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April 10, 2026

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"'In the year 696, six hundred and ninety-six, he sent an army for the conquest of Gujarat under the command of Ulugh Khan who became famous among the Gujaratis as Alp Khan and Nusrat Khan Jalesri. These Khans subjected Naharwala that is, Pattan and the whole of that dominion to plunder and pillage' They broke the idol of Somnat which was installed again after Sultan Mahmud Ghaznawi and sent riches, treasure, elephants, women and daughters of Raja Karan to the Sultan at Delhi....[Somnath (Gujarat) ] 'After conquest of Naharwala and expulsion of Raja Karan, Ulugh Khan occupied himself with the government. From that day, governors were appointed on this side on behalf of the Sultans of Dilhi. It is said that a lofty masjid called Masjid-i-Adinah (Friday Masjid) of marble stone which exists even today is built by him. It is popular among common folk that error is mostly committed in counting its many pillars. They relate that it was a temple which was converted into a masjid' Most of the relics and vestiges of magnificence and extension of the ancient prosperity of Pattan city are found in the shape of bricks and dried clay, which inform us about the truth of this statement, scattered nearly to a distance of three kurohs (one kuroh = 2 miles) from the present place of habitation. Remnants of towers of the ancient fortifications seen at some places are a proof of repeated changes and vicissitudes in population due to passage of times. Most of the ancient relics gradually became extinct. Marble stones, at the end of the rule of rajas, were brought from Ajmer for building temples in such a quantity that more than which is dug out from the earth even now. All the marble stones utilized in the city of Ahmedabad were (brought) from that place[Patan (Gujarat)]"

- Patan, Gujarat

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"The foundation of this shrine must have been laid in the solstice, as its front varies ten points from the meridian line; and as the Silpi, or architect, in these matters, acts under the priest, we may infer that the Surya Siddhanta was little known to the Goorgoocha Brahmins, the ministrants of their times, who took the heliacal rising of those days as the true east point; its breadth is, therefore, from N.N.W. to S.S.E. Contrary to custom, it has its back to the rising sun, and faces the west. Crishna is here adored under his form of Rinchor, when he was driven from his patrimony, Surasena, by the Budhist king of Magadha. A covered colonnaded piazza connects the cella of Crishna with a miniature temple dedicated to Deoki, his mother; and within the ample court are various other shrines, one of which, in the S.E. angle, contains the statue of Budha Tri-vicrama, or, as he is familiarly called, Tricam-Rae and Trimnat’h, which is always crowded with votaries. Opposite to this, or at the S.W. angle of the main temple, is a smaller one, dedicated to another form of Crishna, Madhu Rae, and between these is a passage leading by a flight of steps to the Goomtee, a small rivulet, whose embouchure with the ocean is especially sacred, though is would not wet the instep to cross it. From the grand temple to the sungum, or point of confluence, where there is a small temple to Sungum-Narayn, the course of the Goomtee is studded with the cenotaphs of those pilgrims who were fortunate enough to surrender life at this “dwara of the deity.” Amongst them are four of the five Pandu brothers, countenancing the tradition that the fifth proceeded across the Hemachil, where, being lost sight of, he is said to have perished in its snows, and whither he was accompanied by Baldeo, the Indian Hercules, whose statue is enshrined in the south-west corner of the great munduff, several step under ground. Baldeo is represented on his ascent from patal, or the infernal regions, after some monstrous combat."

- Dwarka

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"The temple of Dwarica, the most celebrated of all the shrines raised to Crishna [Krishna], is built upon an eminence rising from the sea-shore, and surrounded by a fortified wall, which likewise encircles the town, from which it is, however, separated by a lofty partition-wall, through which it is necessary to pass to see it to advantage. The architectural character of this temple is that to which we are accustomed to give the name of pagoda. It may be said to consist of three parts: the munduff, or hall of congregation; the devachna, or penetralia (also termed gabarra); and the sikra, or spire…the chisel of Islam had been also at work, and defaced every graven image, nor is there enough remaining to disclose the original design: nevertheless, this obliteration has been done with care, so as not to injure the edifice. The basement, or square portion of the temple, from which springs the sikra, was the sanctum in former ages, when Budha-trivicrama was the object of adoration, anterior to the heresy of Crishna, who was himself a worshipper of Budha, whose miniature shrine is still the sanctum-sanctorum of Dwarica, while Crishna is installed in a cella beyond. The sikra, or spire, constructed in the most ancient style, consists of a series of pyramids, each representing a miniature temple, and each diminishing with the contracting spire, which terminates at one hundred and forty feet from the ground. There are seven distinct stories before this pyramidal spire greatly diminishes in diameter; each face of each story is ornamented with open porches, surmounted by a pediment supported by small columns. Each of these stories internally consists of column placed on column, whose enormous architraves increase in bulk in the decreasing ratio of the superimposed mass, and although the majority at the summit are actually broken by their own weight, yet they are retained in their position by the aggregate unity. The capitals of these columns are quite plain, having four cross projections for the architraves to rest on; and by an obtuseness in the Silpi not to be accounted for, several of these architraves do not rest on the columns, but on the projections; and, strange to say, the lapse of centuries has proved their efficiency, though Vitruvius might have regarded the innovation with astonishment. The entire fabric, whose internal dimensions are seventy-eight feet by sixty-six, is built from the rock, which is a sand-stone of various degrees of texture, forming the substratum of the island; – it has a greenish hue, either from its native bed, or from imbibing the saline atmosphere, which, when a strong light strikes upon it, gives the mass a vitreous transparent lustre. Internally it has a curious conker-like appearance. The architraves are, however, an exception, being of the same calcareous marine conglomerate, not unlike travertine, as already described in the temple of Somnat’h."

- Dwarka

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"One of the strongest advocates of the Indianized form of Muslim structures is Havell, who is too intolerant to allow any credit to the Muslim builders for the use of radiating arches, domes, minarets, delicate relief works. He maintains that the central mihrab of the Adina Masjid at Hazrat Pandua is so obviously Hindu in design as hardly to require comments. While Havell writes that ‘The image of Vishnu or Surya has trefoil arched canopy, symbolizing the aura’ of the god, of exactly the same type as the outer arch of the mihrab, Beglar says that the Muslims delighted in ‘placing the sanctum of his orthodox cult (in this case the main prayer niche) on the spot, where hated infidel had his sanctum’. Saraswati is even more emphatic on this point when he contends, ‘An examination of the stones used in the construction of the Adina Masjid (one of them bearing a Sanscrit inscription, recording merely a name of Indranath, in the character of the 9th century AD) and those lying about in heaps all round, reveals the fact, which no careful observer can deny, that most of them came from temples that once stood in the vicinity.’ Ilahi Bakhsh, Creighton, Ravenshaw, Buchanan-Hamilton, Westmacott, Beglar, Cunnigham, King, and a host of other historians and archaeologists bear glowing testimony to the utilization of non-muslim materials, but none of them ventured to say that existing temples were dismantled and materials provided for the construction of magnificent monuments in Gaud and Hazrat Pandua..."

- Gauḍa (city)

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