One of the biggest Classical Music Festival in India .This year the programme will be held from the 8-12 Dec 2005 at the New English School,Ramanbaug,Pune
HISTORY OF THE FESTIVAL -
Sawai Gandharva passed away on 12 September 1952. A private memorial concert to pay homage to him was held on the sixteenth day after his death. Sawai Gandharva's principal disciples, Smt Gangubai Hangal, Pandit Feroz Dastur and Pandit Bhimsen Joshi performed in this memorial concert as a tribute to the late guru.
In 1953, to commemorate the first anniversary of Sawai Gandharva's death, his disciples organised a music festival in his memory under the auspices of the Arya Sangeet Prasarak Mandal. This was a notable success. It was then thought that such a festival could be organised every year. The idea evoked instant and wide welcome and support The Festival in 1954 was an even greater success. Within a couple of years, the Festival grew exponentially.
Thus began the famed Sawai Gandharva Music Festival which, by now, has become one of the best-known classical music events in the country, as also a hallmark of Pune city's annual cultural calendar.
In the initial years, the festival used to be a one-day event where only vocalists from the Kirana gharana used to perform. Before long, however, it became a much sought-after platform, for vocalists from other gharanas as well as instrumentalists and dancers--established masters as well as upcoming artists-- from all over the country. Similarly, the duration was first increased to two days and then to three days.
PETA
Wednesday, December 07, 2005
Monday, December 05, 2005
KIRANA GHARANA ( VOCAL)
Gharana is a school or style of singing in Hindustani classical music. The ragas of Hindustani music have distinctive characteristics that change with gharanas and these may derive from the place of origin of a style, distinctive voices, the style of singing and the approach to music. These styles are then called gharanas.
Kirana Gharana is the most prolific of the Hindustani khayal gharanas.
The origin of Kirana Gharana is controversial. While some say Khan Sahab Abdul Karim Khan is the real founder of the gharana, others trace it back a few centuries to a line of musicinas from the village of Kirana in Uttar Pradesh. There are four known branches of this lineage of musicians. The first one has great musicians like Ustad Azim Baksh, Maula Baksh and Abdul Ghani Khan. The second branch boasts of names like Ustad Bande Ali Khan, Nanne Khan, Kale Khan and the legendary Ustad Abdul Karim Khan. The third branch has musians like Gafoor Khan, Abdul Wahid Khan, Shakoor Khan, Mashkoor Ali and Mubarak Ali. The distinguished family tradition of Mehboob Baksh, Rehman Khan, Abdul Majid Khan, Abdul Hamid Khan, Abdul Bashir Khan, followed by his sons Niaz Ahmed and Fayyaz Ahmed Khan, also express their allegiance to the Kirana tradition. Some argue that the Abdul Karim Khan's branch is the main one, others being the offshoots. In any case, the most well known and recognized branch of gharana is the one prmoted by Abdul Karim Khan. Abdul Wahid Khan also had a big influence, since a lot of the great masters of the gharana learnt under both Abdul Karim Khan and Abdul Wahid Khan.
The emphasis on elongating the notes and the importance to their resonance is a distinctive feature of this gharana. Khan Sahab Abdul Karim Khan (1872-1937) believed in the serene rendition of the notes as when playing the bin (a plucked instrument with resonators at both ends). Rehmet Khan of the Gwalior gharana is believed to have influenced Ustad Karim Khan's adoption of the direct style of presentation. Some have also indicated the influence of the sarangi (a string instrument) on the voice features of this gharana.
Kirana is the birth place of the Ustad, and situated near Kurukshetra. Ustad Karim Khan served as a musician at the Baroda and the Mysore courts and had a tremendous influence on the music of western India.
His own somewhat nasal voice led him to adopt the Carnatic style for singing the saptak (the seven notes). He preferred to sing in the slower tempo and stress the bol-alap through consonants because his own voice was not wholly suited to the lower register of notes. The aesthetic appeal was thus never marred and the continuity he desired was achieved. Other singers of the gharana, including his disciple Sawai Gandharva, used the upper register far more often than the lower. Some later singers, including Roshanara Begum and Bhimsen Joshi, sing almost equally in both octaves.
This factor has influenced the choice of ragas to those appropriate for the emphasis on the alap rather than the bandish. Karuna rasa (pathetic or sympathetic mood) is the foremost of the sentiments expressed through renditions that extend the notes gradually and use kanas (grace notes ) to fully express the raga. However, the lack of emphasis on voice projection and words led to a blurring of the lines as far as different ragas were concerned.
The emphasis on swara has led to a rather subtle tempo and rhythmic pattern, both factors allowing for the sentiment and mood to be highlighted. Due to this, the words of the bandish are not clearly enunciated and there are only a few in the Kirana gharana repertoire. Kirana includes thumri singing in its repertoire, but with the emphasis on swara rather than on emotion and an absence of the characteristic lilt of thumri singing.
Contemporary singers like Bhimsen Joshi cannot be said to sing in the pure Kirana style because of the diverse influences apparent in his singing. The swara orientation is not as strong and the tempo is no longer latent as is characteristic of the gharana. However, the emotional appeal of the pure Kirana style remains and so do the Kirana compositions.
Ragas traditionally performed by the gharana: Shuddha Kalyan, Darbari, Malkauns, Bhimpalasi, Todi, to name a few. Some ragas of Carnatic music - for example, Jogiya - are included in the repertoire.
Artists
Major artists in alphabetical order
• Ustad Abdul Karim Khan
• Ustad Abdul Wahid Khan
• Pt Basavraj Rajguru
• Pt Bhimsen Joshi
• Pt Firoz Dastur
• Smt Gangubai Hangal
• Smt Hirabai Barodekar
• Smt Krishna Hangal
• Pt Madhav Gudi
• Ustad Mashkoor Ali Khan
• Nachiketa Sharma
• Fayyaz Ahmed Khan and Niaz Ahmed Khan
• Smt Prabha Atre
• Pt Pran Nath
• Pt Rasiklal Andharia
• Smt Saraswati Rane
• Pt Sawai Gandharva
• Ustad Shakoor Khan (sarangi)
• Pt Sureshbabu Mane
Kirana Gharana is the most prolific of the Hindustani khayal gharanas.
The origin of Kirana Gharana is controversial. While some say Khan Sahab Abdul Karim Khan is the real founder of the gharana, others trace it back a few centuries to a line of musicinas from the village of Kirana in Uttar Pradesh. There are four known branches of this lineage of musicians. The first one has great musicians like Ustad Azim Baksh, Maula Baksh and Abdul Ghani Khan. The second branch boasts of names like Ustad Bande Ali Khan, Nanne Khan, Kale Khan and the legendary Ustad Abdul Karim Khan. The third branch has musians like Gafoor Khan, Abdul Wahid Khan, Shakoor Khan, Mashkoor Ali and Mubarak Ali. The distinguished family tradition of Mehboob Baksh, Rehman Khan, Abdul Majid Khan, Abdul Hamid Khan, Abdul Bashir Khan, followed by his sons Niaz Ahmed and Fayyaz Ahmed Khan, also express their allegiance to the Kirana tradition. Some argue that the Abdul Karim Khan's branch is the main one, others being the offshoots. In any case, the most well known and recognized branch of gharana is the one prmoted by Abdul Karim Khan. Abdul Wahid Khan also had a big influence, since a lot of the great masters of the gharana learnt under both Abdul Karim Khan and Abdul Wahid Khan.
The emphasis on elongating the notes and the importance to their resonance is a distinctive feature of this gharana. Khan Sahab Abdul Karim Khan (1872-1937) believed in the serene rendition of the notes as when playing the bin (a plucked instrument with resonators at both ends). Rehmet Khan of the Gwalior gharana is believed to have influenced Ustad Karim Khan's adoption of the direct style of presentation. Some have also indicated the influence of the sarangi (a string instrument) on the voice features of this gharana.
Kirana is the birth place of the Ustad, and situated near Kurukshetra. Ustad Karim Khan served as a musician at the Baroda and the Mysore courts and had a tremendous influence on the music of western India.
His own somewhat nasal voice led him to adopt the Carnatic style for singing the saptak (the seven notes). He preferred to sing in the slower tempo and stress the bol-alap through consonants because his own voice was not wholly suited to the lower register of notes. The aesthetic appeal was thus never marred and the continuity he desired was achieved. Other singers of the gharana, including his disciple Sawai Gandharva, used the upper register far more often than the lower. Some later singers, including Roshanara Begum and Bhimsen Joshi, sing almost equally in both octaves.
This factor has influenced the choice of ragas to those appropriate for the emphasis on the alap rather than the bandish. Karuna rasa (pathetic or sympathetic mood) is the foremost of the sentiments expressed through renditions that extend the notes gradually and use kanas (grace notes ) to fully express the raga. However, the lack of emphasis on voice projection and words led to a blurring of the lines as far as different ragas were concerned.
The emphasis on swara has led to a rather subtle tempo and rhythmic pattern, both factors allowing for the sentiment and mood to be highlighted. Due to this, the words of the bandish are not clearly enunciated and there are only a few in the Kirana gharana repertoire. Kirana includes thumri singing in its repertoire, but with the emphasis on swara rather than on emotion and an absence of the characteristic lilt of thumri singing.
Contemporary singers like Bhimsen Joshi cannot be said to sing in the pure Kirana style because of the diverse influences apparent in his singing. The swara orientation is not as strong and the tempo is no longer latent as is characteristic of the gharana. However, the emotional appeal of the pure Kirana style remains and so do the Kirana compositions.
Ragas traditionally performed by the gharana: Shuddha Kalyan, Darbari, Malkauns, Bhimpalasi, Todi, to name a few. Some ragas of Carnatic music - for example, Jogiya - are included in the repertoire.
Artists
Major artists in alphabetical order
• Ustad Abdul Karim Khan
• Ustad Abdul Wahid Khan
• Pt Basavraj Rajguru
• Pt Bhimsen Joshi
• Pt Firoz Dastur
• Smt Gangubai Hangal
• Smt Hirabai Barodekar
• Smt Krishna Hangal
• Pt Madhav Gudi
• Ustad Mashkoor Ali Khan
• Nachiketa Sharma
• Fayyaz Ahmed Khan and Niaz Ahmed Khan
• Smt Prabha Atre
• Pt Pran Nath
• Pt Rasiklal Andharia
• Smt Saraswati Rane
• Pt Sawai Gandharva
• Ustad Shakoor Khan (sarangi)
• Pt Sureshbabu Mane
Sunday, December 04, 2005
About Sawai Gadharva
An outstanding exponent of the Kirana gharana, Pandit Sawai Gandharva is by common consent counted among the greatest Hindustani vocalists of the twentieth century. He was a disciple of Ustad Abdul Karim Khan, the second in line after Ustad Bande Ali Khan, the founder of the Kirana gharana.
Rambhau Kundgolkar was born in Kundgol, Karnataka, in 1886. His odyssey in classical music began at a tender age, when he began learning dhrupad and dhamar from a local kirtankar. He was not yet in his teens when he started learning music in right earnest from Ustad Abdul Karim Khan. It was, however, not all smooth sailing for him, but rather an emotionally traumatic journey.
In his early teens, as is the case with most boys at that age, Rambhau's voice began to crack and undergo tonal changes that almost threatened to finish his career as a vocalist even before it could begin. It was the patience and perseverance of Abdul Karim Khan that helped his young disciple cope with his problems. The Ustad put the young Rambhau under a long and demanding programme of swarasadhana that helped him re-gain his confidence and control.
In due course, Sawai Gandharva also received training from other renowned gurus like Bhaskarbuva Bakhale and Nasir Hussain Khan of Gwalior. It helped in adding polish to a voice that was already dazzling, thanks to the grooming by his guru Utd.Abdul Karim Khan
Sawai Gandharva also excelled in the field of acting by playing several singer-actor roles in the Marathi theatre. In fact, it was because of his glorious performance on the Marathi stage that he got the appellation 'Sawai Gandharva', in the manner of the renowned singer-actor, Bal Gandharva.
Yet, music remained his first love. His exemplary concert performances continued until he came to be known as the "King of mehfils". Over the years,he developed a distinctive style of his own. In fact, music critics often explain that while both Abdul Karim Khan's teaching as well as Sawai Gandharva's voice might have had their limitations, the latter was able to tide over these drawbacks because he never blindly followed in the footsteps of his master. Besides being a vocalist par excellence, he also grew to be a wonderful teacher. His three most illustrious disciples, Gangubai Hangal, Firoz Dastur and Bhimsen Joshi, living legends in their own right, are the doyens of Kirana gayaki today.
Sawai Gandharva passed away, following a stroke, on 12th September 1952
Rambhau Kundgolkar was born in Kundgol, Karnataka, in 1886. His odyssey in classical music began at a tender age, when he began learning dhrupad and dhamar from a local kirtankar. He was not yet in his teens when he started learning music in right earnest from Ustad Abdul Karim Khan. It was, however, not all smooth sailing for him, but rather an emotionally traumatic journey.
In his early teens, as is the case with most boys at that age, Rambhau's voice began to crack and undergo tonal changes that almost threatened to finish his career as a vocalist even before it could begin. It was the patience and perseverance of Abdul Karim Khan that helped his young disciple cope with his problems. The Ustad put the young Rambhau under a long and demanding programme of swarasadhana that helped him re-gain his confidence and control.
In due course, Sawai Gandharva also received training from other renowned gurus like Bhaskarbuva Bakhale and Nasir Hussain Khan of Gwalior. It helped in adding polish to a voice that was already dazzling, thanks to the grooming by his guru Utd.Abdul Karim Khan
Sawai Gandharva also excelled in the field of acting by playing several singer-actor roles in the Marathi theatre. In fact, it was because of his glorious performance on the Marathi stage that he got the appellation 'Sawai Gandharva', in the manner of the renowned singer-actor, Bal Gandharva.
Yet, music remained his first love. His exemplary concert performances continued until he came to be known as the "King of mehfils". Over the years,he developed a distinctive style of his own. In fact, music critics often explain that while both Abdul Karim Khan's teaching as well as Sawai Gandharva's voice might have had their limitations, the latter was able to tide over these drawbacks because he never blindly followed in the footsteps of his master. Besides being a vocalist par excellence, he also grew to be a wonderful teacher. His three most illustrious disciples, Gangubai Hangal, Firoz Dastur and Bhimsen Joshi, living legends in their own right, are the doyens of Kirana gayaki today.
Sawai Gandharva passed away, following a stroke, on 12th September 1952
Friday, November 18, 2005
Trek to Harishchandragad
On 13th Nov we started for the Harishchadragad Trek along with 3 of my friends Sharada,Raval and Vaneeta .
Reached the Shivaji nagar Bus station at 6.30 in the morning .First we go a bus till a place called Ale Phata which in 80 kms from Pune towards Nasik which took 2 hrs .
From Ale phata one more bus till the village of Khubi we had to get down half way before the village and took a lift till the village of Khireshwar .The ride in the back of the carrier trailer was amazing with bumpy road all along the 5 km patch .
We reached the place at around 11.30 am and then started our rigourous climb for the mighty fort .
Wednesday, November 16, 2005
About Harishchandragad
Harishchandragad is a hill fort in the Ahmednagar region of India. Its history is linked with that of Malshej Ghat, and it has played a major role in guarding the surrounding region.
HISTORY
The fort is quite ancient. Remnants of Microlithic man have been discovered here. The various Puranas (ancient scriptures) like Matsyapurana, Agnipurana and Skandapurana include many references about Harishchandragad. Its origin is said to have been in 6th century, during the rule of Kalchuri dynasty. The citadel was built during this era. The various caves probably have been carved out in the 11th century. In these caves are idols of Lord Vishnu. Though the cliffs are named Taramati and Rohidas, they are not related to Ayodhya. Great sage Changdev (one who created the epic “Tatvasaar”), used to meditate here in 14th century. The caves are from the same period. The various constructions on the fort and those existing the surrounding region point to the existence of diverse cultures here. The carvings on the temples of Nageshwar (in Khireshwar village), in the Harishchandreshwar temple and in the cave of Kedareshwar indicate that the fort belongs to the medieval period, since it is related to Shaiva, Shakta or Naath. Later the fort was under the control of Moguls. The Marathas captured it in 1747. The last warrior named Joshi became a martyr in the fight against the English in 1818.
FASCINATING SPOTS:
SAPTATIRTHA: To the east of the temple is a well-built lake called “Saptatirtha”. On its bank are temple-like constructions in which there are idols of Lord Vishnu. Recently these idols have been shifted in the caves near the temple of Harishchandreshwar. These days many trekkers have been responsible for the sad plight of this beautiful place, as they throw plastic wastes and other things in the pond. 7 years back the water was potable, and now it isn’t suitable even to swim.
KEDARESHWAR : Going rightwards of Harishchandreshwar temple, we come across a huge cave. This is the cave of Kedareshwar, in which there is a big Shivlinga, which is totally surrounded by water. The total height from its base is five feet, and the water is waist-deep. It is quite difficult to reach the Shivlinga, as the water is ice-cold. There are sculptures carved out here. In monsoon it is not possible to reach this cave, as a huge stream flows across the way.
KONKAN KADA (KONKAN CLIFF): The most interesting point on this fort is this cliff, which has always fascinated many people from many years. The cliff faces west and looks down upon the Konkan. From here, one can have a breathtaking view of the surrounding region and the setting sun. This cliff is not just vertical, it is an overhang, almost like a cobra's hood. It has been climbed twice so far. The first climb was in 1985 by a group from IIT Bombay. The second climb was in 1997 by a team from the Pinnacle group. A youth from Pune jumped to his death from here; a monument is built here in his memory. It is said that a rainbow as a circle can sometimes be seen from here.
TARAMATI PEAK : This is the topmost point on the fort. Leopards are seen in the forests beyond this peak. From here we can have a glimpse of the whole range of Naneghat and the forts near Murbad
CAVES ON HARISHCHANDRAGAD: These caves are situated all over the fort. Many of these are situated at the foot of Taramati peak & are the place of accommodation. A few are near the temple, whereas some are near the citadel and some far away in the forests. A natural cave is on the northwestern side of the fort, to the right of Kokan Kada. It is about 30 feet deep. The folks must know many such caves. Many of these may be remaining undiscovered.
NAGESHWAR TEMPLE NEAR KHIRESHWAR: This is a great antique construction, and diverse artistic works are seen on this. On the ceiling of the temple are beautiful carvings. There are caves near the temple.
TEMPLE OF HARISHCHANDRESHWAR: This temple is marvelous example of the fine art of carving sculptures out of stones that prevailed in ancient India. It is about 16m high from its base. Around this temple there a few caves & ancient water tanks. The river Mangal Ganga is said to originate from one of the tanks located close to the temple. The top of the temple resembles construction with the north-Indian temples. A similar temple is situated in Buddha-Gaya. Here we can see many tombs, in which a typical construction is seen. These are built by well-finished arranging stones one on top of the other. There are three main caves near the temple. The cisterns near the temple provide drinking water. A short distance away, another temple called Kashitirtha is located. The fascinating thing about this temple is that it has been carved out from a single huge rock. There are entrances from all four sides. On the main entrance there are sculptures of faces. These are faces of guards of the temple. On the left side of the entrance is a Devnagri inscription, which is about saint Changdev.
WAYS TO REACH: Harishchandragad lies where the boundaries of Thane, Pune & Ahmednagar districts converge. There are 4 - 5 known ways to this fort, the most usual being the following ones:
1) From Thane District: One has to board the bus for Nagar from Kalyan & alight at ‘Khubi Phata’. From there we reach the village of Khireshwar by bus or private vehicle. This village is at 4km from the foothills of the fort. Way from Khireshwar: The way beside the caves, where water tanks are seen, proceeds further to Junnar Darwaaja (Entrance From Junnar). From here, the route goes straight to Tolar Khind. Walking a few minutes from Tolar Khind, we come across a rock-patch on which railings are fixed. After ascending the railings, we come to the plateau region on which less dense forests are seen. From here, we have to cross 7 hills & after a walk of 2-3 hours, we reach the temple of Harishchandreshwar, the temple of Lord Shiva. Note: On this way, many arrows help in indicating the way. Way from Belpada: The third way is specially meant for hikers, which is via Sadhleghat. One should board the bus for Malshej Ghat & go to the village of Belpada. From here, the route goes through Sadhleghat. Here one has to climb a straight rock patch on which grips are provided. The temple is situated at a height of about 1km from Belpada. The total distance is about 19km.
2) From Ahmednagar District: One has to board the bus for Nasik or Mumbai & alight at Ghoti village. From Ghoti, we have to board another bus to Sangamner via Malegaon & alight at Rajur village. From here, 2 ways diverge to the fort. 1) From Rajur, one has to board the bus or a private vehicle to the village of Pachanai. From here, the way is straight to the topmost point. 2) Recently, the way from Rajur to Tolar Khind has been made available. From Tolar Khind (Tolar valley), the temple is about 2-3 hours by walking.
3) From Pune :Board any bus going towards Nasik from Shivajinagar Bus Station .There are many State Transport Buses going towards Nasik .Good frequency .
Get down at Ale Phata (Almost 2 ½ hrs from Pune 80Kms )
From Ale Phata board any bus going towards Kalyan .The frequency of buses again is quite good.( Almost 1 ½ hrs from Ale Phata ) get down at Khubi Phata .
There is a Dam road going towards the Khubi Village almost 5 kms .One can board any local vehicle going towards the village or even walk down but that would be very tiring.
HISTORY
The fort is quite ancient. Remnants of Microlithic man have been discovered here. The various Puranas (ancient scriptures) like Matsyapurana, Agnipurana and Skandapurana include many references about Harishchandragad. Its origin is said to have been in 6th century, during the rule of Kalchuri dynasty. The citadel was built during this era. The various caves probably have been carved out in the 11th century. In these caves are idols of Lord Vishnu. Though the cliffs are named Taramati and Rohidas, they are not related to Ayodhya. Great sage Changdev (one who created the epic “Tatvasaar”), used to meditate here in 14th century. The caves are from the same period. The various constructions on the fort and those existing the surrounding region point to the existence of diverse cultures here. The carvings on the temples of Nageshwar (in Khireshwar village), in the Harishchandreshwar temple and in the cave of Kedareshwar indicate that the fort belongs to the medieval period, since it is related to Shaiva, Shakta or Naath. Later the fort was under the control of Moguls. The Marathas captured it in 1747. The last warrior named Joshi became a martyr in the fight against the English in 1818.
FASCINATING SPOTS:
SAPTATIRTHA: To the east of the temple is a well-built lake called “Saptatirtha”. On its bank are temple-like constructions in which there are idols of Lord Vishnu. Recently these idols have been shifted in the caves near the temple of Harishchandreshwar. These days many trekkers have been responsible for the sad plight of this beautiful place, as they throw plastic wastes and other things in the pond. 7 years back the water was potable, and now it isn’t suitable even to swim.
KEDARESHWAR : Going rightwards of Harishchandreshwar temple, we come across a huge cave. This is the cave of Kedareshwar, in which there is a big Shivlinga, which is totally surrounded by water. The total height from its base is five feet, and the water is waist-deep. It is quite difficult to reach the Shivlinga, as the water is ice-cold. There are sculptures carved out here. In monsoon it is not possible to reach this cave, as a huge stream flows across the way.
KONKAN KADA (KONKAN CLIFF): The most interesting point on this fort is this cliff, which has always fascinated many people from many years. The cliff faces west and looks down upon the Konkan. From here, one can have a breathtaking view of the surrounding region and the setting sun. This cliff is not just vertical, it is an overhang, almost like a cobra's hood. It has been climbed twice so far. The first climb was in 1985 by a group from IIT Bombay. The second climb was in 1997 by a team from the Pinnacle group. A youth from Pune jumped to his death from here; a monument is built here in his memory. It is said that a rainbow as a circle can sometimes be seen from here.
TARAMATI PEAK : This is the topmost point on the fort. Leopards are seen in the forests beyond this peak. From here we can have a glimpse of the whole range of Naneghat and the forts near Murbad
CAVES ON HARISHCHANDRAGAD: These caves are situated all over the fort. Many of these are situated at the foot of Taramati peak & are the place of accommodation. A few are near the temple, whereas some are near the citadel and some far away in the forests. A natural cave is on the northwestern side of the fort, to the right of Kokan Kada. It is about 30 feet deep. The folks must know many such caves. Many of these may be remaining undiscovered.
NAGESHWAR TEMPLE NEAR KHIRESHWAR: This is a great antique construction, and diverse artistic works are seen on this. On the ceiling of the temple are beautiful carvings. There are caves near the temple.
TEMPLE OF HARISHCHANDRESHWAR: This temple is marvelous example of the fine art of carving sculptures out of stones that prevailed in ancient India. It is about 16m high from its base. Around this temple there a few caves & ancient water tanks. The river Mangal Ganga is said to originate from one of the tanks located close to the temple. The top of the temple resembles construction with the north-Indian temples. A similar temple is situated in Buddha-Gaya. Here we can see many tombs, in which a typical construction is seen. These are built by well-finished arranging stones one on top of the other. There are three main caves near the temple. The cisterns near the temple provide drinking water. A short distance away, another temple called Kashitirtha is located. The fascinating thing about this temple is that it has been carved out from a single huge rock. There are entrances from all four sides. On the main entrance there are sculptures of faces. These are faces of guards of the temple. On the left side of the entrance is a Devnagri inscription, which is about saint Changdev.
WAYS TO REACH: Harishchandragad lies where the boundaries of Thane, Pune & Ahmednagar districts converge. There are 4 - 5 known ways to this fort, the most usual being the following ones:
1) From Thane District: One has to board the bus for Nagar from Kalyan & alight at ‘Khubi Phata’. From there we reach the village of Khireshwar by bus or private vehicle. This village is at 4km from the foothills of the fort. Way from Khireshwar: The way beside the caves, where water tanks are seen, proceeds further to Junnar Darwaaja (Entrance From Junnar). From here, the route goes straight to Tolar Khind. Walking a few minutes from Tolar Khind, we come across a rock-patch on which railings are fixed. After ascending the railings, we come to the plateau region on which less dense forests are seen. From here, we have to cross 7 hills & after a walk of 2-3 hours, we reach the temple of Harishchandreshwar, the temple of Lord Shiva. Note: On this way, many arrows help in indicating the way. Way from Belpada: The third way is specially meant for hikers, which is via Sadhleghat. One should board the bus for Malshej Ghat & go to the village of Belpada. From here, the route goes through Sadhleghat. Here one has to climb a straight rock patch on which grips are provided. The temple is situated at a height of about 1km from Belpada. The total distance is about 19km.
2) From Ahmednagar District: One has to board the bus for Nasik or Mumbai & alight at Ghoti village. From Ghoti, we have to board another bus to Sangamner via Malegaon & alight at Rajur village. From here, 2 ways diverge to the fort. 1) From Rajur, one has to board the bus or a private vehicle to the village of Pachanai. From here, the way is straight to the topmost point. 2) Recently, the way from Rajur to Tolar Khind has been made available. From Tolar Khind (Tolar valley), the temple is about 2-3 hours by walking.
3) From Pune :Board any bus going towards Nasik from Shivajinagar Bus Station .There are many State Transport Buses going towards Nasik .Good frequency .
Get down at Ale Phata (Almost 2 ½ hrs from Pune 80Kms )
From Ale Phata board any bus going towards Kalyan .The frequency of buses again is quite good.( Almost 1 ½ hrs from Ale Phata ) get down at Khubi Phata .
There is a Dam road going towards the Khubi Village almost 5 kms .One can board any local vehicle going towards the village or even walk down but that would be very tiring.
Monday, August 15, 2005
The Rafting Day
Early in the morning at 7 am we left for the rafting site .
It was around 12 kms form the place we stayed.When we reached the place the heavy rush of water had already started .
Pawan and Surenedra our guides for the day gave the final instructions .
And then started one of the most amazing thing I had ever done .For the next 2 hrs through the gushing water and screams all around we paddled our raft in the KUNDALIKA River .
Then swimming in the river till the very end was quite different and i enjoyed it a lot .
After a gr8 lunch we then wandered to the nearby waterfall .The scence around the place was wonderfull with lots of trees aound .
The palce was a real gem .I did not wanted to eave the place but then.....................
It was around 12 kms form the place we stayed.When we reached the place the heavy rush of water had already started .
Pawan and Surenedra our guides for the day gave the final instructions .
And then started one of the most amazing thing I had ever done .For the next 2 hrs through the gushing water and screams all around we paddled our raft in the KUNDALIKA River .
Then swimming in the river till the very end was quite different and i enjoyed it a lot .
After a gr8 lunch we then wandered to the nearby waterfall .The scence around the place was wonderfull with lots of trees aound .
The palce was a real gem .I did not wanted to eave the place but then.....................
Saturday, August 13, 2005
Kundalika White Water Rafting
On 14th aug morning for the camp near Tamhini Ghat .Place called WildRiver camp .for WHITE WATER RAFTING.
The place where we stayed was beautiful surrounded by the mountains and trees .
We were a group of around 20 .In the afternoon session we had River Crossing and River Wire walk across the river Kundalika.
After the crossing we played with the rugby ball for a long time and had gr8 fun .It was a lot tiring and then a good dinner followed by the game of DUMB CHARADS .
The place where we stayed was beautiful surrounded by the mountains and trees .
We were a group of around 20 .In the afternoon session we had River Crossing and River Wire walk across the river Kundalika.
After the crossing we played with the rugby ball for a long time and had gr8 fun .It was a lot tiring and then a good dinner followed by the game of DUMB CHARADS .
Saturday, August 06, 2005
Holiday and still working
Yesterday came late at night from Bombay .Got up late but had to go to office to complete my reamining work .
Was in office till 5 then went around MG road and Planet M got a few classical CDs which i wanted for a long time .
The to the bus stop .had to be in queue for almost and hour till i got the bus back home .
Still on the laptop and working for Monday its almost midnight ...............
Have to work more tomorrow so no holiday just work work and ........work
Was in office till 5 then went around MG road and Planet M got a few classical CDs which i wanted for a long time .
The to the bus stop .had to be in queue for almost and hour till i got the bus back home .
Still on the laptop and working for Monday its almost midnight ...............
Have to work more tomorrow so no holiday just work work and ........work
Saturday, January 22, 2005
Tiring day
Today being sunday not going on any site.Reamin in the hotel .Yestderday was a busy day with 3 sites i did fort the day .
Too tiring going to Burwha a place almost 80 kms from the city of Inodre .
Too tiring going to Burwha a place almost 80 kms from the city of Inodre .
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