The milder side of the Rājput character is represented in the cult of Krishna at Nāthdwāra. The Mahant or Abbot of the temple, situated at the old vi… - James Tod

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The milder side of the Rājput character is represented in the cult of Krishna at Nāthdwāra. The Mahant or Abbot of the temple, situated at the old village of Siārh, twenty-two miles from the city of Udaipur, enjoys semi-royal state. In anticipation of the raid by Aurangzeb on Mathura, A.D. 1669-70, the ancient image of Kesavadeva, a form of Krishna, ‘He of the flowing locks,’ was removed out of reach of danger by Rāna Rāj Singh of Mewār. When the cart bearing the image arrived at Siārh, the god, by stopping the cart, is said to have expressed his intention of remaining there. This was the origin of the famous temple, still visited by crowds of pilgrims, and one of the leading seats of the Vallabhāchārya sect, ‘the Epicureans of the East,’ whose practices, as disclosed in the famous Mahārāja libel case, tried at Bombay in 1861, gave rise to grievous scandal. The ill-feeling against this sect, aroused by these revelations, was so intense that the Mahārāja of Jaipur ordered that the two famous images of Krishna worshipped in his State, which originally came from Gokul, near Mathura, should be removed from his territories into those of the Bharatpur State.

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About James Tod

Lieutenant-Colonel James Tod (20 March 1782 – 18 November 1835) was an English-born officer of the British East India Company and an Oriental scholar. He combined his official role and his amateur interests to create a series of works about the history and geography of India, and in particular the area then known as Rajputana that corresponds to the present day state of Rajasthan, and which Tod referred to as Rajast'han.

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Alternative Names: Lieutenant-Colonel James Tod
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Additional quotes by James Tod

There is a sanctity in the very name of Chitor, which from the earliest times secured her defenders; and now, when threatened again by ‘the barbarian,’ such the inexplicable character of the Rajput, we find the heir of Surajmall abandoning his new capital of Deolia, to pour out the few drops which yet circulated in his veins in defence of the abode of his fathers.

On the western side is the shrine of Achil-eswar, the tutelary divinity of Aboo. There is nothing striking as to magnitude, and still less as to decoration, in this, but it possesses a massive simplicity which guarantees its antiquity. It occupies the center of a quadrangle, surrounded by smaller fanes, alike primitive in form, and built of blocks of blue slate. But it is the object of worship which confers celebrity, being nothing less than the great toe of the devil, for so we must translate Patal-eswar, the Lord of Hell. On entering, the eye is attracted by a statue of the mountain nymph, Mera, the wife of this multiform divinity, which, at first sight, appears to be the object of adoration; and it is only on stooping to look into a deep fissure of the rock, termed the Brimh-khar, that the bright nail of Siva is visible, which has attracted homage from myriads of votaries from the remotest ages. In front of the temple is a brass bull, of colossal size, bearing the marks of violence on his flanks, the hammer of the barbarian having penetrated them in search of treasure, Mahomed Beyra, Padsha or king of Ahmedabad, has the credit of this sacrilege; but whether it was rewarded by the discovery of any secret hoard, is not told: though the legend details the manifestation of Siva’s wrath upon the “barbarian king” for the ill-treatment of his favorite. In descending from Aboo, after the reduction of Achilgurh, his banners “fanned by Conquest’s crimson wing,” confusion waited on them from an unlooked-for source. A legion of bees, issuing from their pinnacled retreats, attacked and pursued the invaders even to Jhalore. To commemorate this victory over the spoiler, the name of Bhomar-t’hal, or ‘Bees Valley,’ was given to the spot. A temple was erected, and from the captured arms thrown away in their flight, a vast tridanta (trident) was formed, and placed in front of the divinity who thus avenged the insult to Nanda.

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[Once in a while, ladies with courage and virtue, stood up against the royal advances like the wife of Prithviraj Singh, Rae Singh's younger brother. She was a princess of Mewar and once on returning from the fair found herself entangled amidst the labyrinth of apartments at the end of which Akbar stood before her,] “but instead of acquiesence, she drew a poniard from her corset and held it to his breast, dictating, and making him repeat the oath of rununciation of the infamy of all her race".

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