Pali Presentation

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Ashtavinayakaliterally means eight Ganeshas in Sanskrit.Ganesha is the Hindu deity of prosperity and learning.The term refers to a pilgrimage to the eight Hindu templesin Maharashtra state of India that house eight distinct idolsof Ganesha, in a pre-ascertained sequence.

The Ashtavinayaka yatra or pilgrimage covers the eight ancientholy temples of Ganesha which are situated around Pune. Eachof these temples has its own individual legend and history, asdistinct from each other as the murtis in each temple.The form of each murti of Ganesha and His trunk are distinctfrom one another.

Pali- INTRODUCTION

ASHTAVINAYAKA

Third year of architecture

2009-2010


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The eight temples/idols of the Ashtavinayak in their religious sequence are:The Moreshwar Temple, Moregaon

The Siddhivinayak Temple, SiddhatekThe Ballaleshwar Temple, PaliThe Varadavinayak Temple, MahadThe Chintamani Temple, TheurThe Girijatmaj Temple, LenyandriThe Vighnahar Temple, Ozar

The Mahaganapati Temple, RanjangaonAccording to Shastra, first you have to visit Moreshwar of Moregaon. ThenvisitSiddhatek, Pali, Mahad, Theur, Lenyandri, Ozar, Ranjangaon and then againMoregaon will end you Ashtavinayak Yatra.Some of these murtis are calledSwayambhu effigies, or the self-existentin Sanskrit. This is to indicate that nohuman created these murtis, they were found completely formed by nature.

THE EIGHT TEMPLES


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Pali- INTRODUCTION
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ABODES OF GANESHA

Also in Maharashtra are eight temples dedicated toGanesha, related to various episodes from the puranasand other legends - and these deities are collectively

known as Ashta Vinayak.Moregaon enshrines Ganapati as Mayureshwar(Moresh) or the peacock rider, who slew the demonSindhu in response to pleas from the Gods.

Ganesh Chaturti is celebrated with an extra measure of grandeur in the stateof Maharashtra. The Siddhi Vinayak temple in Mumbai is visited by hundredsof thousands of devotees throughout the year.


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Pali- INTRODUCTION
http://www.templenet.com/Maharashtra/moresh.htmlhttp://www.templenet.com/maharashtra.htmlhttp://www.templenet.com/Maharashtra/siddhi.htmlhttp://www.templenet.com/Maharashtra/siddhi.htmlhttp://www.templenet.com/maharashtra.htmlhttp://www.templenet.com/Maharashtra/moresh.html


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ABODES OF GANESHAMahaganapati at Ranjangaon is believed to have come to the aid of Shiva indestroying the citadels of the demon Tripurasura.

Mahad enrhsines Varadvinayak (the bestower of boons), in commemorationof a legend related to Rukmangada.Chintamani Vinayak relates to the legend of Kapila Muni and the Chintamanigem that he had obtained from Shiva.Girijaatmaja Vinayaka is enshrined on Lenyadri Parvat, and is believed to bea manifestation of Ganapati as an infant.

Vigneshwara at Ozar is regarded as the slayer of the demon Vignaasura.Ballal Vinayak at Pali, is associated with a legend where Ganapati is said tohave come to the aid of a young lad, who was a fervent devotee of Ganapati.Siddhi Vinayak at Siddhatek is said to have come to the aid of Mahavishnuas he was engaged in a long battle with the demons Madhu and Kaitabha.

Pali- INTRODUCTIONThird year of architecture

2009-2010
http://www.templenet.com/beliefs/allaboutshiva.htmhttp://www.templenet.com/Maharashtra/lenyadri.htmlhttp://www.templenet.com/Maharashtra/vignesh.htmlhttp://www.templenet.com/Maharashtra/ballal.htmlhttp://www.templenet.com/Maharashtra/siddhatek.htmlhttp://www.templenet.com/Maharashtra/siddhatek.htmlhttp://www.templenet.com/Maharashtra/ballal.htmlhttp://www.templenet.com/Maharashtra/vignesh.htmlhttp://www.templenet.com/Maharashtra/lenyadri.htmlhttp://www.templenet.com/beliefs/allaboutshiva.htm


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Pali- ROUTE Third year of architecture2009-2010

ROUTE

Regular bus services are available from Mumbai,Pine, Karjat and Panvel.Mumbai Khopoli is 90 k.m. and

Khopoli Pali is 38 k.m..It is possible to go to Pali from Nagpthane onMumbai Goa highwayNagothane Pali is 13 k.m.By Rail: Nearest railway stations are Panvel,KhopoliBy Air: Mumbai is nearest airport.Places to see nearby:Alibag beach, Raigad fort, Harihareshwar.

By Road:It is in Sudhagad Taluka near Nagothane. You can get bus at Alibag.It is at a distance of 30 k.m. from Karjat.

From Mumbai via Panvel and Khopoli, Pali is at a distance of 124 k.m.From Pune via Lonavala and Khopoli, Pali is at a distance of 111 k.m.
http://www.ashtavinayak.info/map.htmlhttp://www.ashtavinayak.info/map.html


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HISTORY OF PALI VILLAGE

Long ago, in Krita-Yuga this place is known

as Kokan Pallir. A businessman called Kalyan Sheth was

living there with his wife Indumati & sonBallal. Ballal and His friends were the greatdevotee of Lord Ganesha.

Their parents did not like this. Theycomplained about this to Kalyan Sheth.Kalyan Sheth wanted his son to become thedevotee of Lord Ganesha, instead he wantedhim to become a businessman like him.Kalyan Sheth became very angry about daily

complaints of his son.

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Once Ballal went to forest along with other children for playing. They made astatue of Lord Ganesh and were so engrossed in performing his worship that theyforgot everything even though it became dark.

The parents of everyone became angry, they went to the forest where they sawBallal and other children were playing and worshipping Lord Ganesha. They threw

the idol and scattered the puja. Kalyan Sheth beat Ballal very much with the stick. Blood came out of his body. He

left his son in that condition with his body fasten by rope. Kalyan Sheth asked his son, now let us see how your God will rescue you. He

began to make his prayers to Lord Ganesh. In disguise of one Brahmin LordGanesh came to Ballal and healed his wounds. Lord Ganesha gave him ablessing that you will be the great promoter of my cult (the devotees of Lord

Ganesha, great spiritual leader and you will have long life. Ballal said, Oh Lord Ganesha! you live at this place and fulfill the desires of the

devotees and this place should become famous. Lord Ganesha agreed this anddisappeared in a rock.

The rock is nothing but the idol of Lord Ballaleshwar and the idol, which wasthrown by Ballal's father, was installed in the nearby temple as Lord Dhundi-Vinayak.


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Pali- HISTORY


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THE TEMPLE The original wooden temple was re-built withrock by Mr. Phadanvis during 1760s. The temple is facing towards East. Two small

lakes are built near the temple. Water from the right side lake is used for Lord

Ganeshas worship and other auspiciousoccasions. During Southern declination of thesun the rays directly fall on the idol of Lord

Ballaleshwar. The temple is very strong while building the

walls of the temple, lead was put in it. Thepinnacle of the temple was build by bricks and asmall room was built inside the pinnacle.


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There is a terrace in front of theroom.

There are two naves in thetemple. The inner or main nave isbigger the naves were built insuch a way that all right directionsare covered in it. It is like anoctagon.

The height of the main nave is 15feet and the height of other naveis 12 feet where the statue ofmouse holding modak in its twolegs was installed.


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THE IDOL In the main nave, there is a gaily decorated frame

which is made up of stone. The idol of Lord Ballaleshwar is about 3 feet. The

idol is facing towards East and the trunk is goingtowards left.

There are diamonds in the eyes and navel of theidol.

The decorative frame behind the idol is made of

silver. The idol is installed on the throne and decorated

with silver. Idols of Goddess, Shri Buddhi andGoddess Shri Siddhi are present near the idol ofLord Ballaleshwar. Many ornaments of gold, silver& diamonds are put on the idol everyday.


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Vithoba (Marathi:), also known as

Vitthala and Panduranga , is a Hindu god,worshipped predominantly in the Indian statesof Maharashtra Karnataka and AndhraPradesh. He is generally considered amanifestation of the Hindu god Vishnu or hisavatar (incarnation) Krishna or, occasionally,

his avatar the Buddha. He is also sometimesassociated with the god Shiva. Vithoba isoften depicted as a dark young boy, standingarms-akimbo on a brick, sometimesaccompanied by his main consort Rakhumai(Rukmini).


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Pali- TEMPLE

VITTHAL RUKHMINI
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Vithoba's main temple stands at Pandharpur inMaharashtra, close to the Karnataka border.Rakhumai (or Rakhamai) literally means 'mother

Rukmini'. Rukmini is traditionally viewed as the wife

of Krishna. Hindus generally consider Krishna to bea form of Vishnu, hence his consort as a form ofLakshmi. Rakhumai is depicted in the arms-akimboposture, standing on a brick. She has anindependent cella in the Pandharpur templecomplex.Rukminia princess of the Vidarbha region of the

Maharashtra kingdomwas elevated to the statusof the main consort instead of Radha, because ofher affiliation with the region


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Pandharpur image, when not clothed by itsattendant priest to receive devotees, providesVithoba with the dTetailed features distinctiveof a male body, visible in full relief.

Two distinct traditions revolve around theworship of Vithoba in Maharashtra: ritualworship inside the temple by the Brahminpriests of the Badva family; and spiritualworship by the Varkaris.Vithoba was introduced to South India during

the Vijayanagara and Maratha rule.In addition to the rites at the main temple in

Pandharpur, Haridasa traditions dedicated toVitthala flourish in Karnataka.


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Pali- TEMPLE
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Shani Shingnapur or Sonai is a village in the Indian state of

Maharashtra. Situated in Nevasa taluka in Ahmadnagar district,the village is known for its popular temple of Shani, the Hindu godof the planet (graha) Saturn.Shingnapur is also famous for the fact that no house in the villagehas doors, only door frames. Despite this, no theft is reported inthe village.Villagers never keep their valuables under lock andkey. Villagers believe that the temple is a "jagrut devasthan" (lit.

"alive temple"), meaning that the god here is very powerful.

They believe that god Shani punishes anyoneattempting theft.

The village has a post office and a high school known as Shri Shanishwar Vidya Mandirbesides the primary schools run by the Zilla Parishad. The chief source of water supplyin the villages is wells.


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Pali- TEMPLE

SHANI SHINGNAPUR
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The shrine for Shani compromises of a five and a half feet high blackrock installed on an open-air platform, which symbolizes the god Shani.

A Trishula (trident) is placed along the side of the image and a Nandi(bull) image is on the south side. In front are the small images of Shivaand Hanuman.Generally, the temple has 30-40,000 visitors a day, which swells toaround three lakh (i.e. three hundred thousand) on amavasya(the newmoon day), believed to the most auspicious day to appease LordShani.The village holds a fair in honour of the deity on this day. A biggerfair on new moon days that fall on Saturdays. Devotees bathe LordShani's image with water and oil and offer flowers, and udidto him. Apalanquin procession of Shani is held on the day of the fair. Otherfestivals include the birthday of Shani, Shani Jayanti.


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Pali- TEMPLE

SHRANE OF SHANI


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DAILY PROGRAMSAND FESTIVALS The temple opens at 5 Oclock in the morning and at 5.30 am one can see

and worship Lord Ballaleshwar.

At 5 a.m. kakad arati(prayer which is done in early morning) &Panchopachari puja(worship with sandalwood, flowers, red lead, pastinstick/dhoop and light deep) done by the priest.

Before 12 noon Shodopachari puja (a worship which embodies 16 items). After sunset Panchopachari puja and at night dhoop arti (worshipping with

pastin sticks) takes place. The temple closes after last prayers in the night.


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FESTIVALS The two festivals celebrated here are during Bhadrapada and Magha

(Shuddha Pratipada to Panchami). It is the experience with manydevotees that Ballaleshwar fulfills all their desires and demands.

Hence worshippers throng this Kshetra both to express their desiresand to thank him after their desires are fulfilled. Whoever comes hereon Bhadrapada Suddha Chaturthi and has my darshan all his desireswill be fulfilled, is the boon given by Ganesha to Ballala.

On the night of Bhadrapada Chathurthi there is Maha Naivedya andon Panchami there is Anna Santarpana.

Devotees make 21 Pradakshinas of the Ganapati to get their desiresfulfilled and problems solved.


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There is a firm belief among the devotees that at midnight of MaghaShuddha Chaturthi Shree Gajanan actually comes to the temple tophysically partake the food offered as Naivedya. Hence there is heavy rushthen.

As per the advice of Lomesa Rishi, Jabali Muni performed Ganesha Vratafor four months drinking only milk. Due to that Balleshwar appeared beforehim. Jabali induced Vibhandaka who also completed Ganesha Vrata and

had Ballaleshwars darshan on Karthiki Purnima. Such is the greatness of Shri Ballaleshwar who is the most popular among

ASHTA VINAYAKA and considered to be very much alive to the devoteesaspirations.


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PALI HOUSE CLUSTERS

In India, the people who farmed, who fishedand who have built their houses with theirhighly developed skills of craftsmanship alwaysplanned a house that was their own but that

also belonged to the village. It was only oneunit of the many that made up the village street.One house was built, then the next and thenext. Streets that were thus formed wereshaded from the afternoon sun.

In Coastal Maharashtra, houses in rural areas are nestled

amidst the trees and the paddy fields. There is abundant landavailable to build upon and yet, the houses lie snugly next toeach other.


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Here, the roofs are built intimber understructure withMangalor tiles. The square tiled

roof is seen as a commonelement throughout the coastalvillages of the Konkan region.

The walls are in brick and verandahs are created with brick arches that offerstructuralsupport. The plan of the house is primarily square.The villages here are ideal watersheds. The village jungle is treated ascommon property and preserved.

Phenomena like sacred groves and bunded water channels that weremaintained traditionally are still common in the konkan.


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As one passes by Saplak, near Mhalsa, Mahad, in Chiplun and other parts of

Ratnagiri, Raigad and Sindhudurg districts one notices that entire streets arelined with mangalore-tiled houses. This is a fairly prosperous town which hasdiamond merchants who have artisans skilled in diamond cutting. Saplak ison the way to Harihareeshwar.


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GOAN ARCHITECTURE

The architecture of goa is a combinationof indian , mughal, and portuguesestyles.

The typical goan architecture is verysimple and easy going and is visible inbuilding like modern buildings.

Blue and red were the favourite colourswith many houses being painted in brightblues and roofs being covered by redtiles.


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Pali- HOUSES
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Each house had a separaterooms or secluded space forkeeping idol/photos of god.

Most of the houses have the bustof jesus christ at entrance.Central staircase leading toverandahs and balconiesupstairs are a unique features ofgoan architecture.


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Pali- HOUSES
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The windows are usually curved inwards that are glazed with glass/oystershells.

A central courtyard is yet another feature of goan architecture.

The goan houses are a complex amalgam of design elements, adaptationsand influences all over the world.

When these Goans returned they brought with them ideas and influencesfrom the country of their expatriation."


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These are built-to-edge courtyards houses with rooms built acentral (multi activity) courtyard opening onto a street.Shaniwar wada is an efficient example of town planningobserved during rule of peshwas.It had great fountains, courtyards, offices etc.


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TRADITIONAL EADAS


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How Architectural FeaturesAffect Building During

Earthquakes?Importance of Architectural Features

The behaviour of a building during earthquakes depends critically on itsoverall shape, size and geometry, in addition to how the earthquake

forces are carried to the ground. Hence, at the planning stage itself,architects and structural engineers must work together to ensure that theunfavourable features are avoided and a good building configuration ischosen.


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The importance of the configuration of a building was aptly summarised byLate Henry Degenkolb, a noted Earthquake Engineer of USA, as:

If we have a poor configuration to start with, all the engineer can do is toprovide a band-aid - improve a basically poor solution as best as he can.Conversely, if we start-off with a good configuration and reasonable framingsystem, even a poor engineer cannot harm its ultimate performance toomuch.

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A desire to create an aesthetic and functionally efficient structure drives architects to conceivewonderful and imaginative structures. Sometimes the shapeof the building catches the eye of thevisitor, sometimes the structural systemappeals, and in

(b) too long) (a) too tall Figure 1: Buildings with one of their overall sizes much larger or much smaller than the

other two, do not perform well during earthquake other occasions both shape and structural systemwork together to make the structure a marvel.

However, each of these choices of shapes and structure has significant bearing on theperformance of the building during strong earthquakes. The wide range of structural damagesobserved during past earthquakes across the world is very educative in identifying structuralconfigurations that are desirable versus those which must be avoided.

Size of BuildingsIn tall buildings with large height-to-base size ratio (Figure 1a), the horizontal movement of thefloors during ground shaking is large. In short but very long buildings (Figure 1b), the damagingeffects during earthquake shaking are many. And, in buildings with large plan area likewarehouses (Figure 1c), the horizontal seismic forces can be excessive to be carried by columns

and walls.

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ARCHITECTURAL FEATURES


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Horizontal Layout of Buildings In general, buildings with simple geometry in plan

(Figure 2a) have performed well during strongearthquakes. Buildings with re-entrant corners, like

those U, V, Hand + shaped in plan (Figure 2b), have (a) Simple Plan

:: good (b) Corners and Curves : : poor (c) Separation joints make complex plans into

simple plans Figure 2: Simple plan shape building do well during

earthquakes

sustained significant damage. Many times, the badeffects of these interior corners in the plan of buildingsare avoided by making the buildings in two parts. Forexample, an L-shaped plan can be broken up into tworectangular plan shapes using a separation joint at the

junction (Figure 2c). Often, the plan is simple, but thecolumns/walls are not equally distributed in plan.Buildings with such features tend to twist duringearthquake shaking. A discussion in this aspect will bepresented in the upcoming IITK-BMTPC Earthquake Tip7on How Buildings Twist During Earthquakes?

(a) too tall

Figure 1: Buildings with one of

their overall sizes much larger

or much smaller than the other

two, do not perform well during

earthquake


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Vertical Layout of Buildings

The earthquake forces developed at different floor levels in abuilding need to be brought down along the height to theground by the shortest path; any deviation or discontinuity inthis load transfer path results in poor performance of thebuilding. Buildings with vertical setbacks (like the hotelbuildings with a few storeys wider than the rest) cause asudden jump in earthquake forces at the level of discontinuity(Figure3a). Buildings that have fewer columns or walls in aparticular storey or with unusually tall storey (Figure3b), tendto damage or collapse which is initiated in that storey. Manybuildings with an open ground storey intended for parkingcollapsed or were severely damaged in Gujarat during the2001 Bhuj earthquake.

(a) Setbacks Unusually Tall Storey (b) Weak or Flexible Storey (c) Slopy Ground (d) Handing or Floating Columns

Reinforced Concrete Wall Discontinued in Ground Storey (e) Discontinuing Structural Members Figure 3: Sudden deviations in load transfer [path along

the height lead to poor performance of buildings

(a) Setbacks

Unusually Tall Storey

(b) Weak or Flexible Storey

(c) Slopy Ground(d) Handing or Floating

Columns

Reinforced Concrete Wall

Discontinued in Ground

Storey

(e) Discontinuing Structural Members


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Buildings on a sloping ground haveunequal height columns along the slope,which causes ill effects like twisting anddamage in shorter columns (Figure 3c).

Buildings with columns that hang or floaton beams at an intermediate storey and donot go all the way to the foundation, havediscontinuities in the load transfer path(Figure 3d). Some buildings havereinforced concrete walls to carry theearthquake loads to the foundation.

Buildings, in which these walls do not goall the way to the ground but stop at anupper level ,are liable to get severelydamaged during earthquakes. Reinforced Concrete

Wall Discontinued in

Ground Storey

(e) Discontinuing Structural Members

Figure 3: Sudden deviations in

load transfer [path along theheight lead to poor performance

of buildings


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Adjacency of Buildings

When two buildings are too close to eachother, they may pound on each otherduring strong shaking. With

increase in building height, this collisioncan be a greater problem. When buildingheights do not match (Figure 4), the roof ofthe shorter building may pound at the mid-

height of the column of the taller one; thiscan be very dangerous. Pounding can occur between adjoining

buildings due to horizontal vibrations of thetwo buildings


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Building Design and Codes Looking ahead, of course, one will continue to make buildings interesting

rather than monotonous. However, this need not be done at the cost of poorbehaviour and earthquake safety of buildings. Architectural features that aredetrimental to earthquake response of buildings should be avoided. If not,they must be minimised. When irregular features are included in buildings, aconsiderably higher level of engineering effort is required in the structuraldesign and yet the building may not be as good as one with simple

architectural features. Decisions made at the planning stage on buildingconfiguration are more important, or are known to have made greaterdifference, than accurate determination of code specified design forces.


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Dances of MaharashtraMaharashtra, is a land of culture and traditions, where religious festivals aregreat occasions of social entertainment. Various folk dances are performedduring festive or special occasions, representing rich its cultural heritage.

LavniLavani is a combination of traditional song and dance, which particularyperformed to the enchanting beats of 'Dholak', an drum like instrument. Thisdance is performed by attractive women wearing nine-yard saris. Thewomen gyrate on the pulsating beats of traditional music.The word Lavani originates from "Lavanya", meaning beauty. Earlier, thisart form dealt with different and varied subject matters such as society,religion, politics, romance, etc.Lavani was used as a form of entertainment and morale booster to the tiredsoldiers during the 18th and 19th century Maratha battle. Many famous

Marathi poets like Honaji Bala, Ramjoshi, Prabhakar, etc. contributed to thepopularity of Lavani.


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Lezim dance

Lezim dnace is popular folk dance form ofmaharahtra . It is performed with colours full

costumes and lezim or a small mallet.

The word lezim is a sanskrit word which means

beauty with its beautiful pattern of sound and

music, the dance attracts large no. of people.


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Dhangari Gaja This particular dance form is performed by Dhangars or shepherds of

Sholapur district of Maharashtra. The Dhangars earn their living by rearingsheep and goats. Their poetry is mainly inspired by the evergreen trees allaround. The poetry is in a form called 'Ovi' which is made up of couplets.These poems also contain tales of the birth of their God "Biruba", in simpleand basic lines.

The Dhangari Gaja Dance is performed to please their God for hisblessings. The traditional Marathi dresses that Dhangar dancers wear are,Dhoti, Angarakha, Pheta and a colorful handkerchiefs. The group ofdancers surround the drum players and move at the rhythm.


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Povadas & KoliPovadasPovadas are Marathi ballads, describing the events in the life of the greatMaharashtrian leader, Shri Chhatrapati Shivaji Maharaj. He holds a highlyrespected position in the hearts the people of Maharashtra. Through theseballads they remember Shivaji, a great hero of his time.

KoliKoli is one of the most popular dance form of Maharashtra that derives itsname from the fisher folk of Maharashtra - Kolis. These fishermen arefamous for their distinct identity and lively dances. Their dances consistselements from their occupation that is fishing.This dance form is performed by both men and women, who are divided ingroups of two. These fishermen portray the movement of the rowing of a

boat in this dance form. The dancers also portray the movements of wavesand the casting of nets to catch the fish.


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TamashaTamasha is one of the most important form of folk theater of Maharashtra.The word Tamasha is Persian and means fun or entertainment. This form isa blend of several different influences. Some scholars believe that this formof theater has been inspired by two forms of Sanskrit drama - the"Prahsana" and the "Bhana". This dance form developed in 16th century.The love songs ('Lavanis') are the heart of Tamasha and are very popular.Instruments used are the Dholki drum, 'Tuntuni' (a single string instrument),

'Manjeera' cymbals, 'Daf' (a tambourine-like instrument with a single leathersurface), 'Halgi' (smaller Daf), the metal triangle called 'Kade', the 'Lejim' (aninstrument with a jangling sound), the Harmonium and 'Ghunghroos' (anklebells). Tamasha is associated with two of the communities of Maharashtra,they are Kolhati and Mahar.


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Documents

Pali Presentation