History of Hadoti and the glorious Temples dated back in time...
The part of south eastern Rajasthan comprising the modern districts of Bundi, Kota , Jhalawar and Baran became known as Hadavati or Hadoti after the Hada sept of the Chauhans, Who gained political ascendancy over the local Meena and indigenous Bhil group of this region in 13th century.
The region occupied an important place in the political and cultural field right from the pre-historic and early historic times.
The artistic sense and tradition par excellence of the classical art were adopted by the rulers of different dynasties under Mokhri, Gupta, Gurjar, Pratihar, Parmar, Khichi, Hadas etc.
Rajasthan in 7th and 8th century devided in small states ruled by semi independent rulers. The ruins of ancient sites of Darra, Charchauma, Amva, Kakooni etc. have been much looted by the antique thieves yet the sculptures available are abundant to throw enough light on the religious belief and the excellence reached in this direction by the chisel holders.
The earliest existing sculptural temple of Rajasthan datable to early 5th century of Gupta period hails from locally called Bhim kichauri in the valley of Mukandara as well as Charchauma. Earliest dated Temple from entire Rajasthan constructed in V.S. 746 (A.D. 689) is located on the bank of river Chandrabhaga in Jhalawar. Ganga and Yamuna are represented in the sculptural tradition of the Gupta art on its lower part. Charmanyavati (Chambal river) was the inspiring force and early man had his shelters in its scenic surroundings. The river Chambal, Kalisindh, Banas, Parvan, and its tributaries made the region fertile and prosperous beside the inter-state trade routes from Delhi, Gujarat and Malwa passing through this region brought its inhabitants in touch with other parts of the country. This resulted in the assimilation of the tradition of the other pasts of India into the sculptural representation of this region. The common religious heritage of the Pratihars and Rashtrakuts also contribute to this liberal attitude of Rashtrakuts. The sculptures of Amva are reflection of it. The expedition of their armies did not obstruct the buildings of temples.
The struggle between Pratihar and Rashtrakuts remained confusing to the rulers. The Rashtrakuts themselves were the worshipper of Shiva and Vishnu and are the builders of great edifices like Kailash temple at Ellora. The Parmar rulers were also great patron of Art and King Bhoja is the author of Samrangan Sutradhar. This manual provides detailed description of architecture, sculpture and painting. The sculptural art of the Parmar period is depicted in the Bhumij Temples of Malwa and Rajsthans, especially in Hadoti at Ramgarh, Jhalrapatan and Menal. The geographical position was a main factor in borrowing the artistic ideas from all the sides, area is ridged by fringes of hills so various type of stones are available here. These were used in raising the lofty temples and carving the beautiful sculptures. The activity of temple building reached its culmination in 10th century A.D. and onwards up to 13th Century and large list of Vastu texts also came into existence. The temples were extremely decked with sculptures to enhance the beauty of architecture.
The prosperity made the people able to divert their energies to religious per suits and they gave vent to their feelings by developing the temple sites at Badoti and Chandrawati on the banks of the river Chambal and Chandrabhaga. Beside these many temples also grew in the remote areas such as Atru, Vilas, Kakooni, Dhehlampur, Ramgarh, Keshoraipatan.
The region occupied an important place in the political and cultural field right from the pre-historic and early historic times.
The artistic sense and tradition par excellence of the classical art were adopted by the rulers of different dynasties under Mokhri, Gupta, Gurjar, Pratihar, Parmar, Khichi, Hadas etc.
Rajasthan in 7th and 8th century devided in small states ruled by semi independent rulers. The ruins of ancient sites of Darra, Charchauma, Amva, Kakooni etc. have been much looted by the antique thieves yet the sculptures available are abundant to throw enough light on the religious belief and the excellence reached in this direction by the chisel holders.
The earliest existing sculptural temple of Rajasthan datable to early 5th century of Gupta period hails from locally called Bhim kichauri in the valley of Mukandara as well as Charchauma. Earliest dated Temple from entire Rajasthan constructed in V.S. 746 (A.D. 689) is located on the bank of river Chandrabhaga in Jhalawar. Ganga and Yamuna are represented in the sculptural tradition of the Gupta art on its lower part. Charmanyavati (Chambal river) was the inspiring force and early man had his shelters in its scenic surroundings. The river Chambal, Kalisindh, Banas, Parvan, and its tributaries made the region fertile and prosperous beside the inter-state trade routes from Delhi, Gujarat and Malwa passing through this region brought its inhabitants in touch with other parts of the country. This resulted in the assimilation of the tradition of the other pasts of India into the sculptural representation of this region. The common religious heritage of the Pratihars and Rashtrakuts also contribute to this liberal attitude of Rashtrakuts. The sculptures of Amva are reflection of it. The expedition of their armies did not obstruct the buildings of temples.
The struggle between Pratihar and Rashtrakuts remained confusing to the rulers. The Rashtrakuts themselves were the worshipper of Shiva and Vishnu and are the builders of great edifices like Kailash temple at Ellora. The Parmar rulers were also great patron of Art and King Bhoja is the author of Samrangan Sutradhar. This manual provides detailed description of architecture, sculpture and painting. The sculptural art of the Parmar period is depicted in the Bhumij Temples of Malwa and Rajsthans, especially in Hadoti at Ramgarh, Jhalrapatan and Menal. The geographical position was a main factor in borrowing the artistic ideas from all the sides, area is ridged by fringes of hills so various type of stones are available here. These were used in raising the lofty temples and carving the beautiful sculptures. The activity of temple building reached its culmination in 10th century A.D. and onwards up to 13th Century and large list of Vastu texts also came into existence. The temples were extremely decked with sculptures to enhance the beauty of architecture.
The prosperity made the people able to divert their energies to religious per suits and they gave vent to their feelings by developing the temple sites at Badoti and Chandrawati on the banks of the river Chambal and Chandrabhaga. Beside these many temples also grew in the remote areas such as Atru, Vilas, Kakooni, Dhehlampur, Ramgarh, Keshoraipatan.
