Complete Guide about Mahakaleshwar Jyotirlinga Temple
Mahakaleshwar Jyotirlinga Temple
About Mahakaleshwar Temple
Three stories make up the temple. The lingams of Mahakalesvara, Omkaresvara, and Nagachandresvara are erected in the lowest, middle, and topmost sections, respectively. On the occasion of Naga Panchami, pilgrims and guests can only catch a glimpse of Nagachandresvara. Koti Tirtha, a very huge Kunda, is another feature of the temple complex. Sarvatobhadra architecture is used to construct the Kunda. Both the Kunda and its water are regarded as being extremely celestial. Numerous images depicting the sculptural splendour of the temple constructed during the Paramara period may be viewed on the path next to the Kunda’s stairs. A sizable veranda with the entrance to the walkway leading to the garbhagrha is located to the east of the Kunda.Sri Rama and the goddess Avantika are worshipped in a cell on the verandah’s northern side. Many tiny Saivite temples built during the Shinde era can be seen on the southern side of the main shrine. Of these, the temples of Vrddha Mahakalesvara, Anadi Kalpesvara, and Saptarshi stand out as outstanding examples of architecture.
Mahakalesvara’s lingam is enormous. The shrine is made even more magnificent by the silver-plated Naga Jaladhari and the elaborately etched silver plate covering the garbhagrha. The garbhagrha also displays lovely, miniature representations of Ganesa, Kartikeya, and Paravati in addition to the Jyotirlinga. Classical eulogies in honour of Lord Siva are displayed all around the walls. The Nanda Dipa never goes out of flame. There is a large chamber near the exit where a very attractive metal-quoted stone Nandi can be seen seated modestly. The courtyard just across from the Omkaresvara temple significantly adds to the temple complex’s grandeur.Two pillared projections facing the east are right next to this temple and greatly enhance its architectural design. The architecture of the Mahakalesvara temple is a carefully planned fusion of the Bhumija, Chalukya, and Maratha styles. Very strange is the sikhara with the mini-srngas. Its top portion has previously been coated in gold plate.
As was already mentioned, the current Mahakala temple was constructed in the fourth and fifth decades of the eighteenth century. The religiously inclined Maratha nobles also constructed numerous temples in the complex of temples at the same time. Many old customs, like worship abhisheka, arati, sawari (procession) in the month of Sravana, Harihara-milana, etc., were resurrected at this time. These are still going strong, with jubilant ceremony and enthusiastic devotion. Special religious events like Bhasmarti in the morning, Mahasivaratri, Pancha-Krosi Yatra, Somavati Amavasya, etc. are intertwined with the temple ceremonies. During the Kumbha Parva, the temple complex receives proper maintenance and rejuvenation. A second mandapam was built in 1980 to accommodate the tourists.Exclusively in 1992, the governments of Madhya Pradesh and Ujjain Development Authority paid to special repairs and prepared accommodations for pilgrims. When it comes to the upcoming Simhastha, the same procedure is being used.
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Ujjain Mahakaleshwar History
It’s difficult to say when the Mahakala temple first existed. The incident might, nevertheless, be categorised as prehistoric. It was first established, according to the Puranas, by Prajapita Brahma. In the sixth century BC, prince Kumarasena was given the responsibility of maintaining the law and order in the Mahakala Temple by king Chanda Pradyota. The image of Lord Siva is shown on the Ujjain punch-marked coins from the fourth to third centuries BC. Additionally, the Mahakala Temple is mentioned in numerous classical Indian poetry works. These writings claim that the temple had been incredibly opulent and generous. Stones were used to construct the platform and foundation. On the wooden pillars, the temple was supported.Prior to the Gupta era, there were no sikharas on the temples. Most temple roofs used to be flat. This temple was referred to as “Niketana” by Kalidasa in Raghuvansam, possibly as a result of this. In close proximity to the temple had been the king’s palace. The Meghadutam (Purva Megha) begins with a beautiful account of the Mahakala temple by Kalidasa. It seems possible that the Chandisvara temple was a rare example of the art and architecture of its time. It is possible to determine how magnificent the town’s main temple, which had multi-story gold-plated palaces and buildings as well as incredible aesthetic splendour, had been. High ramparts connected to the entry-gates surrounded the temple.Twilight cast a vibrant glow on the temple complex thanks to the rows of sparkling lamps.
The sounds of various musical instruments reverberated over the entire environment. The temple’s aesthetic attractiveness was further enhanced by the charming and beautifully decorated damsels. The Jaya-dhvani (Let the Lord be victorious) chant of the congregation of worshippers reverberated throughout the entire area. Priests continued to worship the Deity and recite benedictions. Vedic hymns were chanted and Stutis were sung, and the beautifully painted walls and carved pictures conveyed the apex of the time’s artistic achievements.
Following the collapse of the Gupta empire, Ujjain’s political scene was dominated successively by the Maitrakas, Chalukyas, Later Guptas, Kalachuris, Pusyabhutis, Gurjara Pratiharas, Rastrakutas, etc. But everyone kneeled before Mahakala and gave gifts and charity to the needy. In Avantika, a plethora of temples dedicated to various gods and goddesses, as well as Tirthas, Kundas, Vapis, and gardens, developed during this time. There were a number of Saivite temples there, including those for 84 Mahadevas. It should be emphasised that the construction of the Mahakala temple and its surrounding religiocultural environment did not go unnoticed during the period when religious monuments dominating every nook and cranny of Ujjain.The literary works Harsacharit and Kadambari of Banabhatta, Naisadhacharit of Sri Harsa, and Navasahasamkacharit of Padmagupta, among many others, are remarkable for evoking the importance and allure of the temple. It would seem that Ujjain and the Mahakala temple had a number of crises under the reign of R.H. Paramara. One Gazanavide commander attacked Malwa in the eighth decade of the eleventh century AD, plundering it mercilessly and destroying numerous shrines and statues. However, the Paramaras soon revived everything. A modern Mahakala Inscription attests to the fact that Udayaditya and Naravarman rebuilt the Mahakala temple between the late eleventh and early twelve centuries.It was constructed in the Bhumija architectural style, which was a favourite of the Paramaras. This truth is confirmed by the remains that are still present in the temple complex and the nearby locations. The plans of the temples in this type were either Triratha or Pancharatha. The sikhara and the star-shaped design of these temples served as their primary identifiers. In terms of the sikhara, the Chityaas and the Sukanasas rose up at the cardinal points from the urusrngas (mini-spires), typically of odd numbers, gradually shrinking in size in rows between the well-decorated spines (haravali or lata), and were ultimately topped by the Amalaka. The temple was overflowing with ornamental themes and figures.The shrine was divided horizontally into the entrance, ardhamandapa, sanctum, antarala (vestibule), garbhagrha, and Pradaksanapatha, in that order. The pillars and pilasters of the temple provided support for the upper portions. According to the modern Silpa-sastras, these temples had statues of a variety of deities, the Nava Grahas (Nine Planets), Apsaras (celestial damsels), female dancers, anucharas (attendants), Kichakas, and other beings. The temple’s sculptures were quite classical and varied. The temples were decorated with images of Ganesa, Paravati, Brahma, Visnu, Surya (Sun-god), Sapta Matrkas (Seven Mother-Goddesses), and other deities in addition to the Saivite representations of Nataraja, Kalyanasundara, Ravananugraha, Gajantaka, Sadasiva, Andhakasura-slayer, Lakulisa, etc.These carvings were exceedingly proportioned, beautifully ornamented, flawlessly sculpted, and in accordance with classical and Puranic scriptures. In one manner or another, worship and ritual performance remained. This truth is revealed by the 13th–14th century works Prabandha Chintamani, Vividha Tirtha Kalpataru, and Prabandha Kosha. Similar references are made in the 15th-century texts Vikramacharit and Bhojacharita. The epic Hammira Mahakavya claims that during his sojourn in Ujjain, Hammira, the king of Ranathambor, worshipped Lord Mahakala.
In Ujjain, a few Sanads published by the Mughal emperors and Malwa Sultans have come to light, attesting to the fact that during the Middle Ages, these Islamic sultans paid priests to perform religious services, light lamps, and give prayers to God for the security of their thrones. Thus, it is clear that these Islamic kings respected Mahakalesvara as well, and they provided financial aid to placate their Hindu subjects as well. In the fourth decade of the eighteenth century, the Maratha administration was formed in Ujjain. Peshwa Bajirao-I entrusted the management of Ujjain to his obedient commander Ranoji Shinde, whose diwan was the affluent but unfortunate issueless Sukhatanakar Ramchandra Baba Shenavi.He chose to invest his fortune for religious objectives after considering the advice of numerous learned Panditas and well-wishers. Throughout this regard, at the fourth and fifth decades of the eighteenth century AD, he rebuilt the renowned Mahakala temple in Ujjain.
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