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One of the most prized possessions of the country, the Gateway of India is situated on the waterfront in South Mumbai. Anyone coming to Mumbai from this harbor is greeted by the huge monument, which stands as a testimony to the imperial bygone era of the city. As you pass through the gate from the city side, the first scene that looms into view is that of the waterfront of South Mumbai. A popular harbor, it is used by a large number of people for traveling to the other parts of Bombay, especially the Elephanta Island.

The architecture of the Gateway of India comprises of a huge arch, which is approximately 26 m in height. The entire structure has been made by using yellow basalt and reinforced concrete. It has mainly been constructed as per the Indo-Saracenic style of architecture. One can also find the features of the Muslim architectural styles that were very much popular in Gujarat in the 16th century. The top of the monument stands adorned with a central dome, which has a diameter of 15 m. The construction of the Gateway of India led to the displacement of the harbor and it had to be completely realigned. The monument was constructed in the early 20th century, at the astronomical price of 21 lakh rupees. The major burden of the cost was undertaken by the Government of India. However, even the 21 lakh rupees could not prove sufficient and the idea of constructing an approach road from the monument had to be discarded. The construction work of Gateway of India was undertaken by Gammon India Limited, established by J C Gammon.

History

Built in the Indo-saracenic style, the Gateway of India is meant to commemorate the visit of King George V and Queen Mary to Bombay, prior to the Darbar in Delhi in December 1911. The foundation stone was laid on March 31, 1911 and George Wittet’s final design sanctioned in August 1914. Between 1915 and 1919 work proceeded on reclamations at Apollo Pier for the land on which the gateway and the new sea wall would be built. The foundations were completed in 1920.

The Gateway is built from yellow Kharodi basalt and reinforced concrete. The central dome is 48 feet in diameter and 83 feet above ground at its highest point. The whole harbour front was realigned in order to come in line with a planned esplanade which would sweep down to the centre of the town. The cost of the construction was Rs. 21 lakhs, borne mainly by the Government of India. For lack of funds, the approach road was never built, and the Gateway now stands at an angle to the road leading up to it.

Main Attractions

Behind the arch, there are steps leading down to the water. Here, one can get onto one of the bobbing little motor launches, for a short cruise through Mumbai’s splendid natural harbour. One can buy tickets for a short cruise on the motor launches from here.

Near the Gateway of India is Taj Mahal Hotel, one of the most famous and luxurious hotels in India. Close by are the statues of the Maratha leader Shivaji astride his horse and of Swami Vivekananda, that add to the charm of this monument.

Ajanta & Ellora Caves have the distinction of being counted amongst the World Heritage Sites in India. Located in the Aurangabad district of Maharashtra, these caves are rock-cut cave monuments that represent the Indian rock-cut architecture. Ajanta Caves are about 99 kms, while Ellora caves are sited at a distance of 30 kms from Aurangabad city of India.

Ajanta Caves
In 1819, some British Army officers came across Ajanta Caves when they were on a tiger hunt. Once the monsoon retreats of Buddhist monks, these caves are constructed in an extremely detailed manner. There are thirty caves in total, out of which five are prayer halls (Chaitya) and others are monasteries (Vihara). Here, one can see a distinctive amalgamation of architecture, sculpture and paintings. Built between 2nd and- 4th century, Ajanta Caves depict two phases of architecture, where one is Hinayana phase and the other is Mahayana phase.

Portrayal of Contemporary Society
The interiors of the caves depict the contemporary society of those times. The carvings and the murals represent people, ranging from kings to slaves, women, men and children. These figures are entwined with flowers, plants, fruits, birds and beasts. Figures of ‘Yakshas’, ‘Kinneras’ (half human and half bird), ‘Gandharvas’ (divine musicians) and ‘Apsaras’ (divine dancers), are showcased here in a picturesque manner.

The Caves – Monasteries & Prayer Halls
Dedicated completely to Buddhism, Ajanta Caves are divided into ‘Chaitya Grihas’ (prayer halls) and ‘Viharas’ (monasteries). Out of all the caves, only five are prayer halls (9, 10, 19, 26 and 29) and rest of them are monasteries. From artistic point of view, the Caves worth mentioning are 1, 2, 16 and 17 which truly boast of marvelous pieces of art. These caves are adorned with beautiful paintings depicting the life and incarnations of Buddha.

Wall Paintings
The carvings and the paintings in the caves reveal the creative vision of the artist. The themes of the paintings portray the religious intensity of the sculptors and painters, who depict events from the life of Buddha and the Jataka Tales. In the tempera technique, the paintings are done on a base of mud-plaster. Ajanta caves also throw light on the enlightening history of the times, which includes court scenes, street scenes and cameos of domestic life as well.

Ellora Caves
Built by the Rashtrakuta Dynasty, Ellora Caves present the quintessence of Indian rock-cut architecture. These are 35 cave structures, including Buddhist monasteries, Hindu and Jain Temples, which were excavated out of the Charanandri Hills. Built between the 5th and 10th century, there are twelve Buddhist caves (caves 1-12), seventeen Hindu (caves 13-29) and five Jain caves (caves 30-34) in Ellora. All these caves face the west direction. The exquisite architecture of these caves is worth taking a glimpse.

Cave 1-12
Shaped between the 5th and 7th centuries, these Buddhist caves are essentially monasteries embracing shrines, living quarters, sleeping quarters, kitchens and other rooms. Most of them are engraved so finely that it seems difficult to make out, whether it is stone or wood. Vishwakarma Cave (Cave10), popularly called Carpenter’s Cave, is the most famous multi-storey prayer hall that boasts of impressive carvings on ceiling. Unlike the other caves that are intricately carved, the Buddhist Cave 12 has quite a simple edifice and austere pillars. Amazing feature about this three-storey cave is that it is crafted in such a manner that its floors and the ceiling are absolutely smooth.

Caves 13-29
Dating back to the 7th century, Hindu caves depict absolutely different and stunning creative work. Amongst all, Kailasanath Temple (Cave 16) is of paramount importance amidst its striking monolithic sculptures. Not a single edge or corner is left plain, rather festooned with exotic carvings and relief work. Earlier stone bridges used to connect the columned galleries to the central temple, but now have been ravaged by the time. Super achievement of Dravidian art, this temple is estimated to have taken 100 years of construction. Dashavatara Cave (cave 15) is another remarkable cave that represents 10 incarnations of Lord Vishnu, while figurines of river goddesses are depicted in Ramesvara Cave (cave 21). The architectural design of Dhumar Lena (Cave 29) appears similar to that of Elephanta Cave in Mumbai.

Caves 30-34
Represent the definite dimensions of the Jainism philosophy; Jain caves portray simplicity and a sense of asceticism. These caves are not very big, but showcase unusually detailed works of art. Indra Sabha (Cave 32) is a shrine and has superb carvings of the lotus flower on its ceiling. Creative vision seeks no bounds in these caves and artists have given their excellent work. A commanding ‘yakshini’ seated on her lion under a mango tree, laden with fruits is an excellent example of the creative work. Intricate detailing is the quality of majority of the Jain caves. Here fragments of paintings on the ceilings are still very much visible.

Juhu beach is one of the most attractive sea beaches of Mumbai. This flat beach is located almost at center of the Mumbai town. Located 18-km north of the city centre, it’s a major beach site on the shores of Arabian Sea and is one of the posh localities of Mumbai where one can find the bungalows of the famous film personalities of Bollywood. It’s also a favourite shooting site among the filmmakers as many film shootings are also held over here.

On the southern end of the Juhu beach one can find many Luxury hotels and apartments, which are regarded as a favourite haunt of Mumbai’s movers and shakers. The beach, which almost seems deserted during weekdays, always tends to get very crowded on weekends. One of the major attraction of Juhu beach is Sunset.

Juhu has the specialty of being the largest as well the most frequently visited beaches in India. Climate being uniform that is warm, except during monsoon rains from June to September, Juhu is a wonderful resort for the tourist. Juhu is the best place to bring the entire community (Mumbaikars – residents of Mumbai) on common social grounds and much interaction takes place amidst the natural ambience provided by the beach. Children, adults and aged, locals and tourists all make up the population that inhibits the beach especially on weekends.

The beach was in news in mid 2005 following the diamond rush. It is believed that high tides had brought with it colored crystals called Ámerican diamonds’ and people next day joined in great numbers for the treasure hunt. The American diamonds were for sure recovered but their worth goes no more than 10 rupees.

Built around 1785, the history of this temple is supposedly connected with the building of the Hornby Vellard. It is said that when Britishers failed in their repeated attempts to connect Mahalakshmi area to Worli by building Breach Candy on account of ferocious tides, they had almost surrendered. The problem was fixed only by divine intervention when the goddess Lakshmi appeared in the dream of chief engineer and asked him to remove the three statues from the sea bed and establish them in a proper shrine.
A search operation was launched to recover the statues and a temple was built. After this, the work on the vellard could be completed without a hitch.

The Temple contains images of Goddess Mahalakshmi, Mahakali and Mahasaraswathi. All three images are adorned with nose rings, gold bangles and pearl necklaces. The image of Mahalakshmi is shown riding a tiger and a demon (Mahishasur) in a tandem. Beyond the ornate gate is the shrine wherein resides the buxom goddess of Lucre — Laxmi. The compound of this temple is abuzz with stalls selling flower garlands and pious paraphernalia.
 

The known history of the temple dates back to early nineteenth century. This temple has been renovated thoroughly in the late 1900s in order to accomodate the needs of the surging crowds of devotees that throng the temple during festive occasions.

The narrow lane outside the temple is the ‘Phool galli’ lined with innumerable stalls selling tulsi flower garlands, coconuts, an array of sweets including the pear shaped favourite yellow sweet of Lord Ganesha, the ‘modak’, and a range of religious paraphernalia. Here beggar men women and children alike, abound.

There are some people who earn their daily bread by guarding the footwear of the devotees while they are inside the temple. Security guards are present at the gates and inside the temple as well. There is a statue of a squatting nandi or the sacred cow, which is the mode of transport of Lord Shiva. Thousands throng the mandir everyday. Popular belief goes that Ganapati, as Lord Ganesha is
called, does not disappoint his devotees. The upper floors house the residential
quarters of the priests.

The sanctum here houses a small mandapam enshrining Siddhi Vinayak. The inner roof of the sanctum is plated with gold, and the wooden doors to the sanctum are carved with images of Ashta Vinayak. The most prominent landmark Prabhadevi attracts many devotees from all over the city. Tuesday is considered the most auspicious day and devotees stand for hours (even before the crack of dawn) in long winding queues to seek blessings of Lord Ganesha. On special days the line can be s long as 3000 people or more.
 

Mumbai is the center of India’s huge Hindi film industry, producing 120 feature films a year. Much of the glamour associated with the city stems from its celebrated position as the dream-factory of the nation. The local film industry is known as Bollywood. It’s a ragtag speculative trade, flush with
black money and low on innovation. The films it produces tend to be spectacular melodramatic fantasies. They are known disparagingly as ‘masala movies’ because they are made to an established formula that mixes a variety of ingredients – action, violence, music, dance, romance and moralizing – into one outrageous blend. While plenty of thought- provoking ‘artistic’ Indian films are appreciated in the west, masala movies are largely viewed with contempt. It’s
not hard to figure out why. Stock characters, exaggerated acting, self-conscious editing, implausible, narratives and heroines who burst into song every five minutes are just the beginning of a long list of unlikely features that you are going to have to accept at face value if you want to enjoy a Bollywood flick. Despite being dismissed as escapist claptrap, plenty of masala movies get their narrative drive from social issues like communalism, ethnicity and caste. Many also address the effects of modernization and urbanization on traditional Indian
institutes such as the family and marriage. As you’d expect from any vibrant cultural form, masala movies are a reflection of India’s social and political milieu. This doesn’t diminish their appeal or (thank goodness) unduly imbue them with profundity, but it does mean they have an astonishingly direct feed into the lives of their audiences that outsiders may find hard to fathom. On the surface it may be Rambo, Romeo and Robin Hood, but the subtext is likely to be
the Mahabharata, dharma, and social justice. In this context , it’s not surprising that masala movies have been one of the most potent forces shaping Indian ideas of nationhood.

Located on the west coast of India, the group of islands which has grown into
the city of Mumbai, was probably first recorded as the home of fisherfolk where
a group of Buddhist monks established an outpost late during the Magadhan
empire. The islands were tossed from one king to another emperor for two
millenia, until the maritime trade empire of the British decided to develop the
natural harbour into a city. In the four hundred years since then, the city has
grown by a series of land reclamations which now link the original islands into
one mass.
The city was called Bombay for much of the last four hundred years. The origin
of the name is obscure, but is often said to come from the Portuguese phrase bom
bahia meaning "good bay". The name Mumbai has been used in the main local
languages for as long, and is ascribed to the local goddess, Mumba (ai means
mother in Marathi). The name of the city was changed to Mumbai by an act of the
parliament in 1997.
Mumbai is called the financial capital of India: the stock exchange is the
primary stock exchange of the country; most large business houses have their
corporate offices in this city. It also the primary center for the arts and the
entertainment industry. In India it is the city of gold, of dreams. Everyone
comes here to make money, whether by selling chapatis on Chowpatti or stolen
wallets and used dentures by the roadside. Whatever. Bombay does sleep at night,
but usually rather late and very briefly.