Mangala Devi Temple, Kagpur, Vidisha, Madhya Pradesh

Mangala Devi Temple, Kagpur, Vidisha, Madhya Pradesh

Mangala Devi Temple is a ruined Hindu Temple, located in the Kagpur village of Vidisha District, Madhya Pradesh, India. 

History

The temple was constructed in the Paramara period during the 10 – 11^th century CE. The installation of the image of Mangala Devi dates back to 1306.

The Temple

The temple faces east, and its front portion has a decorated doorjamb. The lintel-piece is occupied by a goddess. On the left and right doorjambs there is an image of Nag Kanya in tribhanga mudra and another goddess is carved in sthanak sampad mudra near it. Three human figures each are depicted in alingan mudra at four levels on the top of the atlantes. The other decorations include vines, leaf, stalked lotus and various other patterns. There are niche-like formations in the front portion of the temple while the exterior decorations are now almost gone. There is a mandapa with flat roof supported by twelve pillars near the temple.

Connectivity

The Temple is located at about 500 meters from Kagpur Bus Stop, 29 Kms from Vidisha, 31 Kms from Vidisha Railway Station, 29 Kms from Vidisha Bus Station, 85 Kms from Bhopal and 91 Kms from Bhopal Airport. The Temple is located on the State Highway 19, 29 Kms from Vidisha.

Location

Bharkuleswar Temple, Bhumara, Satna, Madhya Pradesh

Bharkuleswar Temple, Bhumara, Satna, Madhya Pradesh

Bharkuleswar Temple is a Hindu Temple dedicated to Lord Shiva located in Bhumara Village near Satna, in the Indian state Madhya Pradesh. Bharkuleswar Temple is also called as Bhumara Temple / Bhumra Temple / Bhubhara Temple. The Temple is believed to be built during 5^th or 6^th century and belongs to Gupta Dynasty. The temple site is at an altitude of 1,500 feet, midst forests. 

History

For brief details, please refer below link;

https://hindutemples-india.blogspot.com/2019/11/bharkuleswar-temple-bhumara-satna-history.html

The Temple

For brief details, please refer below link;

https://hindutemples-india.blogspot.com/2019/11/bharkuleswar-temple-bhumara-satna-temple.html

Connectivity

The Temple is located at about 30 Kms from Unchehara, 31 Kms from Unchehara Bus Stand, 30 Kms from Unchehra Railway Station, 32 Kms from Satna Railway Junction, 34 Kms from Nagod, 39 Kms from Satna, 39 Kms from Satna Airport, 42 Kms from Nachna Hindu Temple Complex, 80 Kms from Panna, 95 Kms from Katni, 189 Kms from Jabalpur and 443 Kms from Bhopal Airport. The village and temple site of Bhumara rest on a largely shrubby hill plateau to the northwest-west of the town of Unchehra, near the hills of Khamha and Mohnna. The Temple is located to the southwest of the city of Satna.

Location

Bharkuleswar Temple, Bhumara, Satna – History

Bharkuleswar Temple, Bhumara, Satna – History

The archaeologist Alexander Cunningham visited the Bhumara site to confirm local reports of Thari pathar (standing stone) during his 1873-1874 tour of the Central Indian region. He found the stone and the important Bhumra inscription which he published, but he missed the temple that was then mostly covered by forest of shrubs and mango, haritaki and amalaka trees. John Faithfull Fleet translated the inscription in 1888, and it mentioned two kings named Hastin and Sarvanatha. The pillar inscription also described the boundary between their kingdoms and gave an inscription date per ancient Indian calendar that equals 484 CE.

Decades later, over the 1919-1920 period, the Archaeological Survey of India sent a sketch artist named Wartekar and a photographer named Joglekar together to revisit the site. They aimed to check out the local villager claims of many temple ruins on the plateau and the northern face of the hills. The dense forest limited the extent of their search, but they found the Bhumara temple. They reported it to be small single cell structure with a slab roof near an unusual soil mound, and that the temple's door was "magnificently carved".

The first report indicated that stones were sticking out of the temple that suggested the temple was originally much bigger. They also reported that broken pillars and ruins surrounded it. The Archaeological Survey of India then sent a larger team, excavated the mound and discovered numerous sculptures. Among these were a chaitya-window shaped panel with a circular medallion and the sculpture of Ganesha, jumbled remains of mandapa and temple parts. The site was next cleaned up, cleared of the forest growth and the first repairs to the temple was undertaken in early 1920s. During this cleaning, clearing and repairs, states Banerjee, many more "sculptures and their fragments, pillar fragments, lintels, jambs with a number of images" were found.

The Bhumara Shiva temple has been variously dated. Early estimates in the 1920s placed it either in the second half of the 5^th century or the early 6^th century. With additional analysis of inscriptions and a comparative study of its design with other Gupta era temples, the temple is generally dated to late fifth century. According to Heather Elgood, it is a 5^th century temple. Frederick Asher dates it to about 475 CE. Michael Meister and others date it to late 5^th century. George Michell states that the precise dating of the Bhumara Shiva temple, Nachna Parvati temple and Deogarh Vishnu temple is uncertain, but they existed by the 6^th century.

Bharkuleswar Temple, Bhumara, Satna – The Temple

Bharkuleswar Temple, Bhumara, Satna – The Temple

The temple has a square plan with a sanctum and mandapa. While much of it is in ruins, enough of the temple structure and artwork has survived for scholarly studies. The temple is notable as one of the early examples of an architecture that included an enclosed concentric pradakshina-patha (circumambulation path). Like other early Gupta era Hindu temples, it includes a decorated entrance to the sanctum flanked by Ganga and Yamuna goddesses, and intricately carved sculptures. The temple's Ekamukha Linga is a much-studied example of Gupta art. The temple reliefs include those for Mahisasuramardini (Durga), Ganesha, Brahma, Vishnu, Yama, Kubera, Kartikeya, Surya, Kama and others.

The sculpture found midst Bhumara temple ruins are significant in being one of the few archaeological evidence that help set a floruit of 5^th century to the importance of Ganesha in Hindu theology. This Temple stands on an approximately 1.4 metres (4 ft 7 in) high platform (Jagati), which is comparable in dimensions to the two temples of Nachna. Stairs lead to the platform, and the steps are 11.25 feet (3.43 m) long and 8.43 feet (2.57 m) in breadth. On top of the platform are two concentric chambers with a square plan. The smaller inner square is a windowless garbhagriha with a 15.17 feet (4.62 m) side. The outer square has a 35 feet (11 m) side.

The space between the inner sanctum chamber and the outer one served as an enclosed space for circumambulation. It is unclear whether the walls of the outer square had any trellis windows like the Nachna temple, as the excavations did not yield the complete temple. The steps leading to the sanctum are flanked by two smaller platforms about 8.17 feet (2.49 m) by 5.67 feet (1.73 m), each with a small shrine. The collected ruins suggest that the temple likely had three entrances.

A pillared open porch (mandapa) is set before it, so the initial impression of the temple appears roughly similar to ones in Tigawa and Sanchi. The mandapa was 29.83 feet (9.09 m) by 13 feet (4.0 m). The ruined structure that has been viewable since early 20th-century is the inner sanctum with its intricate carvings, the platform, the stairs and remnant walls. The roof of the temple was simple and consisted of huge flat slabs. The three outer walls of the sanctum lack any decoration. They are smooth red sandstone. The side with an entrance into the sanctum is intricately carved and decorated.

The sanctum door consists of a carved lintel, two carved jambs and a sill. To the right is goddess Ganga standing on her vahana – the makara (crocodile-like mythical creature), on the left is Yamuna goddess standing on her vahana - a tortoise. They have attendants standing with them, but their images are too mutilated. Above these goddesses are three parallel bands of carvings. The outermost band shows blooming lotus one giving rise to the other above it. The middle band on both sides each consists of four niches with human figures. The inner band converges towards the center of the lintel where Shiva is carved. The sculpture has been defaced, but its forehead remains intact where the third eye survives. Additionally, his ear rings, necklace and pearl jewelry is still discernible.

Among the most important artefacts of Bhumara is a Shiva-lingam with a bust relief of the deity which occupies almost the entire height of the lingam. Lingas with faces are called a mukhalinga, those with one face are called Ekamukha Linga. The Indian archaeologists visiting Bhumara temple around 1920 discovered a somewhat damaged Ekamukha Linga embedded within a stone pavement in the sanctum. It is 6.08 feet (1.85 m) high set on rough square block at the bottom with 3.08 feet (0.94 m) side. The Linga is a smooth cylinder with Shiva's face carved over the cylindrical length on one side. This face matches the one on the lintel top at the sanctum doorway.

The Bhumara Shiva Linga wears a jeweled crown, necklace and pearl ornaments. He is shown with matted hair, some locks on his shoulders. His hair is tied up into a bun at top, where there is a thin crescent moon. His forehead has a third eye. His nose is broken, likely intentionally damaged. The Shiva face on the lingam is well proportioned but it is not as "beautiful as the face on sanctum door lintel" or the ancient Ekamukha Linga found in Khoh, Madhya Pradesh.

The Bhumara excavations have yielded numerous sculpture, broken pieces of walls and statues, as well as ruined parts of the mandapas. The recovered pieces included parts of another intricately carved doorway, larger than the one on the sanctum. It had river goddesses Yamuna (reasonably preserved) and Ganga (broken), but to their immediate vicinity the stone was smooth, unlike the sanctum doorway. The recovered portions of this broken doorway show that it also had three bands of carvings above the head of the goddess. This doorway likely was a part of the mandapa. Portions of broken lintels found lying around the site show figures of erotic, in the same style as one finds in the ancient Khoh temples.

The recovered fragments in the ruins when put together show that they are incomplete, and parts have been lost. Other ruins found at the site included pilaster and pillar parts. These were square, hexagonal, octagonal or dodecagonal in cross section. The largest of these had square bases. Some were smooth, some carved. Pieces recovered show that the top and bottom portions had carvings. Many show foliage and designs that are now called the arabesque style. Lotus motifs are common. Some pillar shafts include huge kirtimukhas on each face. Some kirtimukhas are depicted with garlands hanging out of their mouths.

Extensive slab ruins were also found near the mandapa platform. These are carved with various motifs and figures. They show people in their daily lives, warriors, ganas (dwarfs) holding various items such as sword in one hand and lotus in the other, some people with clean shaven heads and others with elaborate hairdos. Musicians, dancers, seated groups of men or women, animals, flowers and other scenes are set in medallions. Recovered wall panels of the Bhumara Shiva temple show Vishnu's Narasimha avatar blowing a conch shell, Krishna and others.

Other significant finds include those of Nataraja, Ganesha, single face Kartikeya, Surya, Durga in her Mahishasura-Mardini form, Brahma, Indra, Yama, Kubera, Kama and others. Many of the ruined parts of the Bhumara temple have been relocated to museums such as the Kolkata Museum and the Allahabad Museum. The much studied Bhumara icon of Ganesha with Sakti sitting is his lap was acquired by the Boston Museum of Fine Arts in 1920s and is hosted there.

The Bhumara temple is, except for some major differences, quite similar in its plan to the Nachna temple, located at about 42 Kms to the west of Bhumara. The differences are that Bhumara lacked the second storey found in the Nachna temple and it featured two small shrines near the steps of the main temple. The similarities include a square sanctum surrounded by a circumambulation path enclosed with a concentric masonry chamber. Both were built on a raised platform, had staired entrances, had a pillared mandapa in front. The size and enclosed area in the sanctum and the outer chamber were similar. The material of construction in both was red sandstone, neither used mortar and each relied on ashlar masonry.

The Gupta temple of Bhumara is an important Gupta era Shaivism temple from ancient India. It is the earliest known temple that shows "Ganesha and Shakti" together, where the goddess Vinayaki sits in his lap and he holds a bowl of batasas or modakas (sweets) in his left hand. It also portrayed Ganesha in various forms, along with other Vedic and Puranic gods and goddesses of Hinduism. This has been a part of the evidence that sets a floruit of 5^th century to the importance of Ganesha in Hindu theology.

The Bhumara temple is notable for being an early illustration of Shaivism iconography and its inclusion of Vaishnavism and Shaktism themes. The Bhumara reliefs include an early Nataraja and Kartikeya seated on a peacock. Taken together with other Gupta era temples and artwork for Vaishnavism and Shaktism, the Bhumara temple attests to the sophistication of artisans by the 4th and 5th-century ancient India. More recent similar discoveries such as the temple ruins discovered with inscriptions dated to 448 CE at the Dinajpur site in ancient Bengal (now in Bangladesh) suggest that arts and temples were flourishing by the 5^th century.

Gadh Kalika Mata Temple, Ujjain, Madhya Pradesh

Gadh Kalika Mata Temple, Ujjain, Madhya Pradesh

Gadh Kalika Mata Temple is a Hindu Temple dedicated to Goddess Sakthi located at Ujjain City in Ujjain District in Madhya Pradesh State of India. The Temple is also known as Bhairav Parvat Sakthi Peeth. It is located on the Bhairav Hills on the banks of the River Shipra in the city of Ujjain. Locals call this temple as Gadh Kalika Mata Temple. This Temple is considered as one among the revered 51 Shakthi Peeth.

Legends

For brief details, please refer below link;

https://hindutemples-india.blogspot.com/2019/11/gadh-kalika-mata-temple-ujjain-legends.html

History

The constructional history of the Temple is buried in times. This temple was renovated by Harshvardhan in the 7^th century AD, and again during the Paramara period. The temple has been rebuilt in the modern times by the erstwhile Gwalior State.

The Temple

The structure of the temple is made with the use of unique colourful stones. The Temple is dedicated to Maa Avanti / Avantika. The idol of Devi Avanti is always adorned with a red sari as the colour red is considered sacred by married women in India. Bhairava associated with this Temple is Lambkarna.

Festivals

Ujjain is famous for many festivals and the Kumbha mela. Shri Avanti Devi temple is also part of the celebration that is carried on in Ujjain. Specific to this temple, Shivaratri and Navratri are celebrated with great devotion and enthusiasm.

Prayers

People pray to the Goddess for fulfilment their wishes and to gain prosperity.

Connectivity

For brief details, please refer below link;

https://hindutemples-india.blogspot.com/2019/11/gadh-kalika-mata-temple-ujjain-connectivity.html

Location

Gadh Kalika Mata Temple, Ujjain – Connectivity

Gadh Kalika Mata Temple, Ujjain – Connectivity

The Temple is located at about 4 Kms from Shaheed Raja Bhau Mahakal Bus Stand, 4 Kms from Ujjain Junction Railway Station, 8 Kms from Nana Kheda Bus Stand, 45 Kms from Dewas, 61 Kms from Indore Airport, 60 Kms from Indore and 199 Kms from Bhopal. Ujjain is very well linked with Indore city and can be reached easily by road and train.

By Road:

Dewas Gate Stand and Nana Kheda Bus Stand are the two bus stands in the city that provide service to destinations located in the states. A large number of state run private buses are available for Ahmedabad, Jaipur, Ajmer, Khajuraho, Indore, Bhopal, Pune, Mumbai, Kota, Mandu, Jhalawar and various other locations. There are three state highways; 18 connects to Ahmedabad, 17 connects to Jaora and 27 connects to Indore. Ujjain depends on an extensive network of auto rickshaws, city busses, private taxis and Tata Magic, that operate throughout the city, connecting one part with another. UMC has recently introduced city buses with a public private partnership project.

By Train:

Ujjain Junction is the main railway station of Ujjain, and it is directly or indirectly well-connected to all the major railway stations in India. It lies on the Ratlam–Bhopal, Indore–Nagda and Guna–Khandwa route. To the west it is connected to Ratlam Junction, to the north it is connected with Nagda Junction, to the east it is connected with Maksi Junction & Bhopal Junction, and to the south it is connected to Indore Junction BG & Dewas Junction.

By Air:

Ujjain does not have any airport but has an airstrip on Dewas road which is used for air transport purposes. The nearest airport is the Devi Ahilyabai Holkar International Airport at Indore.

Gadh Kalika Mata Temple, Ujjain – Legends

Gadh Kalika Mata Temple, Ujjain – Legends

Sakthi Peetha:

In Hindu mythology, Daksha Yajna or Daksha-Yaga is an important event, which is narrated in various Hindu scriptures. It refers to a yajna (sacrifice) organized by Daksha, where his daughter Sati immolated herself. The wrath of god Shiva, Sati's husband, thereafter destroyed the sacrifice. The tale is also called Daksha-Yajna-Nasha (destruction of Daksha's sacrifice). The story forms the basis of the establishment of the Shakti Peethas, temples of the Hindu Divine Mother. It is also becoming a prelude to the story of Parvati, Sati's reincarnation who later marries Shiva. The mythology is mainly told in the Vayu Purana. It is also mentioned in the Kasi Kanda of the Skanda Purana, the Kurma Purana, Harivamsa Purana and Padma Purana. Linga Purana, Shiva Purana, and Matsya Purana also detail the incident.

Sati-Shiva marriage:

Daksha was one of the Prajapati, son of Brahma, and among his foremost creations. The name Daksha means "skilled one". Daksha had two wives: Prasoothi and Panchajani (Virini). Sati (also known as ‘‘Uma’’) was his youngest daughter; born from Prasoothi (the daughter of the Prajapati Manu), she was the pet child of Daksha and he always carried her with him. Sati (meaning truth) is also called Dakshayani as she followed Daksha’s path; this is derived from the Sanskrit words Daksha and Ayana (walk or path).

Sati, the youngest daughter of Daksha, was deeply in love with the god Shiva and wished to become his wife. Her worship and devotion of Shiva strengthened her immense desire to become his wife. However, Daksha did not like his daughter’s yearning for Shiva, mainly because he was a Prajapati and the son of the god Brahma; his daughter Sati was a royal princess. They were wealthy nobility and their imperial royal lifestyle was entirely different from that of Shiva.

As an emperor, Daksha wanted to increase his influence and power by making marriage alliances with powerful empires and influential sages and gods. Shiva on the other hand led a very modest life. He lived among the downtrodden, wore a tiger skin, smeared ashes on his body, had thick locks of matted hair, and begged with a skull as bowl. His abode was Mount Kailash in the Himalayas. He embraced all kinds of living beings and did not make any distinction between good souls and bad souls.

The Bhutaganas, his followers, consisted of all kinds of ghosts, demons, ghouls and goblins. He wandered through garden and graveyard alike. As a consequence, Daksha had aversion towards Shiva being his daughter’s companion. However, unlike Daksha, Sati loved Shiva as she had the revelation that Shiva was the Supreme God. Sati won Shiva as her husband by undergoing severe austerities (tapas). Despite Daksha's disappointment, Sati married Shiva.

Brahma's Yajna:

Once Brahma conducted a huge yajna (sacrifice), where all the Prajapatis, gods and kings of the world were invited. Shiva and Sati were also called on to participate in the yajna. All of them came for the yajna and sat in the ceremonial place. Daksha came last. When he arrived, everyone in the yajna, with the exception of Brahma, Shiva and Sati, stood up showing reverence for him. Brahma being Daksha's father and Shiva being Daksha's son-in-law were considered superior in stature to Daksha. Daksha misunderstood Shiva’s gesture and considered Shiva's gesture as an insult. Daksha vowed to take revenge on the insult in the same manner.

Daksha Yaga:

Daksha’s grudge towards Shiva grew after Brahma's yajna. With the prime motive of insulting Shiva, Daksha initiated a great yajna, similar to that of Brahma. The yajna was to be presided over by the sage Bhrigu. He invited all the gods, Prajapatis and kings to attend the yajna and intentionally avoided inviting Shiva and Sati.

Dadhichi – Daksha argument:

The Kurma Purana discusses the dialogues between the sage Dadhichi and Daksha. After the sacrifice and hymns where offered to the twelve Aditya gods; Dadhichi noticed that there was no sacrificial portion (Havvis) allotted to Shiva and his wife, and no Vedic hymns were used in the yajna addressing Shiva which were part of Vedic hymns. He warned Daksha that he should not alter the Holy Vedas for personal reasons; the priests and sages supported this. Daksha replied to Dadhichi that he would not do so and insulted Shiva. Dadhichi left the yajna because of this argument.

Sati's Death:

Sati came to know about the grand yajna organized by her father and asked Shiva to attend the yajna. Shiva refused her request, saying that it was inappropriate to attend a function without being invited. He reminded her that she was now his wife more than Daksha’s daughter and, after marriage, is a member of Shiva’s family rather than Daksha’s. The feeling of her bond to her parents overpowered the social etiquette she had to follow. She even had a notion that there was no need to have received an invitation in order to attend as she was Daksha’s favourite daughter and no formality existed between them.

She constantly pleaded and urged Shiva to let her attend the ceremony and became adamant in her demands without listening to the reasons Shiva provided for not attending the function. He allowed Sati to go to her parents' home, along with his followers including Nandi, and attend the ceremony, but refused to accompany with her. Upon arriving, Sati tried to meet her parents and sisters; Daksha was arrogant and avoided interacting with Sati. He repeatedly snubbed her in front of all the dignitaries, but Sati maintained her composure.

Because of Sati’s persistence in trying to meet him, Daksha reacted vehemently, insulting her in front of all the other guests at the ceremony to which she had not been invited. He called Shiva an atheist and cremation ground dweller. As planned, he took advantage of the situation and continued shouting repugnant words against Shiva. Sati felt deep remorse for not listening to her beloved husband. Daksha’s disdain towards her, and especially her husband Shiva, in front of all the guests was growing each moment she stood there. The shameless insult and humiliation of her and her beloved, eventually became too much to bear.

She cursed Daksha for acting so atrociously toward her and Shiva and reminded him that his haughty behaviour had blinded his intellect. She cursed him and warned that the wrath of Shiva would destroy him and his empire. Unable to bear further humiliation, Sati committed suicide by jumping into the sacrificial fire. The onlookers tried to save her, but it was too late. They were only able to retrieve the half-burnt body of Sati.

Daksha's pride in being a Prajapati and his prejudice against his son-in-law created a mass hatred within himself, which resulted in the death of his daughter. The Nandi and the accompanying Bhootaganas left the yajna place after the incident. Nandi cursed the participants and Bhrigu reacted by cursing the Bhootaganas back.

Destruction of the Yajna by Lord Shiva:

Lord Shiva was deeply pained upon hearing of his wife's death. His grief grew into a terrible anger when he realized how Daksha had viciously plotted a treachery against him; but it was his innocent wife who fell into the trap instead of him. Shiva learned of Daksha’s callous behaviour towards Sati. Shiva's rage became so intense that he plucked a lock of hair from his head and smashed it on the ground, breaking it into two with his leg. Armed and frightening, two fearsome beings Virabhadra and Bhadrakali (Rudrakali) emerged. Lord Shiva ordered them to kill Daksha and destroy the yajna.

The ferocious Virabhadra and Bhadrakali, along with the Bhutaganas, reached the yajna spot. The invitees renounced the yajna and started running away from the turmoil. Sage Bhrigu created an army with his divine penance powers to resist Shiva’s attack and protect the yajna. Bhrigu’s army was demolished and the entire premises were ravaged. All those who participated, even the other Prajapatis and the gods, were mercilessly beaten, wounded or even slaughtered.

The Vayu Purana mentions the attack of Bhutaganas: the nose of some goddesses were cut, Yama's staff bone was broken, Mitra's eyes were pulled out, Indra was trampled by Virabhadra and Bhutaganas, Pushan's teeth were knocked out, Chandra was beaten heavily, all of the Prajapatis' were beaten, the hands of Vahini were cut off, and Bhrigu's beard was cut off. Daksha was caught and decapitated, the attack culminated when the Bhutaganas started plucking out Bhrigu’s white beard as a victory souvenir. 

The Vayu Purana do not mention the decapitation of Daksha, instead it says Yagna, the personification of yajna took the form of an antelope and jumped towards the sky. Virabhadra captured it and decapitated Yagna. Daksha begs mercy from the Parabrahmam (the Supreme Almighty who is formless), who rose from the yajna fire and forgives Daksha. The Parabrahmam informs Daksha that Shiva is in fact a manifestation of Parabrahmam. Daksha then becomes a great devotee of Shiva. The Linga Purana and Bhagavatha Purana mention the decapitation of Daksha.

Certain other puranas like Harivamsa, Kurma, and Skanda narrate the story from the perspective of the Vaishnava-Shaiva community feud prevalent in ancient times. In these puranas, there are fights between Vishnu and Shiva or Virabhadra, with various victors throughout. The story of Daksha Yaga in Vaishnava and Shaiva puranas end with the surrendering of Daksha to the Parabrahmam or with the destruction of yajna and decapitation of Daksha.

Aftermath:

As the obstruction of the yajna will create havoc and severe ill effects on the nature, Brahma and the god Vishnu went to the grief-stricken Lord Shiva. They comforted and showed their sympathy towards Shiva. They requested him to come to the yajna location and pacify the Bhutaganas and allow the Yaga to be completed; Shiva agreed. Shiva found the burnt body of Sati. Shiva gave permission to continue yajna. Daksha was absolved by Shiva and the head of a ram (Male goat) meant for yajna was fixed on the decapitated body of Daksha and gave his life back. The yajna was completed successfully.

The later story is an epilogue to the story of Daksha yajna mentioned in Shakta Puranas like Devi Bhagavata Purana, Kalika Purana and the folklores of various regions. Shiva was so distressed and could not part from his beloved wife. He took the corpse of Sati and wandered around the universe. To reduce Shiva's grief, Vishnu cuts Sati's corpse as per Vaishnava Puranas; whose parts fell on the places Shiva wandered. The Shaiva version says that her body disintegrated on its own and the parts fell while Shiva was carrying Sati's corpse in various places. It is believed that elbow of Sati had fallen here and Bhairav Parvat Sakthi Peeth was established. Many say that it was not her elbow but rather her upper lips that fell there but that is highly debated.

These places commemorating each body part came to be known as the Shakti Peethas. There are 51 Shakti Peethas, representing the 51 letters of Sanskrit. Some of the puranas which came in later ages gave more importance to their supreme deity (depending on Vaishnava, Shaiva, and Shakta sects) in their literature. Shiva went to isolation and solitude for ages and wandered all around until Sati reincarnated as Parvati, the daughter of the King Himavan. Like Sati, Parvati took severe austerities and gave away all her royal privileges and went to forest. Shiva tested her affection and devotion in disguise. He eventually realized Parvati is Sati herself. Shiva later married Parvati.

Saptha Puri:

Ujjain is also known as Sapta Puri, one of the seven sacred cities. It is considered one of the holiest cities in the world due to the presence of several important temples in Ujjain.

Lord Krishna, Balarama and Sudama received education from sage Rishi Sandipani:

It is also famous for being the place where Lord Krishna, Balarama and Sudama received education from the sage Rishi Sandipani.

Kalidas Garh:

Classical poet Kalidas Garh was a worshiper of Goddess Kalika Devi. Kalidas has a belief that since he started worshiping in this temple, his talented personality began to build. Kalidasa’s Shyamala Dandak is a beautiful composition of the Mahakali Stotra. It is said that the same psalm had appeared first from the mouth of Mahakavi.