Kolhapur city arranged in the south-west corner of Maharashtra, India. Kolhapur is situated in Kolhapur locale and is all around joined with Pune, 240 km north. It is on the national thruway in the middle of Bangalore and Pune. It is arranged on the banks of the Panchganga waterway and is loaded with old temples and hallowed places.
Kolhapur, or as it appears to have been some time ago called Karvir, is most likely one of the most established religious and exchange focuses in western India. In the Karavir or Kolhapur Mahatmya or record of the significance of Kolhapur, Kolhapur is specified as the Kasi or Benares of the South. City arranged on the banks of stream Panchganga. Kolhapur is a mix of old convention and cutting edge impacts. In 1945, unearthings on the Brahmapuri in Kolhapur uncovered the presence of an old town going back to the Roman period. Kolhapur had distinctive traditions administering it before, however it was under the tenet of the Marathas that it turned into a social center point. Rajarshi Chhatrapati Shahu Maharaja is a draftsman and originator of present day Kolhapur. Chhattrapati Shahu Maharaja's rule loaned a dynamic soul to the city and the lord extended his support to expressions such as theatre, film making, music, painting, figure, and wrestling and creates like tanning and gems' making. Recently, Kolhapur has turned into a conspicuous place for the Marathi film industry.
Individuals of Kolhapur are for the most part alluded to as ‘Kolhapuri’ or ‘Kolhapurkar’.The principle dialect talked here is Marathi, aside from that Hindi, Urdu, Gujarati, Kananda is utilized. Kolhapur city is on the banks of River Panchganga and mirrors a rich legacy alongside a quickly developing mechanical town. Its significance as a business focus is understood. Kolhapur is a major business sector for jaggery (Gul) of which the area is a huge maker. This jaggery is supplied to different parts of India and is traded to various nations. Kolhapur District is one of the sparkling illustrations in the Co-agent Movement of India. Doubtlessly, the area has the most noteworthy per capita pay in the Maharashtra State and one of the most astounding in the country. A Historical Background can been effectively seen in the way of life and the structural planning of the city making it a Historical Tourist spot. Likewise different temples and religious spots in and around the city make it a critical destination for Religious Tourism. Aside from that Numerous Lakes and River Panchganga add to the magnificence of the city along these lines likewise drawing in Leisure Tourism.
A standout amongst the most essential explorer focus which draws a large number of travellers from everywhere throughout the world is the Mahalakshmi or Ambabai temple at Kolhapur. It is viewed as one of the Shakti Peethas in Maharashtra the other three being Tuljapur, Vani and Mahur which is accepted to lead one to salvation and satisfaction of all longings.
The popular temple of Goddess "Mahalaxmi"/"Ambabai" favours the city and watches all abhorrence. Additionally Old Palace, New Palace, Rankala Lake, Shalani Palace, Town Hall, Panchaganga Ghat, Shivaji Pool and so forth are the spots a vacationer can't bear to miss. Kolhapur city is well known for Kolhapuri Chappal , Kolhapuri Lavangi Mirchi, Kolhapuri Gur(Gul), Kolhapuri Tambada and Pandara Rassa (Red and White curry), Kolhapuri Suke Mutton (Dry Meat), Kolhapuri Misal, Kolhapuri Saaj, Kolhapuri Pheta, Kohapuri Dudh Katta, Kusti (wrestling).
The Shri Mahalakshmi (AmbaBai)Temple of Kolhapur in Maharashtra, India, is one of the Shakti Peethas recorded in different puranas of Hinduism. By works, a Shakti Peetha is a spot connected with Shakti, the goddess of force. The Kolhapur Shakti Peetha is of extraordinary religious centrality being one of the six spots where it is trusted that one can either get salvation from yearnings or have them satisfied. The temple takes its name from Mahalakshmi, the consort of Vishnu, and it is trusted that the perfect couple live in the region.
The temple has a place structurally to the Kannada Chalukya domain and was first implicit the seventh century. Mounted on a stone stage, the picture of the four outfitted and delegated goddess is made of gemstone and weighs around 40 kilograms. The picture of Mahalakshmi cut in dark stone is 3 feet in stature. The Shri Yantra is cut on one of the dividers in the temple. A stone lion, the vahana of the goddess, remains behind the statue. The crown contains a picture of the Sheshnag — the serpent of Vishnu. In Her four hands, the divinity of Mahalakshmi holds objects of typical worth. The lower right hand holds a mhalunga (a citrus organic product), in the upper right, an extensive mace (kaumodaki) with its head touching the ground, in the upper left a shield (khetaka), and in the lower left, a dish (panpatra). Not at all like most Hindu sacrosanct pictures, which confront north or east, the picture of this divinity looks west (Pashchim).
There is a little open window on the western divider, through which the light of the setting sun falls on the substance of the picture for three days around the 21st of every March and September. There are various different places of worship in the yard to the Navagrahas, Surya, Mahishasuramardini, Vitthal-Rakhmai, Shiva, Vishnu, Tulja Bhavani and others. Some of these pictures go back to the eleventh century, while some are of late beginning. Likewise situated in the patio is the temple tank Manikarnika Kund, on whose bank is a sanctum to Visweshwar Mahadev. It is viewed as that dharshan of Lord Balaji of Tirumala is fragmented without going to the temple of Goddess Sri Mahalakshami/Ambabai in Kolhapur. This temple is celebrated for its wonderful engineering and sculptural work. There are four doorways to this temple known as Maha Dwar/Paschim Dwar, Uttar Dwar, Purva Dwar and Dakshin Dwar separately.
Five adorations administrations are offered every day. The first is at 5 am, and it includes the waking of the divinity with a Kakada - light, to the backup of songs. The second worship administration is done at 8 am includes the offering of the Shodashopachara pooja comprising of 16 components. The evening administrations and the Shejaarati pooja constitute three different administrations.
A celebration picture of the god is taken out in parade around the temple patio every Friday, and on full moon days.
About The Temple
Shree Mahalakshmi Temple is situated at the North of the Malbar Hill on Bhulabhai Desai Road, Mumbai 400 026. The magnificence of the temple, its legendary significance, its closeness to the seashore and its Dhwjstambha all consolidate together to make the spot an awesome vacation destination, also.
Arranged inside of the Municipal "D" ward, the Mahalakshmi Temple area is bound by the ocean on the western and northen edges and Bhulabhai Desai Road on the east and south.
This temple is devoted to the three gods Shree Mahakali or Durga (Destroyer of Demon), Shree Mahalakshmi (Goddesses of Wealth) and Shree Mahasaraswati (Goddesses of Learning).
The Kolhapureshwari temple is revered as a Shakti Peetha, surely understood as Shri Peetham. Shakti Peethas are exceptionally devoted temples of Shakti by the Saktha faction (Shaktism) of Hinduism. The mythology of Daksha yaga and Sati's self-immolation is the account of birthplace for the Shati Peetha temples. They are accepted to have shaped when the body parts of Sati Devi fell while Shiva was conveying her body after her passing. Sati Devi's Eyes are accepted to have fallen here. Like every Shakti Peetha a related Kalabhairava Shrine is available in the temple.
Kolhapur is situated in Kolhapur region and is all around joined with Pune, 240 km north. It is on the national parkway in the middle of Bangalore and Pune. It is arranged on the banks of the Panchganga waterway and is brimming with old temples and altars.
The temple was said to have been constructed in the Chalukya period (550 AD to 660 AD) by King Manglesh as can be evident from the style of sculpture. However in the 8th century the ancient temple was destroyed by an earthquake and several ruins of the former structure can be found today. In the 9th century, it was restored and beautified by the Shilahara Yadavas. The remains can be observed in the ancient idol which is found in a small structure next to the stairs. On the other side of the stairs is the sculpture of the Varaha (boar) Avatar of Lord Vishnu carrying Mother Earth on its tusk. The boar also represented the emblem of the erstwhile Chalukyan empire. Behind the sculpture of the boar is an inscription of a Shivalinga, a bull and a sword. The remains of masterpieces of art include a part of a spire with the sun disc having 12 signs of the zodiac. Above this spire is an intricately carved panel of Jain Tirthankars and on the left side is a sculpture of moon and standing eagle with its hands joined together.
Ambabai (Mahalaxmi) temple has a rich & glorious history. The construction begun before 12th century and existing temple was built during late 12th century. The maximum construction of this temple is been built by Shilahar King during 12th century.The architecture of the temple is purely Chalukyan and not Dravidian. The temple measures 350 feet by 225 feet with a stature of 35 feet with the primary tower at 45 feet. The temple is said to be of Hemadpanthi style after Prime Minister Hemadri Yadav of the Yadav tradition. This style includes the utilization of locally accessible dark stone and lime in its development. The Mahalakshmi temple additionally portrays the Vesar style of construction modeling which is a conjunction of Nagar and Dravidian styles which contains a fundamental temple with a complex having a few little places of worship. The base of such temples is star formed (called Tarakapeeth, taraka significance star and peeth importance base) with precise forms and 24 to 32 edges to the star molded structure. At the base there are models of elephants at different doorways and corners of this temple.
The primary passage Mahadwara of the temple is the western passageway. After entering the Mahadwara one is gone up against with a few deepamaalas on either side, and enters the Garuda mandap with square columns and foliated curves of wood, normal for Maratha temples. This mandap goes back to the eighteenth century. A picture of garuda faces the sanctum. Another stone mandap, on a raised stage revering Ganesh, likewise confronts the sanctum. Taking after this is the mandap with three hallowed places confronting west. The focal one is that of Mahalakshmi and the two on either side are those of Mahakali and Mahasaraswathi.
The temple complex displays mortar less development reverberating the style of the early Deccan temples. Additionally to be noted here are the flat moldings and the vertical counterbalances which make a rich light and shade design. Likewise found in this temple is a rich showcase of model of puppets in moving stances, artists, divine beings and goddesses. The three sancta have rather straightforward shikharas of block and mortar going back to the nineteenth century.
Over the Mahalakshmi sanctum is a place of worship with a Shivalingam and a nandi. The devakoshtas house Venkatesha, Katyayani and Gowri Shankar-confronting the north, east and the south. There are various backup holy places in the yard to the Navagrahas, Surya, Mahishasuramardini, Vitthal-Rakhmai, Shiva, Vishnu, Tulja Bhavani and others. Some of these pictures go back to the eleventh century, while some are of late inception. Likewise situated in the yard is the temple tank Manikarnika Kund, on whose bank is a hallowed place to Visweshwar Mahadev.
The four Shakti Peethas of Maharashtra are Tuljapur revering Bhavani, Kolhapur cherishing Mahalakshmi, Mahur cherishing Mahamaya Renukaand Saptshringi revering Jagadamba. Other Shakti temples in the state are those at Ambe Jogai and Aundh.
Over the sanctum sanctorum rises a superstructure. It has an "upper temple" that houses a symbol of Ganapati with a finished stone casing behind the icon donning a Kirtimukh in the inside. Before the Ganapati Idol is a rectangular Shivalinga also called Matulinga (Shivalinga on the Goddess icon) and outside this chamber lies a bull, vehicle of Lord Shiva. A staircase to one side of Goddess Mahalakshmi's place of worship prompts this account of the temple.
It is said that the Matulinga was introduced amid the Yadava Period in twelfth century as the enthusiasts are not ready to see the Shivalinga that is cut on the crown of Goddess Mahalakshmi since it stays secured. With the establishment of Matuling devotees could adore it as the incomparable from of genesis.
Two Additional Shrines
Lord Gandaraditya, additionally of the Shilahara Dynasty, adorned and finished the development of Kolhapur temple of Goddess Mahalakshmi in eleventh century A.D. He based the way on which the circumambulation is done around Goddess Mahalakshmi. He likewise included two sancta Sanctorum where Goddess Mahakali and Mahasaraswati were sanctified. On the left half of the fundamental sanctum is the temple of Mahasaraswati and on the privilege is the Mahakali temple. This temple houses the Shree Yantra (geometrical delineation of the Goddess) and in one corner in the divider untruths and symbol of Ganapati.
In The First Place Archway Or The Main Shrine's Doorway
A couple feet from this entrance in the sanctum lies another curve like portal made up of dark stone which is thought to be the appearance of Shiva and Shakti. The heaviness of the whole temple lays on this edge work. Lalat Bindu, which is the middle purpose of the edge has Ganesh icon introduced on it. This part is generally called the Ganesh pattika, plinth trim of rectangular cross segment having Ganesh portrayal. Three successive edges are found alongside this plinth shaping. The door frames have etched outlines on them.
Darshan And Kurma Mandap
The principal mandap or corridor called rangamandap that begins from the spot where first entrance is assembled is octagonal fit as a fiddle. This part of the temple is separated into two. The part quickly after the first opening was customarily called Darshan Mandap as from that point the icon of the Goddess can be seen at the nearest (Darshan = view, mandap=hall). The roof of this corridor is comprised of octagonal layers.
At that point comes another lobby called Kurma mandap. It is called so as it has a Kurma (tortoise) introduced in the middle. This Mandap is presently called Shankha Tirtha Mandap on the grounds that the sacred water called Tirtha is sprinkled on the devotees from the Shankha (conch) in this corridor. The roof of this corridor is unpredictably cut. Both the lobbies have a few columns with etched examples. For this, dark Kaddapah stone, Basalt, Karnataka stones were utilized.
These corridors have a stone entrance practically like the prior one that prompts the Ganapati chowk. However this entrance has beautiful barbecued screen dividers on both the sides. Alongside these screens are two symbols of Dwarpals (the doorkeepers), called Jay and Vijay on either side. The legend expresses that Jay-Vijay fabricated the temple of Mahalakshmi in one night. To legitimize this, pictures of spade and digger are discovered near the doorkeepers.
This corridor is third from the sanctum sanctorum. It has a Ganapati Shrine in the middle. To the either side of the hallowed place are statues of Sage Agasti and his wife Lopamudra. On the external side of the northern mass of this corridor is a delightful model of Uma Maheshwar (Loard Shiva with Goddess Paravati) and statue of Lord Venkatesh and additionally an icon of Goddess Katyayani in a specialty in East. Kurma Mandap and Ganapti Chowk were constructed by King Singhan of the Yadava Dynasty.
The part of the temple from the sanctum sanctorum of Goddess Mahalakshmi up to Ganapati chowk is comprised of dark stone. There is a sharp difference in the development of the temple till the Ganapati chowk and the part from that point which was built in wood amid the Maratha rule.
The peripheral lobby which is called Garud Mandap was included amid the organization of Daji Pandit somewhere around 1838 and 184318. Daji Krishna Pandit was put at the leader of the regime of Kolhapur by Mr. Townsend, the Political Agent Southern Maratha Country amid the British standard in India and Shortly after he was made sole clergyman of the State after the passing of Shahaji Chhatrapati additionally called Baba Saheb Maharaja.
External Side Of The Main Temple
The outside of the three sancta is decorated with dazzling carvings. Other than the geometrical and flower designs there are specialties up and down the divider. Every specialty has excellent models of Surasundaris (performer women) and moving Apsaras 19 prominently called Chaushastha (for 64) Yoginis20.
Towers And Demos
The five towers and demos of this temple are said to have been included by Shankaracharya of Sankeshvar (1879-1967). An ethereal perspective demonstrates that they shape a cross.There is one arch in the middle and four other that lie in four cardinal headings of North, South, East and West. Under the tallest arch on the east lies the sanctum of Goddess Mahalakshmi. Underneath the one in the inside is the corridor called Kurma Mandap and under the one on the west side is a little Ganapati temple and a lobby called Ganapati Chowk. On the north and south are two vaults having underneath them separately Goddess Mahakali and Mahasaraswati's sancta.
As all the five vaults are assembled moderately late times the structure of the arches is a present day one which has triangular step like shape. They are as of now cream shaded with orange and yellow towers.These arches and towers can be gotten to from the superstructure of the upper temple.
Navagraha (Temple Of Nine Planets)
On entering in the temple complex from the Ghati Darwaja is the Navagraha temple on the left side. In 1941, Shirmant Jahagirdar Babasaheb Ghatge got the symbols of nine planets introduced in this temple. On a raised stone stage there are statues of nine planets incorporating the Sun God in his chariot, Shivalingas and Ashtabhuja Mahishasurmardini. A little open lobby like structure before the Navagraha temple goes back to the Yadava Period. Made of dark stone it has figures of nine planets, Lord Vishnu leaning back on the spiritualist serpent Shesha and Ashta Dikpal (gatekeepers of eight bearings.)
Along the southern door called Vidyapeeth Darwaja are places of worship of different divine beings and goddesses specifically Radhakrishna, Kalbhairav, Siddhivinayak, Sinhavahini, Tuljabhavani, Lakshmi-Narayana, Annapurna, Indrasabha, Rameshwar, Narayanswami Maharaj. In the temple complex other than the principle temple there are various other previously stated little temples of which Navagraha and Sheshashahi temples are of exceptional enthusiasm because of their many-sided workmanship models.
A group is situated close to the northern passage which is let go on particular days. The litter of the Goddess gets one group ball salute. This convention was begun by Queen Tarabai, little girl in-law of the Maratha Regent Chattrapati Shivaji.
There were two lakes of heavenly water called Kasi and Manikarnika. The pictures and Veergal (the legend stones) that lined up these lakes have been evacuated and some of them have been put in the Town Hall Museum. A greenery enclosure has been created in the spot of Manikarnika lake.
Sheshashahi Temple (Vishnu Temple)
In favour of the eastern passage lies a complicatedly cut Sheshashahi temple, octagonal fit as a fiddle. Inside the arch of this temple are two levels of perfect workmanship. The highest level has 6 Petals of a bloom and the lower level has 16 petals of blossoms etched on it. At the edge of the arch touching the primary dividers of the temple are 60 statues of Jain Tirthankaras. It is trusted that this temple is of a Jain Tirthankara called Neminath. However the sanctum has an icon of Lord Vishnu leaning back on the spiritualist serpent Shesha.
Toward the north lies the Ghati Darwaja donning a tremendous chime introduced by Rajarshi Shahu Maharaj (1874 to 1922). On the ringer is specified "J.W. BENSON LIM.CLOCK MAKERS, LUDGATEHILL, LONDON E.C. 1902". The gong of the ringer is heard at particular times in the day. The prior chime is currently kept in the Town Hall Museum of Kolhapur. Engraved on this ringer there is a sentence in Portuguese: AVE MARIA GRATIA DOMINUS TECUM IHS (Hail Mary loaded with beauty! The Lord is with thee). It is trusted this ringer was conveyed to Kolhapur by Chhatrapati Sambhaji after the fight in Goa in 1683. The inward side of this entryway has a flawless model of Kirtimukh. Along the northern entryway are the temples of Navagraha, Viththal and Rakhumai.
Limit Wall, Entrances And The Complex
The primary temple is encompassed by a practically pentagonal moulded stone divider which serves as the limit of the complex. The open space between the divider and the fundamental building is cleared with stone chunks. The limit divider has four doorways on four sides. The Mahadwar, the principle passage is on the west side of the complex. From this passage the symbol of the Goddess is effectively unmistakable. Bordering the Mahadwar is the Nagarkhana at a height. It is a wooden structure having the musical instruments of Soanai, Chowgada that are played amid Aarti time and other real events. It is said that these two structures alongside the Kacheri (Office) were fabricated by Shankaracharya of Shringeri who likewise gave gift so that the musical instruments would be played ordinary. Over the drum-chamber is the heavenly kitchen where suppers of the Goddess were readied. The present kitchen is at the ground level beside the Nagarkhana.
The passage on the eastern side called Purva Darwaja (Purva=East, Darwaja=Door) has an engraving going back to the Maratha time of eighteenth century expressing that it was revamped by Army boss, Trimbak Dabhade, Yashwantrao Dabhade and in addition Bhairavjirao Gaikwad and Bhagwanrao Gaikwad.
It is said that it was in 250 BC that the first specify of Goddess Mahalakshmi was made advancing into the structure as seen today. Different coins with her picture were found in the Gupta period and later in the Chalukya, Rashtrakuta, Shilahara and Yadava administrations. Stone engravings in Kolhapur depict Goddess Mahalakshmi as Simhavahini and awards given by King Prabhu, who was an aficionado of the Goddess, are recorded in these engravings. The picture of Goddess Mahalakshmi weighs around 40 kg and is 3 feet in tallness mounted on a stone stage. It is cut in dark stone and is fully furnished. The crown made of gemstones contains a picture of Sheshnag, the serpent of Vishnu. In her four hands she holds a citrus organic product (Mhalunga), a vast mace (kaumodaki), a shield (Khetaka) and a dish (panpatra). The picture confronts West rather than the standard North or East. The crown of Goddess Mahalakshmi has a cobra hood and a Shivalinga with a Yoni around it.
About The Deity
It is said that Manmade God in his own particular picture. How genuine! Man has credited every one of the elements of a human body to the Gods and Goddesses. He has additionally gone further to ascribe a few different qualities to the divinities that are not found in people. It is intriguing to figure out how Man made symbols and statues of Gods and Goddesses.
It is a procedure that began from a faith in Shakti (unending vitality) and finished in the symbol venerate that gave different structures to that boundless vitality. In right on time days, this Shakti was seen as five essential components of Prithvi (earth), Aap (water), Tej (light), Vayu (wind), Akash (space). At the point when Man contemplated over his introduction to the world and the individual in charge of it, he understood that mother is at the base of the genesis, and it is she who epitomizes the Shakti. He tried to give a limited structure to the boundless vitality.
In the process he initially named that limited structure as Matruka (representation of vitality as a heavenly mother). At that point he allowed a shape to the Matruka. The most punctual structure was of Pashan or Tandula (stone) and Varula (ant colony). The primary spots where such Mahamatruka (the colossal perfect mother) were built up came to be known as Mahamantrukasthan (habitation the immense awesome mother). Such destinations were found all over India.
In Maharashtra they were distinguished in Kolhapur, Tuljapur, Mahur and Vani. All the four were in this manner called the Shaktipeeths (seat of the Goddesses that encapsulates vitality). These spots then got to be prominent as journey destinations. The limited type of the Goddess was further refined by Man. The conception of the universe and thus his own introduction to the world had fascinated him. He wished to give a superior representation to the Shakti. Thus the negligible stone representation was ad-libbed to the type of Lajjagauri (female figure with a noticeable womb).
Lajjagauri was intially a two dimensional figure. As years passed Shakti that was spoken to by Paravati and Durga was likewise showed in three unique structures to be specific Mahalakshmi, Mahakali and Mahasaraswati.
The encircling story of Devi Mahatmya Presents a confiscated lord, a vendor sold out by his family, and a wise whose teachings lead them both past existential enduring. The sage teaches by relating three diverse epic fights between the Devi (Goddess) and different devilish enemies the three stories being represented by, individually, Mahakali, Mahalakshmi and Mahasaraswati.
Goddess Mahalakshmi is the managing Goddess of the center scene. Here she is portrayed as Devi in her all inclusive structure as Shakti. The world was under assault by Mahishasura the most abhorrence evil presence on the planet, who took a wide range of structures, including that of a wild ox. The male God's dreading all out destruction enriched Durga with their forces.
The Goddess is depicted as eighteen-outfitted bearing series of dots, fight hatchet, labyrinth, bolt, thunderbolt, lotus, bow, water-pot, club, spear, sword, shield, conch, chime, wine-container, trident, noose and the plate sudarsana. She has a composition of coral and is situated on a lotus. She is known as Ashta Dasa Bhuja Mahalakshmi. Riding a lion into fight, she slew the wild ox by removing its head and after that she devastated the soul of the evil spirit as it rose up out of the bison's disjoined neck. It is through this demonstration that request was built up on the planet".
In the long run the aforementioned depiction of Goddess Mahalakshmi was showed as symbols. The development was steady. The two dimensional idea of Lajjagauri created into a three dimensional structure when craft of icon making was started. In this way the statues of Goddesses in different avataras of Durga were made.
From 500 B.C. to 300 A.D. Buddhism and Jainism affected the Indian populace. This was the period when hollow building design, hole works of art and cavern models prospered. Ministers, vendors and explorers in that period favoured the security of the caverns that were pre-overwhelmingly on slopes and mountains to shield themselves from wild brutes and other normal strengths. It was amid the Buddhist period that symbol making saw the light of the day. Yet very few temples were found in those times. Later as human settlements mushroomed quickly along waterways and ocean side, Vedic culture was given a support by the political leaders of that time and temples appeared.
From 2nd to 5th century A. D. outside rulers such as Shaka, Kshatrap and Nag Dynasty held influence in a few sections of India. These strengths were devastated by Kings Samudragupta, Chandraputa II Vikramaditya, Kumargupta, Skandhgupta of the Gupta Dynasty.
Truth be told, King Shrigupta wedded a woman from Lichchavi Dynasty and commenced the Gupta Rule in India. Further on Vikramaditya crushed the remote rulers like Shaka and Kshatrap to build up neighborhood free run the show. This change in political initiative restored the Vedic society. India by then was united under one political head who worshiped Lord Vishnu. This time kept going from 300 to 500 A. D. saw the day break and ascent of Bhagwat Cult in India. This Cult involves worship of Vishnu and his consort Lakshmi. This was additionally the stage when temples started to be contracted in India. The Vedic society supported religious writing and foundation of journey destinations Through the religious writing we can comprehend the type Of Mahalakshmi as it is seen today.
Legend says that Gods and evil presences beat the sea and certain gems were conceived. Lakshmi was one among them. When she rose she turned into the consort of Lord Vishnu who is one of the three Gods that shape the Holy Trinity (Bramha, Vishnu, Mahesh). This Goddess with unparallel excellence was a female representation of Universal riches.
Eight types of Goddesses abide inside of her,
Dhanalakshmi (gives riches)
Dhaanyalakshim (gives crops)
Dhairyalakshmji (gives mettle)
Shauryalakshmi (gives valor)
Kirtilakshmi (gives distinction)
Vinayalakshmi (imparts unobtrusiveness)
Raajyalakshmi (gives kingdom)
Santaanlakshmi (gives Children).
She connotes property, satisfaction, brilliance and distinction.
It is trusted that the first specify of Goddess Mahalakshmi was found in 250 B.C., and the first type of Goddess Mahalakshmi is that of Gajalakshmi, Lakshmi adorned with gems situated on lotus and flanked by two white elephants, seen on stupas developed by Emperor Ashoka in Sanchi and Bodh Gaya. A few researchers opine that his structure was gotten from figures of Goddess Mayavati in Budhdhist surrenders and figures of Goddess Padmavati in Jain caverns and temple that come into being in first century A.D.
The Gupta lords, known not devotees of Vishnu and Lakshmi have delineated Lakshmi on their coins in different postures. A few coins of this time show Lakshmi and Garud (the hawk which is Vishnu's vehicle), Lakshmi adorned with gems on the back of a lion, Lakshmi straddling a peacock, Lakshmi situated on an extended lotus, Lakshmi situated on a throne and so forth. The Gupta Dynasty acknowledged Lakshmi as Raajlakshmi (who favours the kingdom) and Vaibhavlakshmi (who achieves flourishing). One of the portrayals of the coin states, "Radiance around the goddess head, her pearl diadem, ear-pendants, accessory, bangles and armlets unmistakably to be seen, she holds noose in her expanded right hand and lotus seat conspicuous, Symbol on left. Legend on right partly damaged".After the Gupta Kings, Goddess Mahalakshmi got regal support by Chalukya, Rashtrakuta, Shilahara and Yadava Dynasties. Goddess Mahalakshmi was blessed in different temples amid fourth and fifth century A.D.
About Kolhapur Mahalakshmi Idol
The temple of Goddess Mahalakshmi in Kolhapur which was initially developed in the Chalukya Era has a symbol of the god that has been etched with four arms, wearing a saree in Karnataka style. Adoration of Mahalakshmi proceeded more than a few centuries. Swami Chakradhar of Mahanubhav Sect meandered all over India in twelfth Century A.D. In his notes, he specifies that there were 27 temples of Mahalakshmi in that time. The symbols in these temples appear to be of the same style as that found in Kolhapur. It was in this age temples of Mahalakshmi were implicit Anhilwada in Gujarat, In Dogadvallis in Karnataka and Anantpur in Telangana. Lord Kadamba of Goa additionally adored Goddess Mahalakshmi. In a few engravings names like Ramaa, Bhavani and Lakshmi have been utilized for Mahalakshmi.
A stone engraving dated 24 December, 1049 found in Shirur Taluka in Maharashtra specifies that the gifts were given by King Marasingh Prabhu descendent of Prabhu Rajaverman, Devotee of Goddess Mahalakshmi of Kolhapur. The engraving portrays Goddess Mahalakshmi of Kolhapur as Sinhavahini (Goddess on the back of a lion) and Rudraardhangotsanga Nivasini, (Shiva's consort).Little ponder that Goddess Mahalakshmi is considered as second symbol of Durga.
The picture of the Goddess has a great degree charming appearance. The statue of the Goddess Mahalakshmi is made of gemstone and is thought to be no less than 5000 to 6000 years of age. It is cut in dark stone, is around three feet in tallness and has four arms and delegated Goddess made of gemstone and weighs around 40 kilograms. It contains mater blended with Hirak bits.The normal ayudhas of the devi are as per the following. In the lower right hand is the matulinga, an organic product similar to the standard lemon, but rather much bigger in size. In the upper right hand is an expansive mace, kaumodaks, and its head touching the ground. The upper left hand holds the shield or khetaka, the lower one holding a dish i.e. panpatra. There is a characteristic "Padma-Ragini" (Lotus). On the crown of the devi are a cobra-hood and a Shiva-ling with a yoni around it. Remaining behind the devi is her vahana-a lion.
All the icons of the God confront the north or the east bearings, while here the Idol confronts the west. The little window on the western divider which is open. Once every year, the beams of the Sun amid dusk falls on the substance of the picture through this window. This period goes on for three days, every time, the 21st, of the months of March and September. This period is considered to a great degree favourable, the Devotees throng the temple on all the three nights the temple for a look at the wonderful picture showering in the brilliant beams of the setting sun. Over the Mahalakshmi sanctum is a place of worship with a Shivalingam and a nandi. The devakoshtas house Venkatesha, Katyayani and Gowri Shankar - confronting the north, east and the south. There are various auxiliary places of worship in the yard to the Navagrahas, Surya, Mahishasuramardini, Vitthal-Rakhmai, Shiva, Vishnu, Tulja Bhavani and others. Some of these pictures go back to the eleventh century, while some are of late inception. Likewise situated in the patio is the temple tank Manikarnika Kund, on whose bank is a holy place to Visweshwar Mahadev.
The iconographical depictions of the Goddess, backtracking to the thirteenth century or considerably prior as indicated by a few powers, look like a large portion of the lakshanas of the present picture. The most punctual notice originates from the Vishvakarmashastra as cited by Hemadri in his Chaturvargachintamani. It alludes particularly to the Karvirvasini Mahalakshmi.
Legend and Stories
Shree Mahalakshmi Temple is overseen by a Trust called "Shree Mahalakshmi Temple Charities" a Religious and Charitable trust. Leading group of trustees now wishes to set up a site in order to empower aficionados everywhere throughout the World to think about the Mahalakshmi Temple which comprise of three Deities Shri Mahalakshmi, Shree Mahakali and Shree Mahasaraswati. A large number of aficionados visit the temple consistently which goes to many thousand of Devotes amid Navaratra, Diwali and in the month of Margashirsha, as they trust that Mahalakshmi Temple's Mahalakshmi Deity is "Jagrut" or alive god.
The city is alluded in numerous Puranas. Research surmises that it was in presence in the seasons of Parashuram. The time is viewed as parallel to that of Mata peeth (Mahurgad), Sapta Shringi (Nasik) and Bhavani Peetha, in the Ramayana times. Karveer washes off awesome sins. There are numerous antiquated, rich temples, sacred places and plants.
There is confirmation to demonstrate that the Konkan ruler Kamadeo, Chalukyas, Shilahara, Yadavas of devagiri administrations went by this city. Adya Shankaracharya likewise went to. Chhatrapati Shivaji Maharaj and Sambhaji ruled.
In 109 A. D. Karnadeo remove the wilderness and brought the temple to light. The presence does a reversal to eighth century, as indicated by Dr. Bhandarkar and Mr. Khare. In the 8 th century, the temple sank down because of seismic tremor. In the 9 th century Gandavadix (King) developed the temple by building Mahakali Mandir. Amid 1178–1209, in the rule of Raja Jaysing and Sindhava, South door and Atibaleshwar Temple were manufactured. In 1218 Yadav lord Tolum constructed Mahadwar, and offered gems to Devi. Further, Shilaharas fabricated Maha Sarasvati Mandir. He being a Jain, got 64 icons cut. It is conceivable that new icon called Padmavati was introduced around then. Further, in Chalukya times, Ganapati before the temple was introduced. It appears that the first temple was of the Hindus. In the thirteenth century, Shankaracharya constructed Nagar Khana and Office, Deepmalas.
Amid 1712–1792 (Sambhaje Reign) Narhar Bhat Shastree had a fantasy which he advised to Sambhajee. In the Mogal rule, the admirers had shrouded the icon for insurance. Trusting Sangavakar's fantasy, Sambhajee began a hunt.This symbol was found in a house in Kapil Teerth Market. By letter dated 8 November 1723, Sindhoji Hindurao Ghorpade of Panhala introduced the icon again on 26 September 1712 (Monday, Ashwin Vijiya Dashami). The quantity of devotees developed, and at the appointed time of time, the Devi turned into the Deity of Maharashtra. The symbol started to bare because of Abhishekas. So Sankeshwar Shankaracharya got it repaired. After Vajralep and penances, it was again introduced because of Kolhapur Shahajee Raje in 1954.In 1960, there was change under the supervision of Mr. Lohiya. Therefore, the premises appeared to be broad. There are 5 fundamental temples and 7 Deepamalas now. Around are 35 temples of different sizes and 20 shops. There are 5 Hemad-style tops. Abutting is Garud Mandap, fabricated by Mr. Harshe.
Albeit a few sections of the temple are of the second 50% of the second thousand years CE, epigraphic references put the divinity in the seventh century CE, and the temple in the tenth century CE. For a period in the meantime, this temple had dropped out of adoration and the picture of the Goddess was housed somewhere else. Worship was restored in the year 1715 after the Marathas rose to control.
While the conditions of Gwalior, Indore, and Baroda are the deposit of the immense Maratha military development of the eighteenth century, Kolhapur is the last hint of the establishing father of Maratha power, the seventeenth-century warrior, Shivaji. He passed on in 1680 A. D. in the wake of pushing the Moghuls out of western India and starting the procedure of Moghul decrease. In any case, when he passed on, the Moghuls were still sufficiently solid to take their vengeance on his successors.
The Moghul armed forces trimmed the Maratha powers into the rocky edge of the western Deccan and remained by while Shivaji's capable state was riven by inner question. Shivaji had left no unmistakable successor and for a long time after his passing two separate lines of plummet, prodded by eager rulers of and retainers, battled for priority. Inevitably, in 1710, the two gatherings figured out how to build up a temperamental regional limit between their belonging. The line slipping from Shivaji's senior child settled its capital at Satara, took the northern Maratha nation, and obtained the privilege to grow toward the north. Yet in Satara the regal family was soon constrained into the secondary lounge: the genetic clergyman, the Peshwa, assumed control over the reins of force, and his officers produced out toward the north and shaped the princedoms.
Then, the line sliding from Shivaji's more youthful child took the southern regions and the privilege to grow toward the south. They settled in Panhala, in the midst of the jagged crests and profound valleys of the Western Ghats, and later exchanged their funding to the old city and exchanging capital of Kolhapur. The southern boondocks ended up being less gainful than the northern one. While Satara armed forces, which began striking north from the Maratha nation in the mid eighteenth century, found that the remainders of Moghul grandees and Rajput sovereigns were simple pickings, the Kolhapur armed forces confronted other effective rising rulers in the south - the Nizam of Hyderabad, the Mysore multitudes of Hyder Ali and Tipu Sultan, and the Moghul militarist, Zulfikar Khan.
The Kolhapur compels pretty much bound to their mountain retreat, sometimes annoyed by Moghul armed forces, and diminished to snapping at the heels of their more costly cousins from Satara. Against this fairly troubled foundation the august line of Kolhapur transformed into a dynastic debacle. On numerous occasions the Kolhapur sovereign neglected to create a beneficiary, or kicked the bucket when the beneficiary was just a couple of years old. Infrequently it was the toll of war, which achieved this grievous situation, however once in a while it was a dash of craziness, which tenacious the family; and here and there only a failure to get by to any extraordinary age oblivious strongholds in the midst of the sticky sub-tropical timberlands of Western Ghats. Every time the inability to give a perfect progression made an open door for contentions, aspirations and weakening progression question.
In the mid nineteenth century, Kolhapur was pretty much as uneasy under British control just like the other Maratha conditions of Gwalior and Indore. At first the British attempted to settle the state by power. Organization troops attacked in the 1820s, again in the 1840s when the distant territories of the state ascended in rebellion; and in 1857 the Kolhapur troops mutinied. After the Mutiny, in any case, the British watchmen changed their strategies and chose to utilize the books as opposed to the firearm to bring Kolhapur to heel. This system had its own troubles as a result of the death rate of the Kolhapur beneficiaries.
The British put incredible consideration in the training of two Kolhapur beneficiaries, who, before they could rise the throne and rise up out of their British-made chrysalis as model rulers were assembled to their progenitors. It was not until Shahu Chhatrapati climbed the throne in 1894 that the approach at long last paid off. Under Shahu and later under his child Rajaram, Kolhapur procured the social changes and open structures, which the British so jumped at the chance to find in the "Local" states. In addition, Kolhapur got to be eminent as a focal point of outside games, remarkably the outlandish business of pig-staying,and a phenomenal type of chasing deer.
The Shakti Cult
It is the incomparable force of the Parabrahman viz. prime power. She is called Adi Shakti. She is otherwise called the supernatural force 'Para Shakti'. She is known as the superlative, the immense force of Maha Maya Shakti. The preeminent puzzling force of World Illusion, which we call Maya and Adyashakti are truth be told one and the same. By 'Darshan' of Hindu Philosophy the formation of our Universe is aftereffect of meeting up of 'Purusha and Prakruti'. Purusha is the "Parabrahmah" and Prakruti is the 'Nature'. Prakruti is 'Trigunatmak', that is it comprises of three "Gunas" – Sattvic, Rajasic and Tamasic delineated by three divinities, Shree Saraswati portraying 'Sattvic Guna', Shree Mahalakshmi delineating 'Rajas Guna' and Shree Mahakali portraying 'Tamas Guna'. Shreemad Bhagvad Gita depends on this 'Sankha Philosophy'.
This extraordinary force of all forces is imagined by the faithful admirer in various structures in her three Avatars in particular Shree Mahakali or Durga, Shree Mahalakshmi and Shree MahaSarswati.
As the story goes, the Hindus drenched the three icons of the Goddesses into the ocean close Worli spring to maintain a strategic distance from decimation of the symbols by the Muslim trespassers. In this manner, amid British Rule, Lord Horneby chose to associate the two islands viz. Worli-Malbar Hill stream and the work was depended to Shri Ramji Shivji Prabhu, a Govt. Engineer who attempted through his different architects and specialists to connect the two islands(creeks). They were not in a position to unite two islands by building two ways and couldn't finish the task because of Sea – Waves. One night Shree Mahalakshmi Goddess educated him in a fantasy and requesting that he take out every one of the icons which were in brook of Worli and place them on top of the hillock. He guaranteed the Goddess that he will take them out from ocean/rivulet and place them in a temple on top of the hillock. As needs be, group working for development of joining of Worli river and Malbar Hill spring took out all the three symbols of matajis from the Worli stream. At that point just he succeeded to unite the said two rivulets. After consummation of this work, Engineer acquired ground on the hillock as a blessing from the English Ruler. He then built a Mahalakshmi Temple on the said on top of the hillock by burning through Rs.80,000/ - .
According to the records accessible this temple was developed between 1761 A.D.1771 A.D.Considering Hindu society, journey involves an essential spot in a Hindu's life, as it is a stage to otherworldly elevate. Kashi is heavenly, probably. In any case, Karveer is more noteworthy than it by a rice grain. The temple's premises, as well as the entire broad zone is heavenly. Karveer gives material bliss and salvation too. Karveer is central. It is a focal point of force (Shakti-peetha), Mahamatrka.
The evidences of the greatness of the goddess can be found in famous mythological writings such as the Karveermahatmya, Devimahatmya, Vishnu Puran, Kedarvijay etc. If we try to discover the evidences mentioned in these famous writings, the destinations can still be found with same or another names. One thing is true, everything desires a sincere discovery and the world of miracles will be explored.
The Karavira Mahatmya states that Vishnu dwells as Mahalakshmi at Kolhapur. Legend has it that Kolhasura, an evil presence that tormented the Gods and different creatures, was demolished by Mahalakshmi here at Karavira, and that the spot of his demise turned into a thirtha and that she took home in a temple which constitutes the temple today. (Legend additionally has it that Parvati - Kolhambika crushed the devil Kolhasura at Tryambakeshwar).
Quite a long time ago this city, Padmavathi pura, was ruled by an evil presence Kolha. when he went for repentance, another evil presence named Sukesi involved this city. After finishing of compensation Kolha got helps from Lord Brahma and came back to his capital, and watched that was caught by another. He promptly kílled Sukesi and got his kingdom. He put his child Karaveera as incharge of this city. Be that as it may, in a war he was killed by Lord Shiva, however around then he got a help from Lord Shiva, that this city will be called as Karaveera pura. Kolha got to be furious with this move and need to make revenge against devatas. He did retribution for Mahalakshmi and got authorization that she ought not to enter into city for a long time. She acknowledged for that, after that Kolha made numerous troubles to Devatas and involved their Swarga moreover. At the point when Devatas commended Mahalakshmi, she instructed them to sit tight for fulfillment of 100 years. Following 100 years bond was over, she came to Karaveera pura and crushed Kolha in that war. He understood his oversight and lauded her and got three helps from her. Initial one this city name will originate from his name Kolha as Kolhapur, second she ought to live in this spot for all time and third one this spot ought to end up as Siddha kshetra.
Story of Sage Bhrigu
Sage Bhrigu was one of the Saptarishis and the Manas Putra of Lord Brahma. Once a great Maha Yajna was being performed by many great sages and a decision could not be taken as to which God among Brahma, Vishnu and Shiva was the greatest in order to be offered the primary seat in the Yajna. Sage Bhrigu decided to test each of them and decide on the greatest. On reaching Brahmaloka, he displayed disrespect for Lord Brahma who furious with him wished to punish him, but was restrained by his consort Mother Saraswati. Unhappy, Sage Bhrigu left the place cursing that no one would worship Brahma on earth due to which there are very few Brahma temples on earth to this day.
Sage Bhrigu then set out to Kailash and was stopped by Nandi from entering inside as Shiva and Parvati were in their private chambers. Bhrigu then cursed Shiva that he would only be worshipped in the Linga form. Finally, Bhrigu set out to Vaikunta to test Lord Vishnu. When he entered, he saw Vishnu in deep sleep and when he did not wake up and acknowledge Bhrigu, the sage kicked him on his chest (said to be the place where Goddess Mahalakshmi resides). Vishnu immediately awoke and instead of getting angry rushed to sage Bhrigu and asking him if his foot was paining due to the strike began to massage it. During this act, the Lord is said to have squashed the extra eye that was present in the sole of Bhrigu’s foot symbolising the sage’s egotism. Sage Bhrigu immediately declared that Vishnu was the greatest among the trinity. But Goddess Mahalakshmi, Vishnu’s consort was furious at Bhrigu’s temerity and when she saw Vishnu’s inaction against Bhrigu, she left Vaikunta and went to Kolhapur where she observed strict penance for many years and remained there until Vishnu went in search of her, which resulted in the legend of Lord Balaji and Padmavati. Her presence is said to ensure never ending prosperity to the city of Kolhapur.
Celebrations And Events
Navaratri and Diwali are the uncommon occasions that are commended at Shree Mahalakshmi Temple - 'Chaitra Navaratra' in the month of Chaitra i.e. between March-April and 'Ashwin Navaratra' in the month Ashwin between September –October and Diwali amid October - November. Amid Navaratra, the temple is designed from the passage to gabhara. Whole temple encompassing is enhanced with different arrangement of lights, blooms, wreaths and so on.
Extraordinary game plans for keeping footwear of devotees, free of expense is made by the temple and Pendals are raised on the pathway close Bhulabhai Desai street amid Navaratra celebrations, an exceptional railing and courses of action are made in the temple sabhamandap to encourage appropriate darshan of Deities to each aficionado desiring darshan of all the three divinities. Amid three to four days of Diwali including "Laxmipoojan" there is substantial surge of devotees.
Annakut which is hung upon the arrival of Kartik Pournima, celebrated in this temple after the Diwali celebration when 56 sorts of different desserts and sustenance things and so forth are offered to matajis as naivedya and afterward the said things are conveyed to every one of the devotees and more than 500 devotees profit of advantage of Prasad/supper on Annakut day.
During late years there are more surges of women on the event of Margshirsh month (i.e.During December and January). There is gigantic surge like Navaratra in the temple. For the current month is considered exceptionally promising when enthusiasts offer their requests to God sitting before Sabha Mandap.
Palkhi of Mataji Palkhi parade happens on 'Gudhi Padwa', i.e. first day of the Marathi New year in the month Chaitra (March/April). Chaitra Navratra begins on first day of Chaitra. Palkhi parade happens on seventeenth June consistently being the commemoration day of the "Dhwjasthambha" which was raised before the temple close deepsthambha. Dhwjasthambha was devoted on account of Jayendra Saraswati Shankaracharya of Kanchi Kamkoti. Amid palkhi parade parcel of aficionados join in and appeal to the Goddesses for choicest endowments.
It is not amazing that even the beams of a setting sun pay respect to Goddess Mahalakshmi as the life of person rotates around enlightenment and flourishing. Be that as it may, it is the miracle of insightful engineers who fabricated the temple of Mahalakshmi at kolhapur that the beams of the setting Sun, bow at the feet of the Goddess through a window, for some time before vanishing. This unique occasion is praised by a large number of individuals as 'KiranUtsav'. Each year this celebration is praised on the next days at night: 31 January, 1 February, 2 February, 9 November, 10 November, 11 November.
It is said that Sun god offers appreciation to Mahalaxmi for three days in a year. This will be on the event of RathaSaptami (which will be amid January consistently). The main day, beam falls on the feet, on second day, on the center segment of the god and on the third day on the face. It is the draftsman's incredibleness, which is been done over 1000 years prior, can at present be watched. Later amid the season of Peshwas, the temple was repaired. Despite the fact that numerous attacks over this, a portion of India have brought about a few harms of the lovely icons which are all around the temple.
Navratra Mahotsav In Mahalakshmi Temple
Navratra (nine evenings) celebration is praised for ten days amid the Hindu months of Ashwin (around October). The every day routine of the temple is adjusted amid this period. At 8.30 a.m., 11.30 a.m. Abhishek is performed trailed by Mahanaivedya and Aarti. Later at 2.00 p.m. the god is enriched with every one of the decorations. On each of the ten days at 9.30 p.m. the litter of the Goddess is enhanced in various structures with blooms and lights and is taken out in parade in the temple complex. Government supported police and military band is played at the leader of the parade. The occasion comes full circle at 10.30 p.m. at the point when the litter comes back to the Garud Mandap and is set on an uncommon platform. The Goddess then gets one ordinance salute. Different social projects are sorted out by the Mahalakshim Temple Trust in these ten days.
Lalita Panchami in Mahalakshmi Temple(Fifth day of the Navratra Festival)
At 7.00 a.m. what's more, 10.00 a.m. Abhisheka is performed alongside the other routine customs. At 10.00 a.m. the litter of the Goddess is given one standard salute and it leaves the temple premises to visit Goddess Tryambuli's temple which is at a short separation from the fundamental temple in Kolhapur. On the way it stops at Shahu Mill and Takala for Puja and Aarti. The parade achieves Goddess Tryambuli's temple by twelve. The Chhatrapati (the nearby imperial ruler) performs Kushmandabali (breaking a pumpion gourd into two with a sword. This speaks to murdering of the adversary) in the vicinity of an unmarried young lady from the Patil family from Kasba Bavda, close Kolhapur. The litter comes back to the temple at 2.00 p.m. later an Aarti is finished. At night the litter is conveyed in parade the temple itself.
Ashtami (Eighth day of the Navratra Festival)
At 8.30 a.m. what's more, 11.30 a.m. Abhishek is performed on the divinity alongside the other normal ceremonies took after by Alankar Puja. The silver representation of the Goddess is set in the Garud Mandap from 7.00 p.m. to 9.30 p.m. At 9.45 p.m. the Goddess then gets one standard salute. The silver representation is set on a throne and is taken around the town in parade from Mahadwar street, Gujri-Bhausinghji street, Bhavani Mandap (where the goddess is respected with betel leaves and betel nut by recognized individuals. She is additionally offered Oti (including brilliant flanked shirt piece, coconut, bangles, desserts and token cash), Gurumaharajwada, Shri Binkhanbi Ganesh (where Lord Ganesh is venerated) and back to the Mahadwar Road and to the temple. Again an Aarti is done trailed by conciliatory flame Puja that proceeds till small hours of next morning. It closes with the Purnahuti (zenith Puja).
Navami (Ninth day of the Navratra Festival)
As common the customs are done at 8.30 a.m., 11.30 a.m. also, 9.30 p.m. alongside the ones done consistently.
Rathotsavam Celebrations in Mahalakshmi Temple
Rathotsav in Mahalakshmi Temple Kolhapur (chariot celebration) is composed in April. The chariot bearing the silver representation of the Goddess Mahalakshmi is designed with blooms and lights. It is taken out in a parade at night from 7.30 p.m. to 9.30 p.m. The devotees can offer their regards to the Goddess when the parade touches base at the fundamental passage of the temple. At 9.30 p.m. one ordinance salute is given to the Goddess and the parade is taken outside the temple. It moves in the city and comes back to the temple. The parade is joined by military or police band. Colossal Rangoli (floor works of art) are drawn along the way of the parade and firecrackers add to the merriments. A few followers run to take part in this occasion.
Kirnotsav Celebrations in Mahalakshmi Temple
Kirnotsav or the celebration of the sun's beams is commended every year when the light of the setting sun falls on the substance of the picture for three days through a little open window on the western divider. This is considered exceedingly promising and uncommon and explorers throng to see the divinity right now. The three days are as per the following –
Jan 31st and Nov ninth – Sun beams fall straightforwardly on the feet of the divinity
Feb first and Nov tenth – Sun beams fall straightforwardly on the mid-section of the divinity
Feb second and Nov eleventh – Sun beams fall straightforwardly on the whole body of the divinity.
The temple is overseen by a Committee delegated by the law and legal division, Government of Maharashtra. They deal with the general working of the temple, acknowledge gifts for remodels and trust exercises, protect and store the decorations of the Goddess and different valuable things, administer the dissemination of Mahaprasad and other functions.
Arati and puja Timings
Starting Of The Daily Routine 4.30 am
The bell is rung at the Ghati Darwaza. The doors of the sanctuary of the Goddess Ambabai Mahalaxmi opens. The devotees waiting there pray to the goddess to wake up.
Kakadarati 4.30 am to 6.00 am
Kakadarati is performed. Worship is offered to the goddess Ambabai (Mahalaxmi). The same worship is offered to the Matrulinga, Mahakali, Shree Yantra, Mahasaraswati and Ganpati.
Morning Mahapuja 8.00 am
The bell at Ghati Darwaza is rung again to inform the devotees of the time of the Mahapuja. During the Mahapuja, the Shri Pujaks continue to perform their incantations. The Abhishek is offered to the goddess. After adorning the goddess with flowers, the golden crown on the head and golden footwear are placed.
Holy Food (Nevaidya) 9.30 am
Holy food is then offered to the goddess.
Afternoon Mahapuja 11.30 am
The bell at Ghati Darwaza is rung to inform the devotees of the timing of the afternoon Mahapuja. Mahanevaidya is offered to the goddess. This plate usually contains Puranpoli, Rice, Dal, Vegetable, Chatani, Koshimbir and such else. Only roasted food is offered on Gokulashtami and Mahaashtami and during Diwali, at least two days. Special food other than Puranpoli is offered to the goddess.
Alankar Pooja 1.30 pm
The idol of the goddess is then decorated by wearing golden ornaments. Chandan and beautiful kumkum is applied on the forehead of the idol. This pooja contains traditional saari, kirit, kundal, mangalsutra, chains, kolhapuri saaj, putlya haar, tikhar etc.
Dhuparti 8.00 pm
Holy food is offered to the goddess. The Mahanevaidya is offered only on Friday evening.
Shejarti 10.00 pm
After depositing the precious ornaments to the Jamdar, the bell at Ghati Darwaza rings and then the goddess goes to sleep, milk with sugar is presented.
Aarati is done in the room and 'Nidra Vida' melody is sung. At that point the day by day routine is shut alongside principle and sub door. Therefore Aarati is done 5 times every day. Mahakali, Matuling, Shree yantra, Maha Ganapati 5 Maha Saraswati are likewise offered Aarati and. Naidedya. Each Tuesday Friday, Aarati seats increment. Arati-visit is given to all srnall and enormous 87 temples. There are distinctive gatherings of devotees going to one or more Aaratis.
Their proportion is around 183 day by day, each Aarati. Akarati, Pancharati, Kapurarti are diverse Aaratis utilized of which 2 are silver and the latter is metal. Other than these Aratis in the Mandir an additional one is done at the celebrations such as Tryarnbuli Fair, Rathosava, Ashtami Jagar, Eclipse, Gokul Ashtami, Kiranotsava and so on. There is a convention to do unique Aarati when Shree Shankaracharya and Shreeman Chhatrapati visit the temple. In the month of Kartik from Deepavali to Purnirna celebration is commended. It merits seeing as a great many women and men of honor go to it.
The temple has a place compositionally to the Kannada Chalukya domain and might have been first implicit around 700 AD.
The statue of the Goddess Mahalakshmi is made of gemstone and is thought to be no less than 5000 to 6000 years of age. It weighs around 40 kilos.
Five adorations administrations are offered every day.
Kirnotsav in Mahalakshmi Temple Kolhapur (celebration of Sun beams) is praised when the sun beams fall specifically on the god's Mahalakshmi icon at the season of nightfall.
In the month of March/April and September/October i.e.during Chaitra and Ashwin Navaratra , the Sun beams of rising sun fall on the gods for couple of minutes.
Kolhapuri Chappals or Slippers are world well known. They come in 3 assortments, Kolhapuri, Kapashi and Dongari. They are generally produced using chrome tanned calfskin.
Kolhapuri Pheta or Turban used to be a basic part of the Male Costume. Today it is a standard honour to make visitors wear it. It is generally produced using Silk or Cotton and is 3.5 to 6 meters long and 1 meter wide. Saffron is the most well known decision of shading.
Kohapuri Saaj is the conventional jewellery worn by ladies. The best place to get one is from the diamond setters in the Gujri market.
This is one of the 52 Shakti Peetas in the nation.
It is said that both Shri Lakshmi and Shri Vishnu dwell in the Karveer region endlessly and should not leave even at the season of Mahaprayakala. This locale is accordingly additionally alluded to as an avimuktakshetra. Karveer locale is endlessly honored and is accepted to be held by Mother Jagdambe in her right hand, thus this district is shielded from all annihilation. Master Vishnu himself worships this locale more than Vaikiuntha or the Kshirsagar since it is the home of his consort Lakshmi.
Mahalaxmhi had a battle with her spouse and she settled in Kolhapur. She had no rooftop over her head, so her dedicated hirelings, who were evil spirits, manufactured her a major temple with lovely carvings made of stones from the lake Rankala inside of one night.The general population treated her exceptionally well, thus she guaranteed that there would be no destitution. No individual in Kolhapur will stay poor. The temple is in the same condition.
There are 50 little temples around Mother Mahalashmi temple other than 3000 temples in this spot. The temple being one among the 52 Shakti Peetas in the nation is assembled by convention. A devil, Kohlasura by name was wrecked by Mother showing up on Her lion vahan, punching him with Her club in this spot. There are delightful Deepa Sthambas – light - posts in the western passageway called Mahadwara. Garuda Mandap and Lord Vinayaka holy place are inverse the sanctum sanctorum. Mother graces the aficionados in a standing stance on a square peeta. The artifact of the symbol made of uncommon and valuable dark diamonds is accepted to go back to 1300 years. Mother is grasping the nectar pot while Adisesha is behind Her as an umbrella.
Kolhapur airplane terminal is at a separation of 30 km from the temple. Additionally, Pune and Mumbai have standard local and worldwide flights.
Kolhapur railroad station is at a separation of 5 km from the temple and numerous trains go by from the vast majority of the significant urban areas in the nation. Miraj is additionally a vital railroad station at a separation of 10 km from the temple.
From Mumbai, Kolhapur lies around 400 kilometer and Pune more than 240 kilometers. This area is situated on National Highway no. 4, which lies in the middle of Pune and Bangalore. The real town or city nearest to Kolhapur is Panhala, which is at a separation of 20 km from Kolhapur.
Shree Karveer Nivasini Mahalakshmi Temple,
Pin - 416 012, India.
Devotees visit this temple to seek fulfillment of the following:-
- For matrimonial purposes
- To attain prosperity
Adhilakshmi Namasthesthu Parabrahma Swaroopine Yeshodhehi Dhanamdehi Sarvakamamcha Dehimey Mangaley Mangaladhare Mangalya Manggalapradhey Mangalartham Mangalesi Mangalyam Dehime Sadaaaa
Meaning -Goddess Adilakshmi, the supreme Brahman, we offer our salutations to you and ask you to grant us wealth and prosperity. Fulfill our wishes O auspicious Goddess for you are auspiciousness personified and you grant auspiciousness. Grant us eternal happiness and prosperity.
Namasthesthu Mahamaye Sri Petesura Poojithey Sanguchakra Gatha Hasthey Mahalakshmi Namosthuthey Namasthey Garudaroodey Kolasurea Bayankari Sarva Papa Hare Devi Mahalakshmi Namosthutehy
Meaning -Oh all powerful Mahalakshmi, the seat of wealth and who devas worship, salutations to you, for you are one who has a conch, a disc and a mace in your hands.
Namastulasi Kalyaani Namo Vishhnupriye Shubhe Namo Moksha Pradey Devii Namah Sampatpradaayinee
Meaning -I bend down to Tulasi, who is so dear to Lord Vishnu and who bestows good luck on devotees, who helps one attain salvation and who bestows wealth on all devotees.
Samudra Vasaney Devi Parvathasthana Madale ; Vishnupatnii Namasthubhyam Paadha Sparsham Kshamashamey
Meaning -Oh Mother Earth, I beg your forgiveness for placing my feet on you, the one who wears oceans, forests and mountains and Lord Vishnu's wife, I bow to you.
5 a.m. to 10:30 p.m.