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Taarikhnama, Sasaram (2026)

03/06/2026

The monument commonly known today as the Mohammadan Tomb and Darga is one of the lesser-known structures in Hampi. Historians generally place it within the Vijayanagara period, between the 14th and 16th centuries CE, although its exact date and patron remain uncertain.

The complex consists of two tombs and several graves spread around the site. The larger tomb appears to have originally been crowned by a dome, but the roof has collapsed over time. Even so, parts of the arches and walls remain standing, giving visitors a sense of the monument's original form.

Researchers identify the structure as a funerary complex built in an Islamic architectural style. The tomb chambers, arches, and dome-based design suggest connections with architectural traditions that were present across the Deccan during this period.

One feature that often draws attention is a stone inscription located within the complex. The inscription has not been widely discussed in published studies of the site, and its contents are not easily accessible. Visitors have noted that the script appears old, though a detailed epigraphic study would be needed to identify it with certainty.

The identity of the individual buried here is still unclear. Historical records have not provided a conclusive answer, which is one reason the monument continues to attract interest from visitors and researchers.

07/05/2026

The Lotus Mahal is located inside the Zenana Enclosure of Hampi, Karnataka, the former capital of the Vijayanagara Empire. Historians like George Michell date the structure to the 15th or early 16th century, during the later phase of the Vijayanagara period.

The building gets its modern name from its upper structure, which resembles the petals of a lotus when viewed from above. Michell notes that the original historical name of the structure is unknown. Unlike temples or royal audience halls, the Lotus Mahal appears to have served a more private function within the royal enclosure, though scholars still debate its exact purpose. Some studies suggest it may have been used as a meeting pavilion or resting space for women of the royal household.

Architecturally, the structure stands out because of its mix of styles. According to historian Percy Brown in Indian Architecture (Islamic Period), the building combines traditional Vijayanagara design with features associated with Indo-Islamic architecture. The arches, vaulted passages, and symmetrical layout resemble Sultanate-style buildings, while the pyramidal towers and decorative details remain rooted in local temple traditions.

The Mahal is built mainly with lime mortar and finely plastered brick, which makes it visually different from many other structures in Hampi. Michell points out that the recessed arches and multiple openings also helped maintain airflow inside the building, important in the dry climate of the region.

One lesser-known feature is the presence of traces of an old water system around the enclosure. Researchers studying Hampi’s urban planning note that channels and cooling arrangements existed near the structure, suggesting careful environmental planning within royal spaces.

Unlike many monuments in Hampi that focus on scale or heavy carving, the Lotus Mahal is known more for proportion, balance, and architectural blending.

08/04/2026

The Stone Chariot is one of the most well-known structures within the Vittala Temple complex in Hampi, part of the Vijayanagara Empire. The chariot was built in the 16th century, when the Vijayanagara Empire was at its peak.

Despite being called a “chariot,” it is actually a stone shrine dedicated to Garuda, the vehicle of Vishnu. Historian George Michell notes that such chariot-like shrines were part of a broader temple tradition, symbolically representing movement and divine procession.

The structure is made primarily of granite. The superstructures were originally built using lighter materials, some of which no longer survive. The wheels of the chariot appear movable, and according to Michell, they were once capable of slight rotation, though they are now fixed to prevent damage.

Architecturally, the chariot stands on a rectangular platform and is detailed with carvings of elephants, floral patterns, and decorative bands. The elephants seen in front today are later replacements; earlier depictions and studies suggest that horses originally stood in their place, aligning with the idea of a moving chariot.

Michell also points out that the proportions of the structure are carefully balanced, combining the form of a temple with the visual idea of a ceremonial vehicle. Unlike large temple halls, this structure is compact, suggesting its role was symbolic within the larger layout of the Vittala complex.

03/04/2026

Virupaksha Temple is one of the few temples in India that has remained in continuous worship for centuries. It is located in Hampi, the former capital of the Vijayanagara Empire. The earliest shrine here dates back to around the 7th century CE, much before the Vijayanagara period.

Historian George Michell notes that the temple was not built by a single ruler but expanded over time. Major additions took place from the 14th century onward, with an important phase during the reign of Krishnadevaraya in the early 16th century, when the large eastern gopuram and parts of the complex were constructed.

The temple is dedicated to Virupaksha, a form of Shiva, but Michell records that the site was already sacred earlier, connected to the local Pampa tradition and the nearby Tungabhadra River.

Architecturally, the temple follows the Dravidian style, with a tall entrance tower, pillared halls, and open courtyards. These spaces were designed for rituals and large gatherings. One lesser-known feature is a small dark chamber inside the complex where an inverted image of the gopuram appears on the wall, often described as a natural pinhole effect.

08/03/2026

Hawa Mahal is one of the most recognizable landmarks of Jaipur. It was built in 1799 by Maharaja Sawai Pratap Singh and designed by the architect Lal Chand Ustad. The structure stands along the main street of the old city and forms part of the larger City Palace complex.

The building is made from red and pink sandstone and is known for its distinctive façade that resembles a honeycomb. It has five storeys with 953 small jharokhas (windows). These latticed windows allowed royal women of the palace to observe street festivals and everyday life without being seen from outside, following the social customs of the time.

Architecturally, Hawa Mahal combines elements of Rajput palace architecture with influences from Mughal design. The façade is filled with carved latticework, small balconies, and decorative arches. The many windows were designed to allow cool air to pass through the structure, which helped keep the interior spaces relatively comfortable during Jaipur’s hot summers. Because of this natural ventilation, the palace became known as the Hawa Mahal (Palace of Winds).

08/12/2025

Ravalnath is one of the most widely worshipped guardian deities in North Goa, especially in Pernem, Bicholim and Bardez. The Gazetteer of Goa describes him as a Gram-devata, a village protector whose worship predates many later temple traditions in the region.

Anthropologist Alexander Henn, in Hindu–Catholic Encounters in Goa, notes that Ravalnath’s identity is expressed mainly through local stories, seasonal rituals and festivals. He adds that some communities associate him with Shaiva traditions, while others keep him as a distinct regional guardian, showing how his character evolved differently across villages.

At the Pernem Ravalnath Temple, worship usually includes oil lamps, coconuts, drums, and processions, as documented in ethnographic notes by D.B. Pereira in Folk Deities of Goa. Pereira mentions that devotees approach Ravalnath for protection, health, and decisions related to farming or major family events.

The temple at Pernem follows the typical Goan temple layout that evolved after the 17th century: a main sanctum, a deepastambha (lamp tower), and a spacious mandapa for community gatherings. The structure blends elements of Hindu temple design with the architectural influences that developed during the Maratha period, especially the pitched roofs, pillared halls, and the use of laterite stone and lime plaster common in the Konkan region.

21/11/2025

Kalpa, in Kinnaur, is a small village known for its traditional houses, wooden temples, and views of the Kinnaur Kailash range. At the centre of the village stands the Narayan–Nagini Temple, dedicated to Narayan (Vishnu) and Nagini. This dual dedication shows older Kinnauri beliefs where regional deities and Hindu gods were worshipped side by side.

The temple follows the traditional Kath-Kuni–style architecture of the region. It is a mix of stone and intricately carved deodar wood. The lower portions are built with alternating stone-and-wood layers for stability, while the upper structure has detailed wooden brackets, lattice windows, and tiered roofs designed to handle heavy snow. Villagers say the temple has been rebuilt and repaired many times, so its carvings show different periods of craftsmanship, from simple geometric motifs to later floral and mythological patterns.

Kalpa also hosts several small seasonal rituals, and one of the well-known ones today is Rauḷāne. It’s held in March, during the harsh snowfall. People gather near the temple, offer prayers, and move in a slow circular procession, accompanied by music and rhythmic steps. Elders describe it as a way to mark transition, from winter towards the working months ahead, and to seek harmony for the coming season.

11/11/2025

High on the Kaimur hills, within the boundary of Rohtasgarh Fort, stand two tall stone pillars- Bihar’s first identified megalithic site. These sites were first documented by historian Dr Shyam Sundar Tiwary in 2018, who found large stone circles and upright menhirs that point to a burial tradition dating between 1500 BCE and 600 BCE.

Megaliths, as described in the Chitrolekha Journal of Art and Design (2015), are stone monuments built over graves or around burial sites. They often consist of upright stones (menhirs), circles, or dolmens, marking a space for the dead within the landscape. These were not decorative monuments but part of a wider funerary and commemorative practice spread across eastern and central India.

In Bihar, such discoveries are connected to the cultural traditions of nearby regions, such as Jharkhand, where the Patthargadi custom- the er****on of stones to mark burials or boundaries- is still practised among tribal communities. The Rohtas District Gazetteer mentions that the area was once inhabited by tribes such as the Oraon, Kharwar, and Santhal, all known for following megalithic burial traditions. The Tribal Research Institute of Jharkhand further notes that the Oraons trace their ancestral home to the Rohtas plateau before migrating toward Chotanagpur. Now there are only few left near the fort.

The presence of megaliths here, along with the oral histories of these tribes, suggests an early cultural continuity between prehistoric Rohtas and the tribal practices seen today in eastern India. While there is no conclusive proof about who built them, researchers note that these sites add valuable evidence to Bihar’s early human settlement patterns and funerary systems.

These stones, simple and unadorned, stand as one of the earliest material records of social life in the region. Being a quiet but significant link to the people who once lived on these hills.

25/09/2025

Built and expanded from the 14th to the 19th century by the Yaduvanshi Rajputs, Karauli City Palace is a living example of Rajasthan’s layered history. Made with the region’s distinctive red Karauli stone, the palace blends devotion, power, and artistry.

The palace has two intricately designed gates. One leads to the Madan Mohanji Temple, an important place of worship, while the Tripolia Dwar opens into a vast courtyard with a fountain and the Diwan-e-Aam, the public court where rulers once heard their people. Opposite stands the Diwan-e-Khaas, built in 1720 for kings and nobility.

Most walls are painted by local chateras (traditional painters of Karauli), creating a visual language of motifs, patterns, and hidden symbols. The play of design often feels like a puzzle, “as if testing one’s gaze, much like Salvador Dalí’s Swans Reflecting Elephants,” writes Architectural Digest.

While construction stopped in the 19th century, the current royal family is focused on careful restoration, ensuring that frescoes, gates, and courtyards continue to carry forward centuries-old traditions.

24/08/2025

The tomb of Itmad-ud-Daula in Agra, often called the “Baby Taj”, is one of the most significant Mughal monuments, yet it has long lived under the shadow of the Taj Mahal. Built between 1622–1628 by Nur Jahan for her father Mirza Ghiyas Beg, who held the title Itmad-ud-Daula (Pillar of the State), the mausoleum marks a turning point in Mughal architecture. According to Ebba Koch in Mughal Architecture (1991), it was the first Mughal tomb entirely made of white marble and the first to use intricate pietra dura inlay work techniques later perfected in the Taj Mahal.

Over the years, however, the monument has been subject to simplifications and myths. Many popular accounts and even tourist narratives reduce it to being merely a “draft” or “prototype” of the Taj Mahal. As Catherine Asher notes in Architecture of Mughal India (1992), this label diminishes its independent artistic and historical value. By calling it a “Baby Taj,” the site is remembered more as a footnote to Shah Jahan’s grander vision rather than as Nur Jahan’s architectural innovation.

The myth likely arose from colonial-era guidebooks and early art historians who framed Mughal monuments in a linear progression - each building seen as a “step” toward the Taj Mahal. For instance, the Imperial Gazetteer of India (1908) describes Itmad-ud-Daula primarily as a precursor to the Taj, reinforcing this hierarchy.

In reality, Itmad-ud-Daula stands apart as a monument of its own. As per the Archaeological Survey of India reports, it introduced features such as marble lattice screens, delicate floral motifs, and geometric symmetry, shaping Mughal architecture for decades to come. It is also one of the few Mughal monuments commissioned by a woman, making it an mark of Nur Jahan’s influence and power.

Taarikhnama

03/06/2026

07/05/2026

08/04/2026

03/04/2026

08/03/2026

08/12/2025

21/11/2025

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25/09/2025

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