and looks into her
shy gaze.
The images are usually shown
seated over a throne, and their
respective mounts, Shiva’s bull, and
Uma’s lion, are shown crouched
beneath the throne, with the
pendant legs of each deity kept
above their respective vahanas.
25| THE HERITAGE DIARY
The sculptures are richly decorated,
and the couple are shown wearing
heavy jewelry, intricately weaved
garments, etc. In many sculptures,
their children Ganesha and
Kartikeya are also depicted,
together or separately both ways.
Gauri, one of the forms of Parvati,
the consort of Mahadev Shiva, is
said to have performed a penance
while standing on a monitor lizard.
She is described as ‘godhasana
bhavet gauri’. It can be translated as,
‘Parvati is known as Gauri, when she
performs penance standing on a
monitor lizard, godha’.
In Sanskrit, monitor lizard is called
godha. Here the root verb is ‘gudha’,
which means to wrap up, to
envelope, or to conceal. This is why,
In the sculptures found in South
India, monitor lizard is sometimes
shown to be the carrier vehicle of
goddess Parvati.
The Uma–Maheshvara figures can be classified into different types and sub-types on the
basis of their diverse styles and subjects. Besides the poses outlined above, the type of the
throne can be also used as a category for classification.

On this basis, the images vary depending on where Shiva and Parvati are seated, whether
under a tree; on a lotus-grove; on a Shiva linga; on Nandi, the bull; or on Mount Kailash
being carried by Ravana on his head as in the Ravananugraha. Images also include Shiva
and Parvati with baby Skanda on Parvati’s lap; and Ganga rushing towards Shiva’s matted
hair as the divine couple are seated.

Uma Maheshwara are worshipped wherever the sculptures exist. But there aren’t many
special temples dedicated to Uma-Maheshwara. There is one ritual associated with them
though. Devotees observe a fast on the day of the Bhadrapada Purnima. It is dedicated to
the divine couple, and is known as the Uma–Maheshvara Vrata. It originates from a story in
the Matsya Purana, where Indra incurs Durvasa’s wrath for placing a garland, that the sage
had gifted, on Airavata, instead of putting it around his neck. Durvasa’s curse entailed that
the devas would lose their dominion. According to the legend, he maintained a fast
dedicated to Uma–Maheshvara. People still observe it today for familial bliss, domestic
happiness, while young newly-wedded couples do so for purposes of reproduction.

The Writer is an indologist and is writer of 16 books. He has received

Doctorate in Cultural Studies. He is felicitated by Acedemia Sinica, Taipei,
Taiwan for his research in mythology. He has received numerous awards
including the Lokmat Digital Influencer Award (Heritage). Dinesh is also a
speaker who has graced many occasions. He is the founder of
Indian.Temples Research & Media Services.

26| THE HERITAGE DIARY

 INDIAN.TEMPLES UPDATES
Dr Dinesh Soni invited to mentor students
at MIT World Peace University, Pune

On 6th October; Our Founder Dr Dinesh Soni

was one of the mentors at RIDE 2023, an
entrepreneurial conclave at MIT World Peace
University, Pune. Dinesh mentored on the
topic of “Innovation”. The presentation
involved explanation of concepts of
Innovation, with examples from Purans and
epics.

RIDE23 is an annual event

of MIT World Peace
University. The event
systematically fosters the
culture and Importance of
Innovation amongst all
sectors. The primary goal is
to discuss, encourage,
motivate, and nurture
Innovations and talent
across the globe.

27 | THE HERITAGE DIARY

 INDIAN.TEMPLES UPDATES
Dr Hima Bindu Kanoj shines at Saras fair 2023, Hyderabad

Our team member and renowned Kuchipudi

dancer Dr Hima Bindu Kanoj was a guest at
the inauguration of Saras Fair, 2023 at
Hyderabad. The fair happened from 5th to
16th October, 2023.

Hima's organisation and our research partner

MUVVA Nritya Raaga Nigamam presented a
cultural dance at the inauguration ceremony.

Saras mela is a landmark initiative of the

Ministry of Rural Development, Government
of India for promoting rural products and
building capacities of artisans and
entrepreneurs. Over the years, SARAS has
created its own brand among the customers
and gives a platform for interaction and
exchange of innovative ideas, developing
skills and spreading knowledge about
indigenous and traditional products for
artisans from different parts of the country.

28 | THE HERITAGE DIARY

 INDIAN.TEMPLES UPDATES
Yoga Rakshitha Dasi takes part in World Heritage Volunteer
Workshop at Warangal
Our team member Yoga Rakshita Dasi took part
in the World Heritage Volunteer Workshop
organised at Warangal between 2nd to 13th
October, 2023. It was organised by Kaktiya
Heritagr Trust, in partnership with
Archaeological Survey of India and Telangana
Tourism. With this training, the team of
Indian.Temples has become even stronger, with
practical knowledge about preservation and
restoration techniques.
The training sessions, overseen by experts, encompassed in-depth knowledge about
historical structures, including their construction methods, the technology employed, and
their cultural significance. Volunteers also gained practical exposure to historic structures
through field inspections after completing their classes.

29 | THE HERITAGE DIARY

 THE DANCING STONES
𝑴𝒆𝒅𝒊𝒆𝒗𝒂𝒍 𝑴𝒂𝒓𝒗𝒆𝒍𝒔 - 𝑻𝒉𝒆 𝑮𝒓𝒂𝒏𝒅𝒆𝒖𝒓 𝒐𝒇 𝒕𝒉𝒆
𝑪𝒉𝒐𝒍𝒂𝒔
Dr Hima Bindu Kanoj
In Indian history, every art form is interconnected. The stories in Puranas
started to be shared in the form of oral retelling, and gradually other art forms
like literature, performance, dance and sculptures were introduced. Dance
researcher Dr Hima Bindu Kanoj explores the interconnection in Dance and
sculptures as a medium of expression.

The contribution of the Cholas in terms of majestic

temples and also Dance sculptures is totally a class apart.
Drawing inspiration from the Pallavas, the Cholas braught
in dance onto the temples; not only through Indian
sculptures, but also made dance an integral part of the
daily rituals, inscriptions and practices followed in the
temples.

The Brihadeeswara Temple of Tanjavur boasts of the 108

Karanas of Natya Sastra of dance sculpted inside the
chamber of the first tier of the Vimana tower above the
main sanctum. A karana in simple terms is defined as the
movement of the hand, body and feet combined to form a
beautiful posture of dance and form the very fundamental
impetus of dance. These 108 movements were carved as
performed by Lord Shiva in a panel of sculptures.

These sculptures were lost in the oblivion of time and were

forgotten. It was only in 1956 when an ASI officer Shri
Balakrishnan accidentally discovered them while cleaning
weeds in the vimana passage way, that the world came to
know about them.

The Writer is an internationally acclaimed Kuchipudi dancer, who has performed at more than 100
dance festivals in and outside India. She has done extensive research in the topic of the dance related
sculptures and the connection between dance and sculptures. She has also done workshops on
various topics of Indian Dance, Art and Culture at multiple universities in USA. Hima is also a
part of admin team of Indian.Temples.

30 | THE HERITAGE DIARY

 THE STORIES IN OUR LIVES
The Innovator's Mindset:
Nurturing Creativity and Change
Dr. Dinesh H. Soni
The Stories we hear in our Puranas and folklores often have large
implications in our day-to-day lives. We just need to see and hear these
stories with minute attention to details. We just need to understand the crust
of the story, instead of focusing on the outer cover. Dr. Dinesh Soni, in this
monthly series, talks about how we can learn from these stories .

Recently, I was invited at an educational institute to talk about “Innovation”. The word we
very commonly use in our daily lived, as well as in corporate and social angle. But I
hadn’t thought much in detail on it unless I was asked to talk on it. And when I finally
started to think, I realised many different aspects of the term innovation.

When Ram and Vanar Sena

were traveling from one place to
other; in the pursuit of Sita; they
reached a small piece of land
that merged with the sea. There
was no piece of land to move
further from there. Everywhere
they saw, they could only see
the vast sea. They were
pondering over how the sea
could be crossed.
The only two options known to human back then were, swimming across the ocean or
crossing in small boats. But there was one soul who had another idea in mind. Nala and
Nila, the twin sons of Vishwakarma, suggested that a bridge can be built by throwing
large boulders in the sea. They noticed some small pieces of land in the sea. And they
suggested we should connect these to each other using the porous stones. Ram
approved of the idea, and the Ram Setu was built. This innovation facilitated Ram’s
quest to find his abducted wife Sita.

An innovation is successful implementation of a new product, thereby creating value for

the stakeholders. If the idea is not implemented successfully, or of it isn’t creating value
for the stakeholders, it can’t be termed as innovation.

31 | THE HERITAGE DIARY

There is a folk lore told in parts of Telangana. The story is about magical conches.A
sage with pure soul was on a pilgrimage tour. He met a Yaksha on the way. The Yaksha
was very tired and needed help in reaching a nearby village. The sage carried him on
shoulders and dropped him at this destination. Getting happy with his help, the Yaksha
gave the sage a magical conch. The bearer had to wish for a food item, and the conch
will fulfil the wish. The sage would ask for various items, for himself and to feed others
too. The conch would fulfil it.

One day, the sage met a merchant on the road. The sage offered food to the merchant.
The merchant noticed how the sage could get what he wants; with the help of the
magical conch. The merchant hatched a plan and he stole the conch and left the place
in night, while the sage was resting. In morning, the sage realised the conch was gone.
Disheartened, he continued his pilgrimage.

A little farther, he met another Yaksha. This Yaksha needed help with water. The sage
offered him water and some food. The Yaksha was happy and asked the sage to ask for
something. The sage refused to ask, saying that he is incapable of taking care of things.
He narrated the incident to the Yaksha. The Yaksha gave him another conch and said
“Take this to the merchant. He may not have gone too far ahead. Take this conch to him
and ask for anything. The conch will do the rest and will get you back your earlier
conch.”

The sage took this conch and started walking faster than earlier. After walking a few km,
he came across a restaurant where many people had lined up. When he asked, one of
the persons in queue said this man can provide any food item within minutes. And the
food is just too tasty. The sage took no time in realising who the man is. He went inside
the kitchen and saw the same merchant getting food with the help of the magical conch.
The merchant offered some food to sage, but the sage said “I don’t need the food. I
have another more powerful conch with me now.” The merchant asked to show the
conch. The sage took out conch from his bag and said “Oh magical conch, give me a
bag full of gold coins.” The conch replied “Why only one? Tomorrow morning, there will
be two bags of coins next to you.” The sage then said, “I want a hut to live in.” The
conch said “Why just a hut, you will have a bungalow tomorrow morning.”

Seeing this magical conch, the merchant got greedy. He thought, this conch so helpful, I
don’t have to sell food and earn slowly. I can just directly become the richest person
alive. He said the sage “But you are mere a sage on the pilgrimage? What would you do
of this money and house?” Sage said “I was also thinking of same thing. The conch that
fed me was enough for me. I don’t need this conch that gives me money and bungalow.”
The merchant offered to exchange the earlier conch.

32 | THE HERITAGE DIARY

The sage got back his earlier conch, and he left further on his pilgrimage. The merchant
asked for many things to the conch; and slept with the promise of getting all these things
tomorrow morning. The next day when the merchant woke up, he saw none of the things
promised by the conch. When he asked the conch, the conch said “I said tomorrow.
Tomorrow you will get all the things.” And the tomorrow never came…

The main motive of telling this folklore could be different. But I noticed one thing in the
story. The first conch actually delivered what it was supposed to. And thereby, it created
value for the person asking for food. The second conch, that promised a lot of things,
could not deliver them. In fact, it was never meant to deliver. And so, it did not create
any value. When we talk in the sense of innovation, the first conch was actually an
innovation, while the second one was just a creative idea. The innovation is incomplete
unless it ends up creating value.

What is innovation then? Is in when you are introducing some new product or service to
the world? Or is it when you change your process to create a more effective system? Or
is it when you are just giving out a new thought to the world out there? Innovation is
actually a mix of all these.

Shalya, Madri’s brother and the king of Madra

was on his way to lend his support to Pandavas
in the war. On the way, he came across a tent
setup to welcome him and his army. Thinking
that the tent may have been put up by
Pandavas, Shalya stopped there and enjoyed
the hospitality; only to be realised later that the
tent was actually put up by Duryodhana.
Having enjoyed his hospitality, Shalya was
bound to support Duryodhana.

Krishna knew that Duryodhan will make Shalya the charioteer of Karna, to take revenge
of Shalya’s earlier comments on Karna being son of a Charioteer. Krishna gave Shalya
a suggestion that he should praise Arjuna while driving Karna’s chariot. And as
expected, this ended up in loss of concentration and self-confidence of Karna. And as a
result of this loss, Karna received defeat in his combat with Arjuna.

Was this an innovation? Yes. Was some new thing introduced? No. Did the process
change? No. Krishna only gave a new thought that psychology can be used to win wars.
And this, in spite of not bringing a new product / service, changed the course of warfare
for future. The thought of Satyagraha given by Mahatma Gandhi also feature in the
same category. Isn’t it?
33 | THE HERITAGE DIARY
So, when we talk of innovation, is the innovation expected to change things drastically?
Or is it a gradual thing? Is it possible that the innovation many not change anything at
present, but will be useful in future? Yes, Yes and yes. The results of innovation may be
drastic or gradual. The innovation may immediately bear fruit, or may take time to ripe.
Nevertheless, of how big of impact is being made, and when the impact is being made,
every innovation is equally imperative.

Baby Krishna, probably 3 or 4 years old, was playing

around Yashoda; while she was churning butter.
She gave a very small portion of butter to Krishna.
And Krishna loved it. He started to have some
butter, every time Yashoda would churn some.
When Yashoda realised this, fearing that it would
affect Krishna’s health, she stopped giving butter to
Krishna. But Krishna started to take some from pot
when Yashoda wouldn’t be around. Realising this,
Yashoda started to hang the pot away from his
reach. Now Krishna started to use a wooden stick to
break the pot and eat butter.

When Yashoda started to hang the pot even higher, Krishna invited his friends and built
a pyramidal kind of structure with friends. And then, he would take the butter climbing on
this arrangement. The overall development wasn’t drastic. But Krishna kept improving a
little every day. He kept making small innovations every day, in order to get his small
purpose fulfilled. That is also an innovation, no matter how small and how slow.

The innovation may be slow and gradual. Or quick and radical. The innovation may bring
about a very small impact. Or it may have a large impact. No matter how small or huge
the impact is, every innovation is an innovation. And we need to keep innovating, in
order to survive and thrive in the competitive market. May it be the corporate life, social
life or personal life...!!!

The Writer is an indologist and is writer of 16 books. He has received Doctorate in Cultural
Studies. He is felicitated by Acedemia Sinica, Taipei, Taiwan for his research in mythology.
He has received numerous awards including the Lokmat Digital Influencer Award
(Heritage). Dinesh is also a speaker who has graced many occasions. He is the main admin
of Indian.Temples.

34 | THE HERITAGE DIARY

 BOOK SUGGESTIONS
During my QnA sessions, and in many persona messages, I
am often asked for recommendation for a book that will
provide basic information about iconography. And the first
book I suggest is “Elements of Indian Art” by S. P. Gupa and
Shashi Prabha Asthana. The book published by D. K.
Printword and Indraprastha Museum of Art and Archaeology,
is available on all online stores. The book is also a part of the
series of books on the topic of “Perspectives in Indian Art &
Archaeology”.

This is a handy introduction to the many facets of Indian art; and covers its progression
from the rock art of Bhimbetka and the mother goddess figurines of the Sindhu-
Saraswati civilization, to various temple building styles (Nagara, Dravida, Vesara and
Orissan) and the distinct skills and contributions of major Indian dynasties.

The book first talks about the basics of art as an element of temple building in Hinduism.
here, the author puts forwards the difference between Indian art and Western. It talks
about the Avatars of Vishnu, the philosophy of Buddhism and Jainism, different temple
building styles in different parts of India and the art elements of these temples. It also
talks about the Basic nature of Indian art like paintings, music, Nine Rasas etc.

The book further explains the Indian art from historical perspectives and the art in
various era like Mauryan, Sunga-Satvahana, Kushana, Gupta, Maitraka, Early
Chalukya, Rashtrakuta, Pallava, Gurjara Pratihara, Chola, Pala, Hoysala, Chandela and
Odisha art. It also talks about iconography of various deities in Hiduism.

Iconography is covered in detail in this book. This includes the classification of images
into chala and achala (mobile and stationary), the different Mudras (Hasta, Pada and
Sharira), Asanas, Mukutas (hair-dos/head gear), Abhushana (ornaments) and Vahanas
(mounts). The topic of Iconometry is also introduced towards the end of the book, and
can be a very good value addition to someone looking to study the the topic of
iconography.

The book will be a good read for everyone traying to

gain some basic knowledge on iconography. The QR
code here will take you the amazon link to buy the
book.

35| THE HERITAGE DIARY

 HERITAGE CROSSWORD

E Z M Y Q Q U N P S K W V R P U

U O O L A S A T A V A H A N A Y

R Z M C O H H G L U D I K J L E

U P P O K U S H A N A K A S L I

A L O H C N W O U N M Y T C A Q

L F S S K G S Z V L B L A T V B

A L S J M A U R Y A A E K F A L

V K D E I F C V T D K E A J P Z

A W U Z N R U P H K R I D L K B

D Q C H A L U K Y A F Z Z J E A

A L D Y Z G Q Z B I Z M H R T Z

H O T S D C K A Q P I J Y V C M

A Y K U L A H C N R E T S E W V

G U R J A R A P R A T I H A R A

Find the names of 14 dynasties from classical and early medieval period (upto
12th century) in India.

Mail us the answers at

indiantemplelovers@gmail.com . first 5 to send
right answers will be featured in next issue.

36 | THE HERITAGE DIARY

 TESTIMONIALS

SWETA PAPAIYAWALA, TRAVEL INFLUENCER

Very few people are really into showcasing authentic information and one of them
is Indian.temples managed by Dr Dinesh Soni. Apart from being the most
trustworthy man, he has also managed to show the real truth of the temples and
heritage of India. Such efforts from people is only what makes our old forgotten
heritage alive today. Besides, the magazine ‘The Heritage diary’ is one of kind!

SHIVAM P TRIVEDI, HERITAGE EDUCATOR

I always believe, if a person is doing something great he must be appreciated and,
you're doing a great work. When you started this page there were very few people
doing similar kind of work. You guys took this to a new level. Hence, you're an
inspiration.

GEETHA SHREE S, TECH PROFESSIONAL

Indian temples has been doing great job promoting art and architecture of our
ancient India. I personally have learnt so much about our glorious past and temple
architecture. Through this page my fascination towards temples has been
increasing.

Ever since I started following this page, I have started looking temples in an
architectural importance as against earlier where I would just pay a visit to pray.
Always feel grateful to be part of this team.

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 TESTIMONIALS

NAINA GOSWAMI, TEACHER & BOTANY ENTHUSIAST

This page is honestly adding value to the Instagram.
Personally, I really like the information provided in this page along with the famous
and lesser-known temples.
This page is really interactive so since I have followed this page I felt like a member.
Moreover, I discovered my love for incident India is really evident with this page.
A big thank you to the whole team for their hard work, providing information and
creativity.

JUIE KULKARNI, INDOLOGIST AND ARDENT CONSERVATOR

I have been following the Indian Temples page since a very long time, it was one
those accounts on Instagram that I found to be really authentic and educative.
Along with information on our ancient Temples, they also organizes quizzes, gives
a chance to publish articles in their monthly magazines, makes podcasts and
YouTube videos on our magnificent shrines. Such interactive way of educating
people is very rare these days on social media. This organization is serving as an
excellent and an authentic platform to everyone around the world who wish to
reconnect with our incredible past.

PALVI MANCHEKAR, STUDENT OF ANCIENT INDIAN CULTURE

The page is very helpful and knowledgeable for the students. we have to know
about our culture. This page is providing great knowledge about culture.

So keep doing..

38 | THE HERITAGE DIARY