1 Month In India, New Delhi & Uttarakhand.
Jun 21st, 2012, 12:31 PM
#21
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Oh and also, regarding this statement: <i>I said aiprot taxi stand desk. They will be very safe coz they are government owned.</i>
This advice is the opposite of what I experienced with a taxi from the official taxi stand desk at Mumbai International Airport (and despite being a seasoned traveler).
I found the Meru taxis to be well worth the money for the peace of mind they provided. You might see if you can get one of them or another private service to pick you up at the airport and take you to your hotel on that first day, before you get your "sea legs".
http://www.merucabs.com/about-us/the-meru-advantage/
This advice is the opposite of what I experienced with a taxi from the official taxi stand desk at Mumbai International Airport (and despite being a seasoned traveler).
I found the Meru taxis to be well worth the money for the peace of mind they provided. You might see if you can get one of them or another private service to pick you up at the airport and take you to your hotel on that first day, before you get your "sea legs".
http://www.merucabs.com/about-us/the-meru-advantage/
Jun 27th, 2012, 08:59 PM
#22
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and you might want to try the Indiamike website which is directed to young budget minded travelers and has an enormous amount of useful advice for your age group....
and The Rough Guide for India is, I think, an excellent one--
My 23-year-old nephew is returning from six weeks in India and Nepal this week; I'll check with him as to which guide books he found most helpful; I know that he studied Hindi before going, had his first night in New Delhi on his own, but had found an inexpensive hotel near the airport to stay in before departing the next morning for Nepal. I believe he spent the majority of his time in Uttarkhand, and spent several months before leaving reading and planning his trip. It really will make a difference for the kind of experience you have.
and The Rough Guide for India is, I think, an excellent one--
My 23-year-old nephew is returning from six weeks in India and Nepal this week; I'll check with him as to which guide books he found most helpful; I know that he studied Hindi before going, had his first night in New Delhi on his own, but had found an inexpensive hotel near the airport to stay in before departing the next morning for Nepal. I believe he spent the majority of his time in Uttarkhand, and spent several months before leaving reading and planning his trip. It really will make a difference for the kind of experience you have.
Jun 27th, 2012, 09:13 PM
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I intended to say that he also took a taxi from the airport and had no difficulty, BUT he had the name of the hotel, had practiced how to give the directions in Hindi, and, I believe, had a map with him of where he was going. All went well. I don't think it's necessary to study Hindi, but having reservations at a hotel, and knowing where it is in relation to the airport would be wise.
Jun 28th, 2012, 09:59 PM
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Some of the most fascinating places in India also happen to be right on the tourist map. Such as Rajasthan, Taj Mahal in Agra, Goa, Kerala, etc.
However, as you deliberately want to travel off the beaten track, let me recommend one of the lesser known jewels (to the western world) which fits the bill perfectly:
Madhya Pradesh (translates into central province)
It has some of the most fascinating historical monuments, religious spots, history, landscapes, people, culture, food and experiences. Read more on official website: http://www.mptourism.com/web/home.aspx
Main attractions in MP:
1. WILDLIFE
Tiger State of India: MP has nine National Parks and twenty five Sanctuaries and six tiger reserves - https://www.mponline.gov.in/portal/S...foresthome.htm
For example –
A. Pench – Pench Tiger Reserve comprises the Indira Priyadarshini Pench National Park, the Mowgli Pench Sanctuary and a buffer. The Park nestles in the Southern slopes of the Satpura ranges of Central India. The river Pench, which splits the National Park into two, forms the lifeline of the Park. The area of the present tiger reserve has a glorious history. A description of its natural wealth and richness occurs in Ain-i-Akbari. Several natural history books like R. A. Strendale's 'Seonee - Camp life in Satpura Hills,' Forsyth's 'Highlands of Central India' and Dunbar Brander's 'Wild Animals of Central India' explicitly present the detailed panorama of nature's abundance in this tract. Strendale's semi-autobiographical 'Seonee' was the inspiration behind Rudyard Kipling's The Jungle Book. Rudyard Kipling was inspired to write his memorable book the Jungle Book by the luxuriant forest cover of Pench teeming with an astonishing variety of wildlife.
B. Kanha - Kanha's sal and bamboo forests, rolling grasslands and meandering streams stretch over 940 sq km in dramatic natural splendour which form the core of the Kanha Tiger Reserve created in 1974 under Project Tiger. This was the park that the Central Indian Barasingha, also known as the hardground barasingha, was brought back from the virtual edge of extinction. By a special statute in 1955, Kanha National Park came into being. Since then, a series of stringent conservation programmes for the protection of the park's flora and fauna has given Kanha its deserved reputation for being one of the finest and best administered National Parks in Asia, an irresistible attraction for all wildlife lovers and a true haven for its animal and avian population.
C. Bandhavgarh - The original home of all the white tigers alive, today, Bandhavgarh was the hunting preserve of the Maharajas of Rewa: their old fort still dominates a hill rising out of the forest. Covering 448 sq. km., Bandhavgarh is situated in Shahdol district among the outlying hills of the Vindhya range. At the centre of the park is Bandhavgarh hill, rising 811 mt above MSL. Surrounding it are a large number of smaller hills separated by gently sloping valleys.
2. RELIGIOUS:
A. Omkareshwar, the sacred island, shaped like the holiest of all Hindu symbols, 'Om', has drawn to it hundreds of generations of pilgrims. And here, as in so many of Madhya Pradesh's sacred shrines, the works of Nature complement those of man to provide a setting awe-inspiring in its magnificence. According to a legend, when Narad, the great seer, paid a visit to the deity of the Vindhya mountains, he was angry to find that there was no dwelling here suitable for Lord Shiva. Dismayed at this, the deity of these mountains subjected himself to very severe austerities. Lord Shiva was so pleased with this that he said he would make Omkareshwar one of his homes. All this happened in legendary times, long before the first historian wrote the first history of Omkareshwar. The island comprises two lofty hills and is divided by a valley in such a way that it appears in the shape of the sacred Hindu symbol 'Om' from above. Between the precipitous hills of the Vindhya on the North and the Satpura on the South, the Narmada forms a deep silent pool. This pool is 270 ft below the cantilever type bridge constructed in 1979. The bridge has enhanced the scenic beauty of the place, making it look exceedingly picturesque. The temple stands on a one mile long, half mile wide island formed by the fork of the Narmada. The soft stone of which it was constructed has lent its pliable surface to a rare degree of detailed work, of which the frieze figures on the upper portion are the most striking. Also intricately carved is the stone roof of the temple. Encircling the shrine are verandahs with columns which are carved in circles, polygons and squares.
B. Sanchi – 5th & 7th century Stupas, temple and monasteries. A must-go for getting a flavour of Buddhism. There are rock-cut cave sanctuaries. Some of the earliest known stone structures dated to 3rd & 1st century BC are here!
C. Khajuraho - In the temple architecture of India, the Khajuraho complex remains unique. One thousand years ago, under the generous and artistic patronage of the Chandela Rajput kings of Central India, 85 temples, magnificent in form and richly carved, came up on one site, near the village of Khajuraho. The amazingly short span of 100 years, from 950 AD - 1050 AD, saw the completion of all the temples, in an inspired burst of creativity. Today, of the original 85, only 22 have survived the ravages of time; these remain as a collective paean to life, to joy and to creativity; to the ultimate fusion of man with his creator. It is possible that the Chandelas were also believers in the powers of Tantrism; the cult which believes that the gratification of earthly desires is a step closer to the attainment of the infinite. It is certain however, that the temples represent the expression of a highly matured civilization. Yet another theory is that the erotica of Khajuraho, and indeed of other temples, had a specific purpose. In those days when boys lived in hermitages, following the Hindu law of being "brahmacharis" until they attained manhood, the only way they could prepare themselves for the worldly role of 'householder' was through the study of these sculptures and the earthly passions they depicted.
3. CAVES:
A. Bhimbetka - Executed mainly in red and white with the occasional use of green and yellow, with themes taken from the every day events of aeons ago, the scenes usually depict hunting, dancing, music, horse and elephant riders, animals fighting, honey collection, decoration of bodies, disguises, masking and household scenes. Animals such as bisons, tigers, lions, wild boars, elephants, antelopes, dogs, lizards, crocodiles, etc. have been abundantly depicted in some caves. Popular religious and ritual symbols also occur frequently. The colours used by the cave dwellers were prepared combining manganese, hematite, soft red stone and wooden coal. Sometimes the fat of animals and extracts of leaves were also used in the mixture. The colours have remained intact for many centuries due to the chemical reaction resulting from the oxide present on the surface of the rocks.
The superimposition of paintings shows that the same canvas was used by different people at different times. The drawings and paintings can be classified under seven different periods:
Period I - Upper Paleolithic:
These are linear representations, in green and dark red, of huge figures of animals such as bisons, tigers and rhinoceroses.
Period II - Mesolithic : Comparatively small in size, the stylised figures in this group show linear decoration on the body. The depiction of communal dances, birds, musical instruments, mother and child, pregnant women, men carrying dead animals, drinking and burials appear in rhythmic movement.
Period III - Chaleolithic: Similar to the paintings of Chaleolithic pottery, these drawings reveal that during the period the cave dwellers of this area had come in contact with the agricultural communities of the Malwa plains and started an exchange of their requirements with each other.
Period IV & V - Early Historic: The figures of this group have a schematic and decorative style, and are painted mainly in red, white and yellow. The association is of riders, depiction of religious symbols, tunic-like dresses and the existence of the scripts of different periods.
Period VI & VII - Medieval: These paintings are geometric, linear and more schematic, but they show degeneration and crudeness in their artistic style. The colours used by the cave dwellers, prepared combining manganese, haematite, soft red stone, wooden coal and also sometimes by animal fat and extracts of leaves is still remains intact.
4. NATURE:
A. Bhedaghat - Soaring in glittering splendour, the Marble Rocks at Bhedaghat rise to a hundred feet on either side of the Narmada. The serene loveliness of the scene is one of cool quiet, the sunlight sparkling on the marble-white pinnacles and casting dappled shadows on the pellucid waters. These white rocks with views of black and dark green volcanic seams are truly majestic, and produce a magical effect on moonlit nights. The holy river flows by tranquilly flanked by the towering cliffs which reflect in it like a mirror the changing moods of nature. A little distance away, it becomes turbulent as it plunges in a mighty water fall known as Dhuandhar. So powerful is the plunge that its roar is heard from a far distance. The falls and the breaking of the volume of water at the crest present an awesome spectacle of Nature's power unleashed. Boating facilities are available and while boating by moonlight is a thrilling experience, the Marble Rocks have recently been floodlit, adding a new dimension to their splendour. There is also a ropeway for crossing the length of the river which provides the place an adventurous touch.
B. Amarkantak - Situated at an altitude of 1065 m. at the meeting point of the Vindhya and the Satpura mountain ranges amongst sylvan surroundings, Amarkantak is a great pilgrim center for the Hindus, and is the source of the rivers Narmada and Sone. While the Narmada flows westwards from Amarkantak, the Sone flows towards the east. Amarkantak is indeed blessed by Nature. Holy ponds, lofty hills, forested surroundings, breathtakingly beautiful waterfalls and an ever-pervading air of serenity make Amarkantak a much sought-after destination for the religious-minded as well as for the nature-lover.
C. Hill station – Pachmarhi - Pachmarhi is Madhya Pradesh's most verdant gem. A lovely hill resort girdled by the Satpura ranges, it offers absolute tranquility. Bridle paths lead into placid forest groves of wild bamboo, jamun, dense sal forests and delicate bamboo thickets. Pachmarhi is also an archaeological treasure-house. In cave shelters in the Mahadeo Hills is an astonishing richness in rock paintings. Most of these have been placed in the period 500-800 AD, but the earliest paintings are an estimated 10,000 years old. Some of the most enjoyable waterfalls are situated here, such as Bee Fall, Big Fall, Dutchess Fall. It provides excellent avenues for trekking and hiking. You can witness the highest point in the Satpura range, with a magnificent view of the surrounding ranges. A very popular spot for viewing sunsets. Pandav Caves, five ancient dwellings excavated in the sandstone rock in a low hill is what Pachmarhi derives its name from. As the legend goes, these caves once provided sanctuary to the five Pandav brothers as per Mahabharat. These caves are now protected monuments.
5. ARCHITECTURE
A. Mandu is a tribute to the love shared between the poet-prince Baz Bahadur and his beautiful consort, Rani Roopmati. The balladeers of Malwa still sing of their euphoric romance. Perched along the Vindhya ranges at an altitude of 2,000 feet, Mandu, with its natural defenses, was originally the fort capital of the Parmar rulers of Malwa. Towards the end of the 13th century, it came under the sway of the Sultans of Malwa, the first of whom named it Shadiabad - 'city of joy'. And indeed the pervading spirit of Mandu was of gaiety; and its rulers built exquisite palaces like the Jahaz and Hindola Mahals, ornamental canals, baths and pavilions, as graceful and refined as those times of peace and plenty. Each of Mandu's structures is an architectural gem; some are outstanding like the massive Jami Masjid and Hoshang Shah's tomb, which provided inspiration to the master builders of the Taj Mahal centuries later.
B. The 45 km parapets of walls that encircle Mandu are punctuated by 12 gateways. Most notable of these is Delhi Darwaza, the main entrance to the fortress city, for which the approach is through a series of gateways well-fortified with walled enclosures and strengthened by bastions.
C. Jahaz Mahal - This 120 mt long "ship palace" built between the two artificial lakes, Munj Talao and Kapur Talao is an elegant two storeyed palace. Probably it was built by Sultan Ghiyas-ud-din-Khilji for his large harem. With its open pavilions, balconies overhanging the water and open terrace, Jahaz Mahal is an imaginative recreation in stone of a royal pleasure craft. Viewed on moonlit nights from the adjoining Taveli Mahal, the silhouette of the building, with the tiny domes and turrets of the pavilion gracefully perched on the terrace, presents an unforgettable spectacle.
D. Hoshang Shah's Tomb - India's first marble edifice, it is one of the most refined examples of Afghan architecture. Its unique features are the magnificently proportioned dome, marble lattice work of remarkable delicacy and porticoed courts and towers to mark the four corners of the rectangle. Shah Jehan sent four of his great architects to study the design of and draw inspiration from the Tomb. Among them was Ustad Hamid, who was also associated with the construction of Taj Mahal.
E. There are several other palaces in the Mandu city.
However, as you deliberately want to travel off the beaten track, let me recommend one of the lesser known jewels (to the western world) which fits the bill perfectly:
Madhya Pradesh (translates into central province)
It has some of the most fascinating historical monuments, religious spots, history, landscapes, people, culture, food and experiences. Read more on official website: http://www.mptourism.com/web/home.aspx
Main attractions in MP:
1. WILDLIFE
Tiger State of India: MP has nine National Parks and twenty five Sanctuaries and six tiger reserves - https://www.mponline.gov.in/portal/S...foresthome.htm
For example –
A. Pench – Pench Tiger Reserve comprises the Indira Priyadarshini Pench National Park, the Mowgli Pench Sanctuary and a buffer. The Park nestles in the Southern slopes of the Satpura ranges of Central India. The river Pench, which splits the National Park into two, forms the lifeline of the Park. The area of the present tiger reserve has a glorious history. A description of its natural wealth and richness occurs in Ain-i-Akbari. Several natural history books like R. A. Strendale's 'Seonee - Camp life in Satpura Hills,' Forsyth's 'Highlands of Central India' and Dunbar Brander's 'Wild Animals of Central India' explicitly present the detailed panorama of nature's abundance in this tract. Strendale's semi-autobiographical 'Seonee' was the inspiration behind Rudyard Kipling's The Jungle Book. Rudyard Kipling was inspired to write his memorable book the Jungle Book by the luxuriant forest cover of Pench teeming with an astonishing variety of wildlife.
B. Kanha - Kanha's sal and bamboo forests, rolling grasslands and meandering streams stretch over 940 sq km in dramatic natural splendour which form the core of the Kanha Tiger Reserve created in 1974 under Project Tiger. This was the park that the Central Indian Barasingha, also known as the hardground barasingha, was brought back from the virtual edge of extinction. By a special statute in 1955, Kanha National Park came into being. Since then, a series of stringent conservation programmes for the protection of the park's flora and fauna has given Kanha its deserved reputation for being one of the finest and best administered National Parks in Asia, an irresistible attraction for all wildlife lovers and a true haven for its animal and avian population.
C. Bandhavgarh - The original home of all the white tigers alive, today, Bandhavgarh was the hunting preserve of the Maharajas of Rewa: their old fort still dominates a hill rising out of the forest. Covering 448 sq. km., Bandhavgarh is situated in Shahdol district among the outlying hills of the Vindhya range. At the centre of the park is Bandhavgarh hill, rising 811 mt above MSL. Surrounding it are a large number of smaller hills separated by gently sloping valleys.
2. RELIGIOUS:
A. Omkareshwar, the sacred island, shaped like the holiest of all Hindu symbols, 'Om', has drawn to it hundreds of generations of pilgrims. And here, as in so many of Madhya Pradesh's sacred shrines, the works of Nature complement those of man to provide a setting awe-inspiring in its magnificence. According to a legend, when Narad, the great seer, paid a visit to the deity of the Vindhya mountains, he was angry to find that there was no dwelling here suitable for Lord Shiva. Dismayed at this, the deity of these mountains subjected himself to very severe austerities. Lord Shiva was so pleased with this that he said he would make Omkareshwar one of his homes. All this happened in legendary times, long before the first historian wrote the first history of Omkareshwar. The island comprises two lofty hills and is divided by a valley in such a way that it appears in the shape of the sacred Hindu symbol 'Om' from above. Between the precipitous hills of the Vindhya on the North and the Satpura on the South, the Narmada forms a deep silent pool. This pool is 270 ft below the cantilever type bridge constructed in 1979. The bridge has enhanced the scenic beauty of the place, making it look exceedingly picturesque. The temple stands on a one mile long, half mile wide island formed by the fork of the Narmada. The soft stone of which it was constructed has lent its pliable surface to a rare degree of detailed work, of which the frieze figures on the upper portion are the most striking. Also intricately carved is the stone roof of the temple. Encircling the shrine are verandahs with columns which are carved in circles, polygons and squares.
B. Sanchi – 5th & 7th century Stupas, temple and monasteries. A must-go for getting a flavour of Buddhism. There are rock-cut cave sanctuaries. Some of the earliest known stone structures dated to 3rd & 1st century BC are here!
C. Khajuraho - In the temple architecture of India, the Khajuraho complex remains unique. One thousand years ago, under the generous and artistic patronage of the Chandela Rajput kings of Central India, 85 temples, magnificent in form and richly carved, came up on one site, near the village of Khajuraho. The amazingly short span of 100 years, from 950 AD - 1050 AD, saw the completion of all the temples, in an inspired burst of creativity. Today, of the original 85, only 22 have survived the ravages of time; these remain as a collective paean to life, to joy and to creativity; to the ultimate fusion of man with his creator. It is possible that the Chandelas were also believers in the powers of Tantrism; the cult which believes that the gratification of earthly desires is a step closer to the attainment of the infinite. It is certain however, that the temples represent the expression of a highly matured civilization. Yet another theory is that the erotica of Khajuraho, and indeed of other temples, had a specific purpose. In those days when boys lived in hermitages, following the Hindu law of being "brahmacharis" until they attained manhood, the only way they could prepare themselves for the worldly role of 'householder' was through the study of these sculptures and the earthly passions they depicted.
3. CAVES:
A. Bhimbetka - Executed mainly in red and white with the occasional use of green and yellow, with themes taken from the every day events of aeons ago, the scenes usually depict hunting, dancing, music, horse and elephant riders, animals fighting, honey collection, decoration of bodies, disguises, masking and household scenes. Animals such as bisons, tigers, lions, wild boars, elephants, antelopes, dogs, lizards, crocodiles, etc. have been abundantly depicted in some caves. Popular religious and ritual symbols also occur frequently. The colours used by the cave dwellers were prepared combining manganese, hematite, soft red stone and wooden coal. Sometimes the fat of animals and extracts of leaves were also used in the mixture. The colours have remained intact for many centuries due to the chemical reaction resulting from the oxide present on the surface of the rocks.
The superimposition of paintings shows that the same canvas was used by different people at different times. The drawings and paintings can be classified under seven different periods:
Period I - Upper Paleolithic:
These are linear representations, in green and dark red, of huge figures of animals such as bisons, tigers and rhinoceroses.
Period II - Mesolithic : Comparatively small in size, the stylised figures in this group show linear decoration on the body. The depiction of communal dances, birds, musical instruments, mother and child, pregnant women, men carrying dead animals, drinking and burials appear in rhythmic movement.
Period III - Chaleolithic: Similar to the paintings of Chaleolithic pottery, these drawings reveal that during the period the cave dwellers of this area had come in contact with the agricultural communities of the Malwa plains and started an exchange of their requirements with each other.
Period IV & V - Early Historic: The figures of this group have a schematic and decorative style, and are painted mainly in red, white and yellow. The association is of riders, depiction of religious symbols, tunic-like dresses and the existence of the scripts of different periods.
Period VI & VII - Medieval: These paintings are geometric, linear and more schematic, but they show degeneration and crudeness in their artistic style. The colours used by the cave dwellers, prepared combining manganese, haematite, soft red stone, wooden coal and also sometimes by animal fat and extracts of leaves is still remains intact.
4. NATURE:
A. Bhedaghat - Soaring in glittering splendour, the Marble Rocks at Bhedaghat rise to a hundred feet on either side of the Narmada. The serene loveliness of the scene is one of cool quiet, the sunlight sparkling on the marble-white pinnacles and casting dappled shadows on the pellucid waters. These white rocks with views of black and dark green volcanic seams are truly majestic, and produce a magical effect on moonlit nights. The holy river flows by tranquilly flanked by the towering cliffs which reflect in it like a mirror the changing moods of nature. A little distance away, it becomes turbulent as it plunges in a mighty water fall known as Dhuandhar. So powerful is the plunge that its roar is heard from a far distance. The falls and the breaking of the volume of water at the crest present an awesome spectacle of Nature's power unleashed. Boating facilities are available and while boating by moonlight is a thrilling experience, the Marble Rocks have recently been floodlit, adding a new dimension to their splendour. There is also a ropeway for crossing the length of the river which provides the place an adventurous touch.
B. Amarkantak - Situated at an altitude of 1065 m. at the meeting point of the Vindhya and the Satpura mountain ranges amongst sylvan surroundings, Amarkantak is a great pilgrim center for the Hindus, and is the source of the rivers Narmada and Sone. While the Narmada flows westwards from Amarkantak, the Sone flows towards the east. Amarkantak is indeed blessed by Nature. Holy ponds, lofty hills, forested surroundings, breathtakingly beautiful waterfalls and an ever-pervading air of serenity make Amarkantak a much sought-after destination for the religious-minded as well as for the nature-lover.
C. Hill station – Pachmarhi - Pachmarhi is Madhya Pradesh's most verdant gem. A lovely hill resort girdled by the Satpura ranges, it offers absolute tranquility. Bridle paths lead into placid forest groves of wild bamboo, jamun, dense sal forests and delicate bamboo thickets. Pachmarhi is also an archaeological treasure-house. In cave shelters in the Mahadeo Hills is an astonishing richness in rock paintings. Most of these have been placed in the period 500-800 AD, but the earliest paintings are an estimated 10,000 years old. Some of the most enjoyable waterfalls are situated here, such as Bee Fall, Big Fall, Dutchess Fall. It provides excellent avenues for trekking and hiking. You can witness the highest point in the Satpura range, with a magnificent view of the surrounding ranges. A very popular spot for viewing sunsets. Pandav Caves, five ancient dwellings excavated in the sandstone rock in a low hill is what Pachmarhi derives its name from. As the legend goes, these caves once provided sanctuary to the five Pandav brothers as per Mahabharat. These caves are now protected monuments.
5. ARCHITECTURE
A. Mandu is a tribute to the love shared between the poet-prince Baz Bahadur and his beautiful consort, Rani Roopmati. The balladeers of Malwa still sing of their euphoric romance. Perched along the Vindhya ranges at an altitude of 2,000 feet, Mandu, with its natural defenses, was originally the fort capital of the Parmar rulers of Malwa. Towards the end of the 13th century, it came under the sway of the Sultans of Malwa, the first of whom named it Shadiabad - 'city of joy'. And indeed the pervading spirit of Mandu was of gaiety; and its rulers built exquisite palaces like the Jahaz and Hindola Mahals, ornamental canals, baths and pavilions, as graceful and refined as those times of peace and plenty. Each of Mandu's structures is an architectural gem; some are outstanding like the massive Jami Masjid and Hoshang Shah's tomb, which provided inspiration to the master builders of the Taj Mahal centuries later.
B. The 45 km parapets of walls that encircle Mandu are punctuated by 12 gateways. Most notable of these is Delhi Darwaza, the main entrance to the fortress city, for which the approach is through a series of gateways well-fortified with walled enclosures and strengthened by bastions.
C. Jahaz Mahal - This 120 mt long "ship palace" built between the two artificial lakes, Munj Talao and Kapur Talao is an elegant two storeyed palace. Probably it was built by Sultan Ghiyas-ud-din-Khilji for his large harem. With its open pavilions, balconies overhanging the water and open terrace, Jahaz Mahal is an imaginative recreation in stone of a royal pleasure craft. Viewed on moonlit nights from the adjoining Taveli Mahal, the silhouette of the building, with the tiny domes and turrets of the pavilion gracefully perched on the terrace, presents an unforgettable spectacle.
D. Hoshang Shah's Tomb - India's first marble edifice, it is one of the most refined examples of Afghan architecture. Its unique features are the magnificently proportioned dome, marble lattice work of remarkable delicacy and porticoed courts and towers to mark the four corners of the rectangle. Shah Jehan sent four of his great architects to study the design of and draw inspiration from the Tomb. Among them was Ustad Hamid, who was also associated with the construction of Taj Mahal.
E. There are several other palaces in the Mandu city.
Jun 28th, 2012, 10:03 PM
#25
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Apologize for the long long post, but as MP is not as well-known to non-indian travellers, I wanted to do justice to my home-state and detail out various attractions.
If you take 2 mins to go through it, I am sure it would make a strong case for a fresh look at India.
If you take 2 mins to go through it, I am sure it would make a strong case for a fresh look at India.
