Pranam
Ajit singh wrote in Quora which is reproduced without verification.
Kavacha kundalam was given by father Surya as protection which was given by
Karna as a dhana equivalent to that of DHADEECHI RISHI OF HIS BACK BONE
WHICH BECAME VAJRAYUDHAM OF INDRA; the devaloka property is carried away by
Indra to his Palace (vide MB drona 7 and later parva)
The temple had lot of pujas by the kings and after the sun god was
mutilated as well the temple during the war (not for any treasure there but
the war armies met) the puja is stopped and now turned an architectural
site for the mathematical precisions. ( as a tourist I had gathered these
data from the relevant persons there) vide wiki below:
The Konark or *Konarak Sun temple*
<https://www.ancient.eu/Konarak_Sun_Temple/> is dedicated to the *Hindu*
<https://www.ancient.eu/hindu/> sun god *Surya*
<https://www.ancient.eu/Surya/>, and, conceived as a giant stone *chariot*
<https://www.ancient.eu/chariot/> with 12 wheels, it is the most famous of
the few sun temples built in *India* <https://www.ancient.eu/india/>. It is
located about 35 km northeast of the *city* <https://www.ancient.eu/city/> of
Puri on the coastline in the state of Odisha (earlier Orissa). It was built
c. 1250 CE by King Narasimhadeva I (r. 1238-1264 CE) of the Eastern *Ganga*
<https://www.ancient.eu/Ganga/> dynasty (8th century CE - 15th century CE).
The *temple* <https://www.ancient.eu/temple/> in its present state was
declared by UNESCO a World Heritage Site in 1984 CE. Although many portions
are now in ruins, what remains of the temple complex continues to draw not
only tourists but also Hindu pilgrims. Konarak stands as a classic example
of Hindu temple *architecture* <https://www.ancient.eu/architecture/>,
complete with a colossal structure, sculptures and artwork on myriad themes.
Eastern Ganga Dynasty & Odisha Temple Architecture
The Eastern Gangas established their kingdom in the Kalinga region in
eastern India (present-day Odisha state) at “the beginning of the eighth
century CE” (Tripathi, 368), though their fortunes rose from the eleventh
century CE onwards. The greatest king of this dynasty was Anantavarman
Chodaganga (1077 - 1147 CE), who ruled for about 70 years. He was not only
a formidable warrior but also a patron of arts, and greatly favoured temple
building. The great temple of the god Jagannatha at Puri, begun by him,
'stands as a brilliant monument to the artistic vigour and prosperity of
Orissa during his reign' (Majumdar, 377). His successors continued the
tradition, with the most notable being Narasimhadeva I who not only
completed the construction of the Jagannatha temple but also the temple at
Konarak.
*THE KONARAK TEMPLE TAKES THE FORM OF A COLOSSAL CHARIOT WITH 12 PAIRS OF
LAVISHLY-ORNAMENTED WHEELS REPRESENTING THE 12 MONTHS OF THE YEAR.*
The Architecture at Konarak
The word 'Konark' is a combination of two *Sanskrit*
<https://www.ancient.eu/Sanskrit/> words *kona* (corner or angle) and
*arka *(the sun). It thus implies that the main deity was the sun god, and
the temple was built in an angular format. The temple follows the Kalinga
or Orissa style of architecture, which is a subset of the *nagara* style of
Hindu temple architecture. The Orissa style is believed to showcase the
*nagara* style in all its purity. The *nagara* was among the three styles
of Hindu temple architecture in India and prevailed in northern India,
while in the south, the* dravida* style predominated and in central and
eastern India, it was the *vesara* style. These styles can be distinguished
by how features such as ground plan and elevation were represented visually.
The *nagara* style is characterized by a square ground plan, containing a
sanctuary and assembly hall (*mandapa*). In terms of elevation, there is a
huge curvilinear tower (*shikhara*), inclining inwards and capped. Despite
the fact that Odisha lies in the eastern region, the *nagara* style was
adopted. This could be due to the fact that since King Anantavarman's
domains included many areas in northern India as well, the style prevalent
there decisively impacted the architectural plans of the temples that were
about to be built in Odisha by the king. Once adopted, the same tradition
was continued by his successors too, and with time, many additions were
made.
The main characteristics of the Orissa style are primarily two: the *deul* or
the sanctum housing the deity covered by a *shikhara*, and the
*jaganamohana* or the assembly hall. The latter has a pyramidal roof built
up by a secession of receding platforms known as *pidhas*. Both structures
are squares internally and use a common platform. The exterior is
variegated into projections known in this style as *rathas* or *pagas* which
create effects of light and shade. Many temples built in this style show
their own peculiar variations, and Konarak is no exception.
*THE SUN GOD SURYA IS USUALLY DEPICTED ON A CHARIOT PULLED BY SEVEN HORSES.*
The style here follows the architecture of the Lingaraja temple built
around 1100 CE in the present-day city of *Bhubaneshwar*
<https://www.ancient.eu/Bhubaneswar/>, the state capital of Odisha, and
known locally as the Khakhara style. In this design, the temple is situated
within a large quadrangular court enclosed by massive walls and with a
massive gate in the east. There are multiple halls dedicated to various
activities like dancing, serving meals, gatherings, etc., within this
complex along with the sanctum and with lofty towers. Konarak 'excels the
Lingaraja in the nobility of its conception and the perfection of its
finish. Grand and impressive even in its ruin, the Konarak temple
represents the fulfillment and finality of the Orissan architectural
movement' (Publications Division, 21).
The Konarak temple, built entirely in stone, is in the form of a colossal
chariot with twelve pairs of lavishly-ornamented wheels, drawn by seven
richly-caparisoned, galloping horses. The wheels have been carved against
the sides of the “chariot”. The conception of this temple in the form of a
chariot has mainly to do with Hindu beliefs regarding Surya that he is
usually found on a chariot pulled by seven horses. Thus, the depiction of a
chariot invariably became part of any artistic creation related to the sun
god in India. The 12 pairs of wheels represent the 12 months of the year.
The* deul* including the magnificent *shikhara* has been lost with time.
Today, only the *jaganamohana *and the pillared *bhoga mandapa* (refectory
hall), also known as the nata mandapa (dancing hall) owing to the numerous
sculptures of dancers and musicians on its walls and pillars, in front,
remain.
Legend
Konarak is mentioned in ancient Hindu texts having mythological
significance like the Puranas. Konaditya (Konarak) was believed to be the
most sacred place for the worship of Surya in the entire Odisha region. In
gratitude for healing his skin ailment, Samba, one of the god *Krishna*
<https://www.ancient.eu/Krishna/>'s many sons, erected a temple in the
honour of Surya. He even brought some Magi (sun-worshippers) from *Persia*
<https://www.ancient.eu/Persia/>, as the local Brahmanas (the priestly
class among the Hindus) refused to worship Surya's image. This story was
associated with a sun temple in north-western India, but was shifted to
Konarak in order 'to enhance the sanctity of the new centre by making it
the site of Samba's original temple' (Mitra, 10). Konarak, over time, had
emerged as an important site for sun worship and hence, a mythological
background was considered necessary to increase its importance for devotees.
A Royal Dream
The exact reason for the building of the temple by Narasimhadeva is not
known. Historians have surmised that the king did so either to express his
gratitude for a wish-fulfilment or to commemorate a *conquest*
<https://www.ancient.eu/conquest/>. Also, he could have done it simply to
show his devotion to Surya, but not without adding in his own view of
life as seen from a king's perspective. This is proven by the sculptures
depicting royal activities, including hunts, processions and military
scenes, which 'emphasises the fact that the Sun Temple is the realisation
of the dazzling dream of an ambitious and mighty king, secular to the core
and with an immense zest for life' (Mitra, 27). Even in the sanctuary, the
holiest spot in any Hindu temple, sculptures in niches depict secular
themes; 'the themes of the niches inside the pavilions, with a single
exception where a preacher-like figure is seen seated in meditation, centre
on the life of a king in the *palace* <https://www.ancient.eu/palace/>.
Thus, in one niche, an armed king is seen fondly regarding his reflection
in a mirror' (Mitra, 56).
Construction
Three kinds of stone were used in the temple's construction - chlorite,
laterite and khondalite. Khondalite (though of poor quality) was used
throughout the monument while chlorite was restricted to doorframes and to
a few sculptures, while laterite was used in the foundation, the
(invisible) core of the platform and in the staircases. None of these
stones was available near the site and so material was brought long
distances. The stone blocks were lifted possibly by the means of pulleys,
wooden wheels or rollers and then set into place. The fitting and finishing
were done so smoothly that the joints could not be seen.
Sculptures
During Narasimhadeva's reign, Eastern Ganga art reached its zenith. At
Konarak, therefore, the sculptures display these heights; 'Nowhere is this
era of Kalinga *sculpture* <https://www.ancient.eu/Sculpture/> better
represented than in the gigantic and miniature carvings which decorate the
*jaganamohana* of the stone temple at Konarak' (Publications Division, 77).
Every bit of space available has been covered by the sculptors and with
what appears as an endless variety of themes, with figures indulging in
song and dance and in activities related to* kama* (Sanskrit: “desires and
sensual enjoyment”). There are also depictions of mythical beings, birds
and animals, besides floral and geometrical motifs. The designs were carved
after the stones had been set into place.
Panels represent King Narasimhadeva in various roles - as a scholar
reviewing literary works being presented to him by poets, as enjoying
himself on a swing in his palace, as a great archer, and as a deeply
religious devotee. These are made from pink and green khondalite (these
panels can also be viewed at the National Museum, New Delhi). These
depictions dominate to such an extent that it appears that 'the sculptors
were so busy highlighting the myriad facets of royal life that they had
very little scope to record the daily life of the common man' (Mitra, 27).
A colossal idol of Surya in the southern niche of the sanctuary is a
characteristic sculpture of this temple. It is also one of the very few
sculptures in India which show a god wearing boots. This can be attributed
to Central Asian influence on Indian art, owing to the reign of
Scythian-origin dynasties of ancient India. The god is depicted standing on
his chariot drawn by seven horses. The entire sculpture stands on a
chlorite pedestal and is made from a single piece. It is 3.38 metres high,
1.8 metres wide and 71 cm thick.
The sun god is seen wearing a short lower garment (*antariya)* in the
drawer style (one end of the garment drawn between the legs and tucked in
the waist at the back) and many ornaments. These include a girdle at the
waist, a necklace of five beaded strings with a central clasp, armlets,
ear-rings and a crown. These have been carved with such intricacy that each
bead and motif is clearly visible. The hair is worn in a bun on the crown
of the head. A halo is seen around the head, with tongues of flames
protruding outwards. He holds lotus stalks in both his hands and is
surrounded by several attendant figures, including celestial dancers and
the king offering obeisance along with his family priest.
Pairs of animals were also made to guard the three staircases of the porch
in different directions, and are regarded as masterpieces of the sculptural
art of the Odisha region. These include two rampant lions standing on
crouching elephants in the east, gaily decorated and harnessed elephants to
the north and two beautifully caparisoned warhorses to the south. The
elephants and horses have since been re-installed on new pedestals, only a
few metres distant from the original locations, and now face the porch. The
lions-on-elephants now lie to the front of the eastern stairs of the
*bhoga-mandapa*. Though covered with plaster, the original colour of these
sculptures was dark red patches of which are still visible.
One of the extant sculptures is of a warrior standing alongside one of the
horses. Now headless, he sports a scabbard down his back, while a quiver
full of arrows is seen tied to the saddle. The horse is seen crushing one
figure under his hooves, while another lies below his body.
>From Fame to Decay
Even in the medieval period, Konarak had become a famous temple and
references are found in literary works. Along with the Jagannatha temple,
it served as a landmark for sailors sailing the Bay of Bengal. The early
Europeans traversing this sea referred to the Jagannatha temple as the
'White Pagoda' owing to its white plaster (now removed after restoration)
and Konarak as the 'Black Pagoda'.
The reasons for the collapse of the *deul* and the *shikhara* are not as
yet known. It is believed that it occurred due to 'the subsidence of the
foundation, while others speak of an *earthquake*
<https://www.ancient.eu/earthquake/> or lightning; yet others doubt if the
temple was ever completed' (Mitra, 12). The main belief is that the temple
crumbled gradually, as the use of poor quality khondalite led to the
temple's eventual decay. Many people attribute the beginning of this
process to the attack by Islamic invaders.
The image of the presiding deity or Surya has also never been found and
hence it is not known as to what shape, form or size it originally was. The
speculation surrounding it again gives voice to many beliefs, including its
destruction or removal to the Jagannatha temple. The loss of the deity
caused the temple to be neglected, eventually causing its decay.
Discovery & Restoration
James Fergusson (1808-1836 CE), the noted Scottish historian of British
India who played a key role in rediscovering ancient Indian antiquities and
architectural sites, visited Konarak in 1837 CE and prepared a drawing. He
estimated the height of the portion still standing as being between 42.67
and 45.72 metres. By 1868 CE, the site had been reduced to a mass of stones
covered by trees here and there. Fergusson wrote that a local raja (king)
had removed some sculptures to decorate a temple he was building in his own
fort, and that the temple itself was somehow saved from being used in
building a lighthouse. Besides the raja, the 'locals were also not inactive
in removing the fallen stones and taking out the iron cramps and
dowels' (Mitra, 14).
Sculptures at Konarak Sun Temple
<https://www.ancient.eu/image/11649/sculptures-at-konarak-sun-temple/>
Conservation activities picked up speed from 1900 CE onwards after Lt.
Governor John Woodburn 'initiated the launch of a well-planned campaign to
save the temple at any cost by adopting suitable measures' (Mitra, 33).
Since 1939, CE the Archaeological Survey of India has been conserving and
maintaining the site.
Legacy
At Konarak, 'the joy of a princely life on earth and expression of the
luxury and grandeur prevailing in the royal environment are writ large
everywhere' (Mitra, 27). Hence, the temple appears more as the dream of a
king who wanted his name and his secular deeds immortalized, but who also
wanted to prove himself a devotee, like all other Indian kings. The
artisans, while showcasing this element primarily, also depicted the
religious aspect well. No doubt, the Konarak temple even in its ruined
state stands majestically and bears witness to the architectural and
artistic skills of the period as they stood in medieval Odisha, and India
in general. The building process was a continuation of centuries of temple
architecture begun from the *Gupta* <https://www.ancient.eu/gupta/> period
(3rd century CE to 6th century CE). The students of art, architecture,
history and *archaeology* <https://www.ancient.eu/Archaeology/> can find
Konarak a knowledge-rich place.
Today, this site is not only popular with tourists and pilgrims, but also
serves as a venue for cultural festivals, classical Indian dance
performances, etc. Thus, even today the Sun Temple continues to play its
role in preserving and furthering India's immense cultural heritage.
KR IRS 2221
On Mon, 1 Feb 2021 at 15:56, 'gopala krishnan' via iyer123 <
[email protected]> wrote:
> *CULTURAL QA 02-2021-01*
>
> *Being a compilation there may be errors*
>
> *Q1 What should I eat early in the morning on an empty stomach?*
>
> A1 Rohan Monga January 22-2021-Health and Fitness Writer
>
> 1.Soaked Almonds and walnuts 2.Papaya or banana
>
> 3.Soaked Black Raisins
>
> Personally, I daily consume 6 soaked black raisins every day as they are a
> great source of iron, magnesium, potassium, and other essential vitamins
> and minerals as well.
>
> The other good thing they offer is that black raisins are a good source of
> insoluble fiber, which further helps you in better bowel movements early
> morning.
>
> Thus if you feel constipated or don't have those good bowel movements
> early morning you can have soaked black raisins on an empty stomach.
>
> Again you can couple it with some soaked almonds and walnuts if you want
> to.
>
> Just make sure that you use good quality black raisins like this one[
> https://amzn.to/2M9F5MI] and soak them overnight in some water, as
> soaking them in water helps to increase nutrients absorption better in your
> body.
>
> I personally have some amount of water first and than go with soaked
> raisins early morning with some amla.
>
> Thus these are some foods that you can consume on an empty stomach for
> good health.
>
> Also, don't start your day with tea/coffee on an empty stomach as regular
> or prolong consumption of them can cause you some problems in the future.
>
> Q2 What did Indra do with Karna's kavach and kundal?
>
> A2 Amit Singh 7-1-2021 Freelancer at Writers and Authors
> (2020–present)
>
> *Some Facts says, Kavach & kundal could be taken to heaven. So Indra hide
> it somewhere close to mountain.*
>
> Historical facts suggest it to be “Konark” (sun temple) , as many
> historical battle has been fought over their for treasure!
>
> (The cause of the destruction of the Konark temple is unclear and still
> remains a source of controversy.)
>
> Isn't that strange that no one worship there being a temple.
>
> Logic behind existence:
>
> Nearby places has both access to Sunlight & water directly. Refer to
> various articles on google for details as it's just factual transmission
> over ages. There's no proof for this!
>
> Moreover Arka refers to Hindu Sun God!
>
> This mystery is still unsolved, around 13th century more than 12 battle
> has been fought there for treasure! Still no one got!
>
> Source: Wikipedia
>
> *Q3 What is better, a foam mattress or a spring mattress?*
>
> A3 Wakefit Solutions Updated January 2021-Lives in Bengaluru,
> Karnataka, India
>
> The short answer is foam mattress, but only if the spring mattress is of
> poor quality.
>
> The quality of the metal coil in a spring mattress determines whether or
> not it will stand the test of time. If the metal is below average, then
> soon it will begin to disintegrate. This is why, after just a few months
> on a poor quality spring mattress, you are likely to hear squeaky sounds
> when you turn or toss. This can affect your sleep, which in turn, affects
> many other important aspects of your life.
>
> *My note- Many cots have spring bottom* , especially the ones used in
> hospitals. My training centre cots during 1966’s were having spring bottom.
>
> *Q4 Why did Shiv place an elephant head instead of the original
> one?*
>
> A4 Tarun Yadav January 25-2021-Hindu Gods and Goddesses ·
> Interested in Sanatan Literature
>
> After seeing her child dead, Maa Parvati became extremely angry. *She
> created thousands of Shaktis who started to devour sages, gods, rakshasas
> and other beings.*
>
> Seeing this, all the gods and sages became distressed. They then went to
> Maa Parvati and tried to please her. After a lot of efforts, she was
> finally pleased. *She put one condition that her son should be made the
> chief of the Ganas.*
>
> The gods and sages recited all this to Lord Shiva. Then Lord Shiva spoke
> these words to the gods -
>
> “You shall go to the northern direction and whatever person you meet at
> first you cut off his head and fit it to this body.”
>
> On hearing this, they went to the North and found an elephant. So they
> cut off that elephant's head which was then used to bring Lord Ganesha back
> to life.
>
> *Q5 How did Shantanu, being a common human being, give boon to
> Bhisma of "Ichcha Mrityu"?*
>
> A5 Raj Saxena May 17, 2020-Mahabharata (Hindu epic) · Have read
> authentic version of Mahabharata and Ramayan..
>
> As we all know that Devvrata took a fierce oath, for his father's
> happiness. Shantanu the king of Hastinapur, became bewildered and out of
> love and affection for his son, he delivered a boon to his son –
>
> *O Son, You will die only at your wish. No one, not even Yama, the god of
> Death can claim your life, unless you wish to hand it over to him.*
>
> First of all Shantanu was the father of Bhishma and Hinduism provides the
> power of Lord Shiva to a father (of course to his son).
>
> Shantanu was not a mere human. One who have reached the Pitri Loka, for
> his great acts, surely gains some power in him, which is not like that of a
> common Human. Make a point that in Hinduism, Pitri Loka is referred with
> Muladhar of Kundalini chakra. Hence, he was a person with awakened
> Kundalini.
>
> This means he imparted the knowledge to awake his Kundalini Chakras,which
> are said to be if awakened,biggest achievements of Human.
>
> Here, as we all know,Bhisma was Eigth Vasu(dyoh),and was cursed to live on
> Earth, with great hardship, and might be a part of curse, of him getting
> boon of ichaa mrityu
>
> As we all know, although he was blessed with almost being immortal, he
> have a lot of hardships in his life, and he himself stated that-
>
> Dear Vidur!!,I can't Bear more conflict between two Sons of same brothers. *I
> just don't want to live anymore, I am waiting for Kaal to Enlight me.*
>
> So,he himself stated that he can't bear being on side of Adharma and
> didn't wanted to live anymore
>
> I have answered as per my knowledge, so I all suggestions are welcome and
> please let me know in comments, about your thoughts.
>
> *Q6 What do you know about Emperor Humayun and Rani Karnavati?*
>
> A6 Ninad Kshirsagar January 13-3021-Service Delivery Specialist.
> (2018–present)
>
> Rani Karnavati was Wife of Maharana Sangram Singh of Mewar popularly
> known as Rana Sanga. She was mother of Rana vikramaditya and Rana udai
> Singh. She was Grandmother of Legendary Maharana Pratap Singh. Rani
> Karnavati was princess of Bundi. And humayan as we all know was second
> Mughal emperor and father of Jalaluddin Akbar.
>
> In 1534–35 the Sultan of Gujarat Bahadur Shah attacked Mewar and Chittor.
> At that time her elder son Vikramaditya was rana of Mewar but he was a weak
> ruler. *So Rani Karnavati in order to save Mewar asked help from Mughal
> emperor Humayun. *But Humayun never came to her help.
>
> So she sent her sons Vikramaditya and Udai singh to bundi and prepared for
> jauhar and saka. In 1535 finally After defeat was inevitable Rani
> Karnavati performed jauhar along with thousands of women's and Rajput
> soldiers did saka. This was second jauhar and saka of chittor.
>
> Humayun came much later towards Mewar and hearing that Bahadur Shah fled
> Mewar. Humayun too came looted Chittor and went back. Then after that Mewar
> Sisodia generals Brought back vikramaditya and again instated him as ruler.
>
> So this is main Story.. Humayun never came to help on time and when he
> came he too just plundered Mewar like others and went back.
>
> *Q7 What's the history of the Somnath Temple?*
>
> A7 Rajan Gupta October 12-2020
>
> If you really want to know some amazing facts about SOMNATH temple that
> can drop your jaw open ,read my answer :
>
> Now,answer to the Question :
>
> According to popular tradition documented by J. Gordon Melton, the first
> Siva temple at Somanath is believed to have been built at some unknown time
> in the past.
>
> The second temple was said to be built at the same site by the Seuna kings
> of Vallabhi around 649 CE. In 725 CE, Al-Junayd, the Arab governor of
> Sindh is said to have destroyed the second temple as part of his invasions
> of Gujarat and Rajasthan. The Gurjara-Pratihara king Nagabhata II is said
> to have constructed the third temple in 815 CE, a large structure of red
> sandstone.
>
> There is no historical record of an attack on Somnath by Al-Junayd.
> However, Nagabhata II is known to have visited tirthas in Saurashtra,
> including Someshvara (the Lord of the Moon) at Somnath, which may or may
> not be a reference to a Siva temple.
>
> The Solanki king Mulraj possibly built the first temple at the site
> sometime before 997 CE, even though some historians believe that he may
> have renovated a smaller earlier temple.n 1024, the temple built by
> Mularaja was destroyed by the prominent Afghan ruler,Mahmud of Ghazni,who
> raided the temple from across the Thar Desert. The temple was rebuilt by
> the Paramara king Bhoja of Malwa and the Solanki king Bhimdev I of
> Anhilwara (now Patan, Gujarat) between 1026 and 1042. This appears to have
> been a wooden structure, which was replaced by a stone temple by Kumarpal
> (r.1143-72).
>
> In 1296, the temple was once again destroyed by Alauddin Khilji's army.
>
> Raja Karan of Gujarat was defeated and forced to flee. According to
> Taj-ul-Ma'sir of Hasan Nizami, the Sultan boasted that "fifty thousand
> infidels were dispatched to hell by the sword" and "more than twenty
> thousand slaves, and cattle beyond all calculation fell into the hands of
> the victors."
>
> The temple was rebuilt by Mahipala Deva, the Chudasama king of Saurashtra
> in 1308 and the Linga was installed by his son Khengar sometime between
> 1326 and 1351.
>
> In 1375, the temple was once again destroyed by Muzaffar Shah I of the
> Gujarat Sultanate.
>
> In 1451, the temple was once again destroyed by Mahmud Begada, the Sultan
> of Gujarat.
>
> By 1665, the temple, one of many, was once again ordered destroyed by
> Mughal emperor Aurangzeb.
>
> Later the temple was rebuilt to its same glory adjacent to the ruined one.
> Later on a joint effort of Peshwa of Pune, Raja Bhonsle of Nagpur,
> Chhatrapati Bhonsle of Kolhapur, Queen Ahilyabai Holkar of Indore &
> Shrimant Patilbuwa Shinde of Gwalior rebuilt the temple in 1783 at a site
> adjacent to the ruined temple.
>
> Before independence, Prabhas Patan was part of the princely state of
> Junagadh, whose ruler had acceded to Pakistan in 1947. After India refused
> to accept his decision, the state was made a part of India and Deputy Prime
> Minister Patel came to Junagadh on 12 November 1947 to direct the
> stabilization of the state by the Indian Army and at the same time ordered
> the reconstruction of the Somanath temple.
>
> When Patel, K. M. Munshi and other leaders of the Congress went to Mahatma
> Gandhi with their proposal to reconstruct the Somnath temple, *Gandhi
> blessed the move, but suggested that the funds for the construction should
> be collected from the public and the temple should not be funded by the
> state. *He expressed that he was proud to associate himself to the
> project of renovation of the temple.
>
> However, soon both Gandhi and Sardar Patel died and the task of
> reconstruction of the temple continued under Munshi, who was the Minister
> for Food and Civil Supplies in the Nehru Government.
>
> The ruins were pulled down in October 1950 and the mosque present at that
> site was shifted few kilometres away.
>
> In May 1951, Dr. Rajendra Prasad, the first President of the Republic of
> India, invited by K M Munshi, performed the installation ceremony for the
> temple.
>
> The President said in his address, "It is my view that the reconstruction
> of the Somnath Temple will be complete on that day when not only a
> magnificent edifice will arise on this foundation, but the mansion of
> India's prosperity will be really that prosperity of which the ancient
> temple of Somnath was a symbol."
>
> He added "The Somnath temple signifies that the power of reconstruction is
> always greater than the power o destruction".
>
> All the above QA are based on Quora digest to me on 30-1-2021. Quora
> answers need not be 100% correct answers
>
> *Compiled and posted by R. Gopala krishnan on 01-2-2021*
>
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