Yakshagni - An odyssey of unbroken devotion - II

16) Modhera

Growing up in the bosom of the Himalayas, Dharma had been excited by pictures of the sea many a time. She had often imagined how one felt sailing in the unending waters of the ocean. She would love to explore the marine world under the infinitely blue waters as she had grown up listening to folktales of water kingdoms thriving under the seas. Not surprisingly, when she boarded the train to Ahmedabad, she had been quite excited to see the coastline. To her, Gujarat represented the remains of the Indus Valley Civilization, the Arabian Sea, and a number of flowing rivers. However, it was only after reaching Ahmedabad that she learnt that the coastline was much farther away from the city.

Nevertheless, she was quite excited to travel to Modhera. In jeans and a crisp white baggy linen shirt, Dharma felt completely at ease. With her black glossy hair put up in a high knot, she felt relieved from the burden of managing her hair.

Once they left the boundaries of the city, they relaxed in the cab to enjoy the passing landscape. The broad and excellent Palanpur highway was a pleasure to travel and when they crossed the historical town of Kalol, the cab driver asked if they wanted to take a break. All the same, they continued their journey to Modhera without break.

It was nearing noon when they reached Modhera. The view of the temple complex, built on an elevated platform, could be seen from a distance and Dharma's heart raced at the sight of the architectural glory. Surrounded by a lush green park, the temple welcomed them to its serene settings. An office of the Architectural Review of India was in operation and Dharma learnt that it took care of the maintenance of the complex. The paved pathway led to the three structures in the complex; the shrine hall, the assembly hall and the most unique of all, the stepwell called Ramakund.

The plaque erected near the gate recorded that Modhera was the second most revered Sun temple in India; the first being Konark. The temple was built by Bhimadeva -I of Solanki dynasty (also called the Chaulukya dynasty) on the left bank of the River Pushpavati in the 11th CE. As they read the details on the plaque, it was the sight of the reservoir that caught Dharma's attention. It had a grand flight of steps and to her astonishment, there were 108 tiny shrines built around the stepwell. Mitali and Nikhil exclaimed at the antiquity of the complex and they were stunned that the first rays of the sun fell directly on the main hall during equinox days of the year.

"Can you believe that the temple is built close to the Tropic of Cancer?" Nikhil stated, reading the plaque.

"The builders were much more knowledgeable and wiser in those times," Mitali added.

Walking towards the main complex, Dharma watched the beauty of the timeworn stepwell. Built in a particular style of Maru-Gurjara, it attracted the attention of the visitors very easily.

As soon as Dharma, Mitali and Nikhil entered through the gate, the magnitude of the temples and its architecture struck them with awe. While Mitali followed Nikhil to the Gudhamandapa, Dharma excused herself to visit the stepwell. The distinctive features of the ornate carvings and the temples built around the rectangular tank made Dharma gasp. Indeed, the sheer splendour of the craftsmanship caught her breath. The symmetrical pattern of the steps and its perfection echoed the Solanki dynasty's love for art and aesthetics. The two pavilion towers that guarded the tank were not as grandly ornamented as other structures and they were called the Kirti-Torana.

The tank, which was rectangular in shape, was paved with stones all around. There were four terraces and recessed steps to reach the bottom of the tank. A small flight of steps led one from the first terrace to the second. The steps were constructed in such a way that when one climbed down, one had to turn right or left to take the flight of steps to the next level and the same pattern was repeated till the bottom. These steps were rectangular or square except the first step of each flight of steps which was semi-circular. Several miniature shrines and niches on the terrace-wall had images of gods and goddesses. Amongst the many smaller ones, there was one bigger temple constructed in the center of each side of the rectangular reservoir. Dharma was tempted to try the rhythmic variation of the steps that steered one to the base of the tank. Putting it off for a later time, Dharma strode through the pavilion towers to the Sabhamandapa, also called the dancing hall. She counted the 52 pillars that represented fifty-two weeks of the year. Every pillar was carved intricately, denoting the magnificence of the masonry of those times. The arch at the centre of the hall was shaped in the form of an inverted lotus. The inner walls were carved with exquisite sculptures and scenes from epics like Ramayana and Mahabharata.