Let's Go India Tours

Thursday, 7 July 2016

Top 5 Shopping Malls in Delhi-NCR To Visit

Select Citywalk
Where: A-3, District Centre, Saket, New Delhi
How to Reach (Nearest Metro Station): Malviya Nagar
Time: 10 AM – 11 PM
Select Citywalk is a premier shopping mall located in the Saket, New Delhi. The mall is spread over 6 acres and includes a multiplex, serviced apartments, offices and public spaces. It remains one of the most visited shopping malls in Delhi. It houses some of the most lavish Indian & International brands under one roof. It has everything you would look for when visiting a shopping mall – multiplex, kidszone, food court, cafes, restaurants and bars.

Not to forget, Hard Rock Cafe (HRC) is located inside the mall. The mall remains open from 10 am till 11 pm every day. Select Citywalk has continuously been awarded the ‘Country’s Most Admired Shopping Centre’ by several independent organizations.

DLF Emporio
Where: 4, Nelson Mandela Road, Vasant Kunj, New Delhi
How to Reach (Nearest Metro Station): Malviya Nagar or Hauz Khas
Time: 10 AM – 10 PM
DLF Emporio is one of the three luxury multi-brand malls in India. It is the most lavish and extravagant shopping destination in New Delhi. You can shop for brands like Louis Vuitton, Salvatore Ferragamo, ZARA, Kenneth Cole, Bang & Olufsen, Bottega Veneta, True Religion, Burberry, Versace, Giorgio Armani, Cartier, Chopard, Bvlgari, Fendi, Dior, DKNY, Jimmy Choo and many more. It houses over 65 international brands and 100 designers.

You can find fashion-studios of many well-known Indian designers such as Manish Malhotra, Shaina NC, Tarun Tahiliani, Rohit Bal, JJ Valaya, Suneet Varma and Ravi Bajaj. It also features “Setz With A Bar,” a 180 seater high end restaurant and lounge serving 7 International cuisines.

DLF Promenade
Where: 4, Nelson Mandela Road, Vasant Kunj, New Delhi
How to Reach (Nearest Metro Station): Malviya Nagar or Hauz Khas
Time: 10 AM – 11 PM
DLF Promenade is the second most popular shopping destination in South Delhi (first being Select Citywalk, Saket). The mall is a complete shopping cum entertainment destination. It offers a wide array of fashion brands and products. You can shop from apparels, shoes, accessories and many more. For cinema lovers, the mall has 7 screen DT Cinemas with a seating capacity for 1140 people. The mall features Kiddyland, outdoor play area for kids and The Hub, an open air lifestyle space.

The Hub is the Delhi’s largest in-house lifestyle space comprising cafés and a dancing fountain. The mall also has the city’s largest LED screen next to the fountain. Other features include a multi-level car parking system, and food court with a seating capacity for 400 people.

Ambience Mall, Gurgaon
Where: NH 8, DLF City Phase III, Gurgaon
How to Reach (Nearest Metro Station): Micromax Moulsari Avenue (Gurgaon Rapid Metro)
Time: 10 AM – 11 PM
Ambience Mall, Gurgaon is one of the biggest malls in India. Mall’s each floor has 1 kilometer of shopping space. The mall features PVR Blu-O, a bowling alley on the top floor and iSkate, an indoor Ice-skating rink. It hosts various popular brands and a large food-court together with many restaurants and food-joints. There is also a 7-screen PVR Cinemas multiplex and Leela Kempinski hotel above the mall.

The Great India Place
Where: Building No-104, Sec- 38 A, Plot No A-2, Noida
How to Reach (Nearest Metro Station): Noida Sector 18
Time: 11 AM – 11 PM
The Great India Place is one of the largest shopping malls in Central & North India. The mall was developed by the Unitech Group and is located in Sector 38-A, Noida, 5-minutes walk from the Noida Sec-18 metro station. The mall houses a variety of retail outlets. Some of the most popular brands are Shopper’s Stop, Globus, Pantaloons, Big Bazaar, Home Town, Woodland, Lifestyle and Lifestyle Home, Adidas, Nike, Guess and Marks & Spencer. Besides the retail stores, it also has a Haunted House and Bowling Alley. Not only this, visit World of Wonders and enjoy water-rides, ice skating and paint ball.

Besides the above listed shopping malls in the city, there are many more popular shopping destinations in New Delhi.

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Wednesday, 6 July 2016

Purana Qila

Purana Qila, is one the oldest forts in Delhi. Its current form was built by the Afghan king Sher Shah Suri, on a site which was perhaps that of Indraprastha, the legendary capital of the Pandavas. Sher Shah raised the citadel of Purana-Qal'a with an extensive city-area sprawling around it. It seems that the Purana-Qal'a was still incomplete at Sher Shah's death in 1545, and was perhaps completed by his son Islam Shah , although it is not certain which parts were built by whom. Indraprastha is said to be founded by the Pandavas on the banks of the perennial river Yamuna, which would date the site back 5000 years. Consequently, the fort is considered by some to be 'the first city of Delhi. Researchers now confirm that until 1913, a village called Indrapat existed within the fort walls. Excavations carried out by Archaeological Survey of India (ASI) at Purana Quila in 1954-55 (trial trenches) and again 1969-1973 by its Director, B B Lal have unearthed Painted Grey Ware dating 1000 B.C., and with a continuous cultural sequence from Mauryan to Mughal through Shunga, Kushana, Gupta, Rajput and Sultanate periods, confirming the antiquity of the site.

Fort in Medieval Period
Fort was called as the inner pitamdel of the city of Dina-panah during Humayun's rule who renovated it in 1533 and completed five years later. Purana Qila and its environs flourished as the "sixth city of Delhi".

The founder of the Suri Dynasty, Sher Shah Suri, defeated Humayun in 1540, naming the fort Shergarh; he added several more structures in the complex during his five-year reign until his death in 1545.

Subsequently Islam Shah took over the reins of North India from this fort, but shifted his capital to Gwalior, as it was supposed to be a safer capital in that period, leaving the charge of Delhi and Punjab to his Hindu Governor and military General Hemu. After Islam Shah's death in 1553, Adil Shah Suri took charge of North India and appointed Hemu as the Prime Minister-cum-Chief of Army and himself retired in Chunar fort in eastern UP. According to Abul Fazal, Hemu became virtual king and had all authority of appointments and other decisions making. Hemu was busy in quelling rebellion in east India and this fort remained neglected. Humayun, who was based in Kabul at this time, seized the opportunity to re-capture the citadel and the seat of Delhi in 1555, fifteen years after abandoning it following his defeats at the hands of the Suri Dynasty in the Battles of Chausa and Kannauj. Humayun's reign proved brief thereafter; he died following an accidental fall within the fort complex at Sher Mandal only a year later, in Jan. 1556.

Hearing about re-capture of Delhi by Humayun, Hemu, the Hindu Prime Minister – cum – Chief of Army of Adil Shah, rushed towards Delhi from Bengal, where he had just quelled a rebellion, defeating and killing Muhhamad Shah, the ruler of Bengal. After capturing Agra, Itawah, and Kanpur with relative ease, Hemu, who had won 22 battles spanning entire north India, met and defeated the forces of Akbar, which were led by Tardi Beg Khan, in the Battle for Delhi, which took place in the Tuglaqabad area on 5–6 October 1556. Hemu had his Rajyabhishek or Coronation at Purana Quila on 7 October 1556, declared 'Hindu Raj' in North India, and was bestowed the title of Vikramaditya. Hemu, who later lost his life at the Second battle of Panipat in Nov. 1556, subsequently had his torso hung outside this fort to create terror among Hindus.

Construction
The walls of the Fort rise to a height of 18 metres, traverse about 1.5 km, and have three arched gateways: the Bara Darwaza (Big Gate) facing west, which is still in use today; the south gate, also popularly known as the 'Humayun Gate' (probably so known because it was constructed by Humayun, or perhaps because Humayun's Tomb is visible from there); and lastly, the 'Talaqi Gate', often known as the "forbidden gate". All the gates are double-storeyed sandstone structures flanked by two huge semi-circular bastion towers, decorated with white and coloured-marble inlays and blue tiles. They are replete with detailing, including ornate overhanging balconies, or jharokhas, and are topped by pillared pavilions (chhatris), all features that are reminiscent of Rajasthani architecture as seen in the North and South Gates, and which were amply repeated in future Mughal architecture. Despite the grandeurs of the exterior, few of interior structures have survived except the Qila-i Kuhna Mosque and the Shermandal, both credited to Sher Shah.

Indraprastha
Delhi is thought by some to be located at the site of the legendary city of Indraprastha founded by the Pandavas from Mahabharata period, which is consequently considered the 'First City of Delhi. In support of this, until 1913, a village called Indrapat existed within the fort walls.

Excavations
Archaeological Survey of India (ASI) carried out excavations at Purana Qila in 1954–55 and again from 1969 to 1973 by B. B. Lal, and its findings and artefacts are exhibited at the Archaeological Museum, Purana Qila. This includes Painted Grey Ware, dating 1000 BC, and various objects and pottery signifying continuous habitation from Mauryan to Shunga, Kushana, Gupta, Rajput, Delhi Sultanate and Mughal periods.

History
Purana Qila is where Humayun's capital Din Panah was located. Later it was renovated and named Shergarh by the first Afghan emperor of India, Sher Shah Suri. The Hindu king Hemu was crowned there after defeating Akbar's forces in the Battle of Delhi (1556) on 7 October 1556. The Fort was supposed to be unlucky for rulers who occupied the site; Humayun, Sher Shah Suri, and Hemu all had but relatively brief tenures ensconced there - Humayun on two separate occasions, having lost the fort to Sher Shah only five years after erecting it, and dying within a year of recapturing it 15 years later. Akbar did not rule from here and Shahjahan built a new fort in Delhi known as Lal Qila ("Red Fort").

When Edwin Lutyens designed the new capital of British India, New Delhi in the 1920s, he aligned the central vista, now Rajpath, with Purana Qila. During the Partition of India, in August 1947 the Purana Qila along with the neighbouring Humayun's Tomb, became the site for refuge camps for Muslims migrating to newly founded Pakistan. This included over 12,000 government employees who had opted for service in Pakistan, and between 150,000–200,000 Muslim refugees,who swarmed inside Purana Qila by September 1947, when Indian government took over the management of the two camps. The Purana Qila camp remained functional till early 1948, as the trains to Pakistan waited till October 1947 to start.

In the 1970s, the ramparts of Purana Qila were first used as a backdrop for theatre, when three productions of the National School of Drama were staged here: Tughlaq, Andha Yug and Sultan Razia, directed by Ebrahim Alkazi. In later decades it has been the venue of various important theatre productions, cultural events, and concerts. Today, it is the venue of a daily sound and light presentation after sunset, on the history of the "Seven Cities of Delhi", from Indraprastha through New Delhi.

Qila-i-Kuhna Mosque
The single-domed Qila-i-Kuna Mosque, built by Sher Shah in 1541 is an excellent example of a pre-Mughal design, and an early example of the extensive use of the pointed arch in the region as seen in its five doorways with the 'true' horseshoe-shaped arches. It was designed as a Jami Mosque, or Friday mosque for the Sultan and his courtiers. The prayer hall inside, the single-aisled mosque, measures 51.20m by 14.90m and has five elegant arched prayer niches or mihrabs set in its western wall. Marble in shades of red, white and slate is used for the calligraphic inscriptions on the central iwan, marks a transition from Lodhi to Mughal architecture. At one time, the courtyard had a shallow tank, with a fountain.

A second storey, accessed through staircases from the prayer hall, with a narrow passage running along the rectangular hall, provided space for female courtiers to pray, while the arched doorway on the left wall, framed by ornate jharokas, was reserved for members of the royal family. On a marble slab within the mosque an inscription reads: "As long as there are people on the earth, may this edifice be frequented and people be happy and cheerful in it". Today it is the best preserved building in Purana Qila.

Sher Mandal
The Sher Mandal named for Farid (sher shah) who had tried to finish what was ordered by Babur but had died during the initial phase and so construction was halted until the arrival of Humayun.

This double-storeyed octagonal tower of red sandstone with steep stairs leading up to the roof was intended to be higher than its existing height. Its original builder was Babur who ordered the construction and was used as a personal observatory and library for his son Humayun, finished only after he recaptured the fort. It is also one of the first observatories of Delhi, the first being in Pir Gharib at Hindu Rao at Ridge built in the 14th century by Firoz shah Tughlaq. The tower is topped by an octagonal chhatri supported by eight pillars and decorated with white marble in typical Mughal style.

Inside there are remnants of the decorative plaster-work and traces of stone-shelving where, presumably, the emperor's books were placed.

This was also the spot where, on 24 January 1556 Humayun fell from the second floor to his death. He slipped while hastening to the evening prayers, following his hobby of astronomical star gazing at the top of this private observatory. He fell headlong down the stairs and died of his injuries two days later. Entry inside the library is now prohibited.

Outlying monuments
Several other monument also lie around the complex, like Kairul Manzil, mosque built by Maham Anga, Akbar's foster-mother, and which was later used as a madarsa. Sher Shah Suri Gate or Lal Darwaza, which was the South Gate to Shergarh, the city he founded, also lies opposite the Purana Qila complex, across Mathura Road, south-east of the Kairul Manzil.

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Rajasthan: Village Life

For what is referred to as a desert, Rajasthan is amazingly populated: its landscape scattered with a number of villages and hamlets, telltale signs of tree groves and populations of cattle being the only indication that there is such a settlement in close proximity.

The typical village has always been difficult to spot till one is actually upon it. Its simplest hamlets, the most basic form of civilisation with a way of life that has probably remained unchanged since centuries, consists of a collection of huts that are circular, and have thatched roofs.The walls are covered with a plaster of clay, cow dung, and hay, making a termite-free (antiseptic) facade that blends in with the sand of the countryside around it. Boundaries for houses and land holdings, called baras, are made of the dry branches of a nettle-like shrub, the long, sharp thorns a deterrent for straying cattle.

Eco - friendly Houses
If a hamlet looks bleak, it is hardly surprising: the resources for building these homes, which are the most eco-friendly living unit, are made with what is available at hand, and in Rajasthan, and particularly so in its western desert regions. This can mean precious little. A village that is even a little larger may have pucca houses, or larger living units, usually belonging to the village Zamindar family. Consisting of courtyards, and a large Nora or cattle enclosure, attached to one side or at the entrance, these are made of a mixture of sun-baked clay bricks covered with a plaster of lime.

Decorative Facades
Decorative facades in such units are limited to creating a texture in the plaster in the facade, or using simple lime colours to create vibrant patterns at the entrance, and outside the kitchen. These homes capture, for many of its residents, the only cosmos they know. For the women, but for visits within the village community, the only social occasions were in the nature of pilgrimages which were usually combined with fairs. But it is when they step out that the stark desert and the village break into a feast of colour: turbans bob past in saffron and red; skirts billow beneath mantles that veil the faces of their women- if they didn't, the jewels that glint on their foreheads and faces would add to the shocking surprise of their magentas and their blues, greens and pinks.

A Multi-community Settlement
Each village is a multi-community settlement, the various castes creating a structure of dependence based on the nature of their work. While changes are being wrought in this structure, with ceilings on land holdings, and with young seeking employment opportunities in towns distant from their villages, the social fabric has still not been rent.

Rajputs - The Ruling Community
At the head of the village settlement are usually the Rajputs, the warrior race whose kings ruled, till recently, over these lands. The Rajputs served their kings, joining their armies, and raising their cavalries , but an attendant pursuit was as agriculturists. Often, they employed labour to work on their extensive fields, and kept cattle for dairy produce. In fact, the cattle density in Rajasthan is very high, and milk from desert settlements is supplied to the large cities close to the state, including Delhi.

Intensely Religious People
An intensely religious people, each home in Rajasthan will have a room or at least an alcove where they fold their hands and say their prayers before calendar images of their gods. To seek benevolence from their gods, for in this hostile landscape, it is easy to be superstitious, and they pray to the terrible image of Kali, the wrathful form of Shiva's consort, to protect them from the demons of the elements, and the scrounge of mankind.

Cusines
The principal meal for the family consists of dinner, when freshly baked bread and porridge is served with a yoghurt curry called karhi, and with vegetables that may consist of dried beans, or, now, increasingly fresh produce that is grown and transported from neighbouring states. For most families, breakfast is a glass full of hot tea gulped down with stale bread, before rushing off to attend to the day's tasks, and lunch is a frugal meal of unleavened bread eaten with a spicy chutney of chillies and garlic.

Most meals are vegetarian, and though they eat meat, the Rajputs too do not consume it regularly. In the old days, game would be hunted, and the spoils shared with families in the village. With the ban on hunting, meat now comes from the goats raised in the communities, but they are slaughtered only for special occasions, and at the time of festivals that demand offerings of blood. It is this frugal diet that keeps the people of Rajasthan in fine fettle, slender of build, and not given to fat, and with a posture that is erect.

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Monday, 4 July 2016

RAJASTHAN: Music and Dance

Most of the folk dances of Rajasthan are very graceful and require great skill and dexterity. However when performed well these dances are a sight to behold and thus have gained immense popularity the world over.

Bhawai
Bhawai or Bhavai is the traditional folk dance of Rajasthan and is one of the nail biting, suspenseful dances of the state. Performed with great skill it is the art of dancing and gyrating even while maintaining a fine balancing act and poising many articles and items on one's head. Jats, Bhils, Raigars, Meenas, Charmars and Kumhars are the tribes and clans that promote the growth of this folk art. The Kalbelia tribe of the snake charmers is especially adept in this skill of balancing and he womenfolk of this clan perform a sprightly saltation while holding as many as seven to eleven earthern urns on their head.

The womenfolk of these tribes are used to such balancing precision due to their endeavor in the parched desert areas. A number of such urns and pots are easily carried across a distance in this fashion by the Rajasthani women who transport water from the wells/oases to their homes. Believed to have originated in the neighboring state of Gujarat, Bhawai was soon picked up and adapted by the local tribal men and women who imparted the dance a distinctive Rajasthani essence.

To give the dance a climactic turn, the performer not only balances the pots on her head but also climbs atop a plate (thali) placed on brass tumblers. The thrill comes from the fact that even a slight asymmetry can easily upset the show. The more venturesome dancers take to performing the jig on broken glass or a sword. Sometimes a dancer also balances a ‘puja thali’ (a plate holding the common items of worship) on her head. The accompaniment to the dance, Bhawai is provided by the men singing melodious songs and by instruments like dholak, manjeera, pahkwaja, sarangi and the bhungal.

Chari
Most of the folk dances of Rajasthan are very graceful and require great skill and dexterity. However when performed well these dances are a sight to behold and thus have gained immense popularity the world over. Chari or the popular pot dance is one such folk art that is received globally with awe and admiration and represents the grace of Rajasthan’s culture well.

The Rajasthani woman performs the Chari, a sprightly dance even while carrying an earthen urn or brass pot on her head. What is most amazing is that a lighted ‘diya’ or oil lamp is placed in this urn and its glow is visible throughout the period of the dance. The perfect balance and adroitness of these dancers commands reverence and applause when ever the Chari is performed.

This dance is performed on special occasions and on festive days. Graceful movements of the limbs, deft swirls on the knees and the rhythmic pulsating music entrance and enthrall the hearts of the viewers. Chari performers are trained right from childhood and only when the art of balancing the pot is mastered do the performers graduate to dancing with the lamp in the pot.

The womenfolk of the Kisherigarh region of the state of Rajasthan specialize in this dance form and the region has produced the best known Chari performers. Sometimes the oil-rich cottonseed is burnt instead of the diya and is placed in the pot. Years o rigorous practice is needed to acquire this skill and thus the women avoid any risk of getting burnt.

The grace, the music and the sparkling colors of their costumes illuminated by the diya’s soft glow, Chari is indeed a dance of the spirited women devoted o upholding their traditions even in modern days.

Kalbelia Dance
Kalbeliya is a nomadic community who sometimes introduces themselves as Naath, Jogi, Sapere and Sadhu. Their family business is to catch snakes. This comes in handy as they showcase a number of tricks using these snakes while giving spectacular shows in nearby villages and towns and at their Jajmaan’s (client) place and thus earn livelihood for themselves. As the time changed they have made permanent lodgings outside the cities.

Kalbeliya community consider themselves as the disciples of Guru Kannipav. According to them Guru Jalandhar Nath ji had two disciples namely Gorakh nath and Kannipav. Gorakh nath ji loved simplicity whereas Kannipav ji was very jovial kinds. Both of them were very proud of their art. To test their expertise at their art Guru Jalandhar nath ji asked both of them to bring something to drink for their Guru. So Gorakhnath ji with the help of his talent produced a cup full of elixir and offered it to his Guru while Kannipav ji caught a few snakes and scorpions and extracted the poison out of them and filled the cup with that poison and offered it to his Guru.

This offended the Kannipav so much that he asked Kannipav to drink that cup full of poison and cursed upon him that he should always remain outside the village boundaries. Since then the followers of Kannipav lived outside the village boundaries and were known as Kalbeliya.

They very happily follow all the rules that have been given to them by their Guru Kannipav
1. They always ask people for their food.
2. To always be happy and merry.
3. They always refer to the women younger to them as sister and the women elder to them as mother.
4. They follow simple and straight paths in life.
5. They never ever abuse their master.
6. They never kick their enemies.
7. They stay far away from theft.
8. They always bury their dead and deceased ones.

Pungi is a special instrument of Kalbeliya community. They catch snakes with the help of pungi. They enchant the snake by playing this instrument and then catch it. They believe that the snake can never bite them and they also make ‘Surma’ using the snake’s poison . Due to the use of Surma they believe that they will never lose their eye sight. The women of this community are expert in singing and dancing.

In olden times the women use to sing and dance only on special occasions such as weddings, festivals etc. in their very own distinct style. As times changed these women started performing stage shows around the whole world and with it changed their dancing style as well as their attires. Their swaying dresses, made up of colourful beads give a distinct identity to the women of Kalbeliya community. What makes this attractive dress more interesting is that it is made by the Kalbeliya women themselves. A very interesting fact about them is that they never teach the folk arts to their children. They gain expertise in singing and dancing by watching the elders doing it at home.

Terahtali Dance
The Kaamad community offer their prayers to Baba through dance and music. The men sing bhajans and the women perform an emotive dance. This dance is called terah taali dance. As the name suggests, this dance depicts thirteen different emotions.

For this dance thirteen Manjeera’s are tied on these women’s hand and feet and that is why it is called terah taali dance. The men play Dholak and Tambura and along with this they recite couplets (dohas).

When the women dance the manjeeras produce sounds which gives the impression as if the dance itself is producing music instead of dance being performed on the music. This terah taali dance is performed by the people of Kaamad community who live in the Pali and Nagore district of Rajasthan. The patrons of Kaamad community belong to Meghwal community. This community asks for alms from the people of Meghwal community only.

In present times the number of people performing terah taali dance is very less. As it is the population of this community is very less and moreover many men and women of this community has stopped performing this dance. Consequently the coming generation of the Kaamad community does not take interest in this art form. So this dance form is just on the verge of becoming extinct.

Ghoomar Dance
It is the most famous of the Rajasthani Dances. Ghoomar is a traditional women's folk dance of Rajasthan, India which was developed by the Bhil tribe and was adopted by the Rajputs. It is performed by groups of women in swirling robes, and accompanied by men and women singing together. In this many women dance on the music of Dhol, thali and Manjira (Rajasthan Music Instruments)

Chakari Dance
This dance is performed by nomadic kanjar tribe of Rajasthan at the time of wedding. With skirts whirling, the women give an impression of a spinning top, hence the name Chakari Dance.

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Sunday, 3 July 2016

Ranthambore Fort

Ranthambore Fort lies within the Ranthambore National Park, near the town of Sawai Madhopur, the park being the former hunting grounds of the Maharajahs of Jaipur until the time of India's Independence.. It is a formidable fort having been a focal point of the historical developments of Rajasthan. The fort is known for the glory and valor of Hammir dev of the Chauhan dynasty.

In 2013, at the 37th session of the World Heritage Committee held in Phnom Penh, Cambodia, Ranthambore Fort, along with 5 other forts of Rajasthan, was declared a UNESCO World Heritage Site under the group Hill Forts of Rajasthan.

History
The Ranthambore fort was built by a Chauhan ruler, although the exact name of the ruler is disputed. A widely held belief states that the fort was built the reign of Sapaldaksha, in 944 CE. Another theory states that the fort was built during the reign of Jayant, in 1110 CE. According to Government of Rajasthan's Amber Development & Management Authority, it is likely that the construction started in the mid-10th century during the reign of Sapaldaksha, and continued a few centuries after that.

Under Chauhans
Its earlier name was Ranastambha or Ranastambhapura. It was associated with Jainism during the reign of Prithviraja I of Chauhan dynasty in the 12th century. Siddhasenasuri, who lived in the 12th century has included this place in the list of holy Jaina tirthas. In Mughal period a temple of Mallinatha was built in the fort. The Yadavas ruled in this fort before Prithviraj Chauhan conquered this fort in the 12th century. This has been depicted on a description atone at the entrance of the fort, by the Archaeological Survey of India.

After the defeat of the Chauhan king Prithviraj Chauhan by Muhammad of Ghor in 1192, Ranthambore, led by Govinda Raja, son of Pritviraj, became the center of Chauhan resistance to the expanding Sultanate of Delhi. Govinda Raja was succeeded by his son Balhana.

1569-Akbar's entry into the fort of Ranthambhor
The Delhi Sultan Iltutmish captured Ranthambore in 1226, but the Chauhans recaptured it after his death in 1236. The armies of Sultan Nasir ud din Mahmud, led by the future Sultan Balban, unsuccessfully besieged the fortress in 1248 and 1253, but captured from Jaitrasingh Chauhan in 1259. shakti Dev succeeded Jaitrasingh in 1283, and recaptured Ranthambore and enlarged the kingdom. Sultan Jalal ud din Firuz Khilji briefly besieged the fort in 1290-91. In 1299,Maharao Hammir Dev Chauhan sheltered Muhammad Shah, a rebel general of Sultan Ala ud din Khilji, and refused to turn him over to the Sultan. The sultan unsuccessfully besieged the fortress in 1299, but returned in 1301 to personally oversee a long siege, and succeeded in capturing the fort.

Under Mewar
The fortress was captured by the kingdom of Mewar under Rana Hamir Singh (1326–1364) and Rana Kumbha (1433–1468).After the reign of Rana Kumbha's successor Rana Udai Singh I (1468–1473) the fortress passed to the Hada Rajputs of Bundi. Sultan Bahadur Shah of Gujarat captured the fortress from 1532 to 1535. The Mughal Emperor Akbar captured the fortress in 1569.

The fortress passed to the Kachwaha Maharajas of Jaipur in the 17th century, and it remained part of Jaipur state until Indian Independence. The area surrounding the fortress became a hunting ground for the Maharajas of Jaipur. Jaipur state acceded to India in 1949, becoming part of the state of Rajasthan in 1950.

Inside Ranthambore fort there are three Hindu temples dedicated to Ganesh, Shiva and Ramlalaji constructed in 12th and 13th centuries from red Karauli stone. There is also a Jain temple of Lord Sumatinath (5th Jain Tirthankar) and Lord Sambhavanath.

Nearby attractions
Water Gateways

1.Kachida Valley

2.Surwal Lake

Picnic Sports

3.Malik Talao

Wild Life

4.Bakula

5.Lakarda And Anantpura

6.Rajbagh Talao

7.Ranthambhore Tiger Reserve Or National Park

Historical Places

8.Jogi Mahal

9.Padam Talao

10.Raj Bagh Ruins

11.Ranthambhore Fort

12.Ranthambhore School Of Art

13 Ganesha temple

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Saturday, 2 July 2016

Monuments Of Delhi

Kya bood-o-bash poochho ho poorab ke sakeeno, humein gareeb jaan ke, hass hass pukaar ke,
Dilli jo ek sheher thha, aalam mein intekhaab, rehte thhe jahan muntakhib hi rozgaar ke,
jisko falak ne loot ke veeraan kiya, hum rehne waale hain uss ujre dyaar ke
- Mir Taqi Mir

Delhi is the largest metropolis of India and eighth largest of the World. It started as Indrapatta (aka Indraprastha), a small settlement by Pandavas within the Khandva Forest near river Yamuna around 800 BC. Later in 736 AD, Tomar kings established a new city named Lal Kot not far from this historic land. Since then, 100+ rulers from 15 dynasties tried to change the face and fate of Delhi and established 9 cities adjacent to each other. This website talks about over 1300 monuments, which still exist within the boundaries of these historic cities namely Indraprastha, Lal Kot & Qila Rai Pithora, Dar-Ul-khilafat (aka Siri), Tughlaqabad, Jahanpanah, Ferozabad, Deenpanah and Shergarh, Shahjahanabad and the Lutyen’s Delhi.

Delhi consists of 3 World Heritage Sites, 174 National Protected Monuments and over hundreds of state protected monuments and several unprotected and lesser known monuments. While the government agencies and several NGOs do their part in restoring these forgotten masterpieces of architecture to their original glory, we have taken the responsibility to introduce them to the world, so they are no longer ignored and lost in time. Monuments-Of-Delhi is not just about few dozen old buildings, it is about several ancient mosques, baolis, havelis, walls, gateways, forts, gardens and roads, decorating Delhi, the capital of India.

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An unforgettable India experience!. - See more at:http://www.letsgoindiatours.com

Thursday, 30 June 2016

Arts & Crafts of Delhi

Main Crafts: Carpet Weaving, Meenakari, Zari
Speciality: Amalgam Of All Major Crafts Of India
Developed During: Moughal Era

CARPET WEAVING
Carpet weaving came into prominence during the Mughal era, when Akbar brought Persian weavers to India. The main centres of carpet making were Srinagar , Lahore, Amritsar, Sind, Multan, and Allahabad. At one time Delhi was a centre for the production of Herati carpets, which were designed after the style of those made in Herat, Afghanistan.

Known for their harmonious colours, the design of these carpets was kind of standard. The border was usually a broad band separated from the centre and edged on the outer side by one or two narrow bands filled with bold and conventional flower designs.

GEMS, KUNDAN & MEENAKARI JEWELLERY
Delhi is home to two very special kind of jewellery encouraged and patronized to the level of an art form by the Mughals. The meeting of Hindu and Muslim cultures during the Mughal rule created a rich variety of designs and during this time the art of Kundan was introduced to India. Western influences during the British rule prompted the use of open-claw settings in preference to the traditional kundan gulband (choker), dastband (bracelet) and karnaphul (earrings) settings.

The 17th century saw the greatest proliferation of design and forms, which evolved then, have endured. In this century advances have been made in the technique of enamelling and stone encrusting. Today, new forms, requiring harder metal have come into vogue. Pure gold being extremely pliable was found unsuited to these forms and of necessity a quality of alloy became acceptable.

Kundan is the Mughal-inspired art of setting of stones in gold and silver. Gems are bedded in a surround of gold leaf rather than secured by a rim or claw. Hindu Punjabis brought Meenakari, or the skill of enamelling, from Lahore to Delhi. The Mughal fashion was to enamel the reverse side of jewellery to protect it from contact with the wearer's skin.

Enamelling is a technique, in which hollows made in metal surface are filled with coloured enamels. With intricate designs executing detail, meenakari articles have a delicate and lyrical quality about them.

Do visit Dariba Kalan near Chandni Chowk, which is known as the jewellers' street. Another special thing to look out for is setting of the 'navratanas' or the nine precious stones in gold, which comprise of rubies, diamonds, blue sapphires, emerald, yellow sapphires, cat's eyes, coral, hessonite garnet and pearls. This is a traditional skill practised by Muslim craftsmen called 'saadegars' who settled in Delhi during Shahjahan's reign. Sarafs, traditional Hindu jewellers who have been around for centuries, are still present and doing good business too

BAMBOO WORK
Chicks are window screens made of bamboo slats and are tied with plain or coloured string in designs all over northern India. Delhi also happens to be an important centre for chairs and stools made of the tall golden-white sarkanda grass, which grows in abundance in the capital's area.

IVORY CARVING
Delhi is where the art of ivory carving flourished under the influence of the Mughal princes. The art developed a characteristic form with the use of floral motifs and intricate geometrical patterns worked in fine jali-lattice work.

Delhi craftsmen also make the elephant with the hoodah, the whole structure carved out of just one piece. The chains and jewels decorating the elephant are all delicately caved out of a solid piece of ivory and each link can be separately lifted. Besides, the virtuosity in technique, the stylisation is similar to the Mughal tradition of sculpture. Delhi has also grown in importance as a manufacturing centre of ivory jewellery.

Craftsmen over here also excel in manufacturing small items, such as intricately made beaded necklaces where each bead is worked in the form of a rose bud or chrysanthemum in full bloom with its leaves and tendrills in the background carved in an intricate jali. Carved ivory bangles, ear-studs and a variety of other utility items such as paper knives, cocktail pins, decorative hairpins, ivory cuff links and buttons are some articles produced in Delhi in large quantities. Ivory Palace in Shahjhanabad a 300-year-old shop that used to attract the best craftsmen back then and a place to check out for.

LEATHERWARE
During the Mughal period, Delhi was an important centre of leatherwork. Traditional leather jooties or ethnic footwear and slippers, which were sometimes ornamented with pearls, gold and silver were the piece beyond resistance. Embroidered bags, shoes, leather garments, leather seats, puffs or pidis were other popular items.

MINIATURE PAINTING
The Delhi school is a direct offshoot of the Mughal School. Mansoor, a famous painter of the Mughal Emperor Jahangir's court, is said to be the author of this school and his direct descendants can still be found following in his footsteps. Known for its dynamism and naturalism, this school used a strong contrast in colours and the paintings, which were done on ivory. Now because of the ban on ivory, a special handmade paper is used to create these exquisite paintings

MUSICAL INSTRUMENTS
Throughout history Delhi has been associated with the making of musical instruments, along with Calcutta, Lucknow, Banaras, Lahore, and Tanjore. There are still some old shops located in the capital where musical instruments are assembled. Check out Bina Musical Stores at Nai Sarak, Delhi Musical Store at Jama Masjid and Lahore Music House at Daryaganj, to hear the mesmerising sounds of the traditional musical instruments.

PAPER CRAFT
Talk of paper craft brings one inside the patang (kite) market in Lal Kuan bazaar in Old Delhi. These colourful, feather-light kites come in all shapes and sizes, as kite flying is an important national pastime.

Tazia is the next most popular paper craft. A commemorative paper structure, it consists of coloured bits of paper pasted on a bamboo frame and carried in the Moharram procession. Tazias are used for a happy purpose too during the Phoolwalon ki Sair held every September in the capital.

Another papercraft that takes a lot of hard work is Effigy-Making. The real effect of this art can be seen when the Hindu festival of Dussehra comes round. Huge effigies of Ravana, Kumbhkarna and Meghnath are laboriously erected and then burnt on Dusshera to uphold the victory of truth and justice.

POTTERY
In Delhi, terracotta pottery, is the one whose products make perfect souvenirs to take home. Some prominent terracotta items include cutwork lamps, long necked surahis (water-pots), gamle (flowerpots), pitchers and cups of all shapes and sizes. To get hold of quality earthenware, check out the Crafts Museum in Pragati Maidan, Dilli Haat and just outside the New Delhi Railway Station.

The art of making blue glaze pottery came to Delhi via Kashmir, the Mughal emperors' favourite retreat, and rolled on to Jaipur. The traditional Persian designs are much more in demand nowadays. Apart from the predictable urns, jars, pots and vases, one can also find tea sets, cups and saucers, plates and glasses, jugs, ashtrays and even napkin rings. The colour palette is restricted to blue derived from the oxide of cobalt, green from the oxide of copper and white, though other non-conventional colours such as yellow and brown have jumped into the fray too.

SHELLAC BANGLES
Delhi and Rajasthan are two main places in India, which are regarded as the home of shellac work. Do check out the brightly coloured dazzling bangles, often studded with glass gems, spirals of base-metal wire, foil and spangles. They make inexpensive but an unusual present for friend's too.

WOOD INLAY OR WOODWORK
Because of the Mughal patronage, Delhi became a thriving centre for all sorts of crafts, among them wood inlay work too. The Mughals loved decoration done with woodwork and their demand encouraged communities of Persian inlay artisans to settle in Delhi. Coloured woods, horn and even plastic are lovingly set into carved surfaces of a range of household objects, jewellery boxes and curios.

Recently Delhi has developed a number of successful designs for furniture. Well-known designers, entrepreneurs, and furniture firms have revived several local designs for lathing, carving and inlay and the number of successful workshops for artistic and functional furniture continues to increase.

ZARI, GOTA, KINARI & ZARDOZI
Zari is gold, and zardozi embroidery is the glitteringly ornate, heavily encrusted gold thread work practised in Delhi and a few other cities of India. Zari threads are used extensively in handloom and powerloom saris, which are manufactured all over India. Either real silver thread, gold-plated thread or an imitation, which has a copper base gilded with gold or silver colour, is used for zari work.

Traditionally made for Mughal and Rajput nobility, it has now been officially adopted as bridalwear. Nowadays synthetic or 'tested' zari embroidery is done. Cast metals are melted and pressed through split steel sheets, to be converted into wires. Then they are hammered to the required thinness. Plain wire is called badla, and when wound round a thread, it is called kasav. Smaller spangles are called sitara, and tiny dots made of badla are called mukaish.

Associated to appliqué, gota work involves placing woven gold cloth onto other fabric to create different surface textures. Kinari or edging is the fringed or tasselled border decoration, predominantly practised by Muslim craftsmen.

A Celebration Of Style
Zardosi is heavy embroidery with silver and gold threads as also wire - known as salma or sitara, on rich textiles like silk and velvet. The pattern is first drawn and carved on wooden blocks. The embroidery process begins by stamping the pattern with aid of gum and chalk or occasionally with paper stencils onto the fabric, which is streched on a wooden frame, known as karchob.

The craftsmen then start the actual embroidery, using needles of different sizes. Often readymade shapes of maal, with names such as nakshi, sadi kora and kangani are stitched on to form a variety of zardosi patterns. This material is purchased by weight and is available in grouped sections or bunches known as lachis, held together with a fine string.

Says famous designer Abu Jani " Zardosi is done with regular needle so each stitch is what is called pukka kaam or finished work, it endures since each stitch is knotted." Designers like Abu Jani and Sandeep Khosla have added real value to Indian fashion by reviving the almost dying styles of garment embellishments like zardosi. Kinari Bazaar in Delhi has a wide range of these dazzling garments on display and for sale.

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An unforgettable India experience!. - See more at:http://www.letsgoindiatours.com