About Mysore palace

architectural style of Mysore palace is hybrid. That is, its design is a mixture of various schools of architecture. The palace is made in a style collectively called Indo-Saracenic Revival style.
The Islamic power in India by the turn of 12th century has a brought a new style of architecture ( largely central Asian style ) to India.
A large number of Islamic structures in India during the Mugal era were build in the Sassanian ( Persia ) style. So the name Saracenic.
That style when merged with the native Indian styles , gave rise to a hybrid style called Indo-Islamic style or Indo-Saracenic style.
Elements of Hindu styles and Islamic styles merged to form unique school. One good example of this style is the Akbar’s abandoned capital Fatehpur Sikri in Uttar Pradesh.
Many centuries later – by the turn of 19th century – India came under the colonial powers. That brought rise to a further new hybrid style called Indo-Saracenic Revival style. Here the Indo-Islamic style is further blended with the Gothic style (,that was the flavor of Victorian rulers) .
Mysore Palace is made in this later style. In other words , one can see the elements of Hindu, Islamic and Gothic elements in its design and construction.
The domes for example is an element borrowed from the Islamic school of architecture. There are many deep pink marble domes projecting at the corners of the palace structure.
To easily understand the hybrid style, take a look at the tallest tower of the palace. This is a five storied tower measuring about 145 feet (45 meters) at the center of the palace.
This projects up from the rest of the roof-line of the palace like a tower of a Gothic cathedral. However on top of it is a large dome, a very typical feature of Islamic/Persian style structures. However it is metal gilded.
Further on top of this dome is a domed Chhatri. That is, a smaller dome supported by slender pillars projecting up from the large dome.
Domed Chhatri is a typical Rajput ( Rajastan ) architectural feature.
You can spot two more such domed Chhatris at the top on either side of the central arch of the facade. Between these two domed Chhatris and above the central arch is a sculpture of goddess Gajalakshmi. This is a common feature in Hindu architecture as the goddess Gajalakshmi is considered of wealth, prosperity and abundance.

Mysore Palace or the Mysore Maharaja Palace is located in the heart of the city. Mysore Palace is one of the most visited monuments in India. And its one of the largest palaces in the country, also known as Amba Vilas Palace, was the residence of the Wodeyar Maharaja's of the Mysore state.  Illuminated Mysore PalaceThe original palace built of wood, got burnt down in 1897, during the wedding of Jayalakshammanni, the eldest daughter of Chamaraja Wodeyar and was rebuilt in 1912 at the cost of Rs. 42 lakhs. The present Palace built in Indo-Saracenic style and blends together Hindu, Muslim, Rajput, and Gothic styles of architecture. It is a three-storied stone structure, with marble domes and a 145 ft five-storied tower. Above the central arch is an impressive sculpture of Gajalakshmi, the goddess of wealth, prosperity, good luck, and abundance with her elephants. The palace is surrounded by a large garden. Designed by the well-known British architect, Henry Irwin, the palace is a treasure house of exquisite carvings and works of art from all over the world.  Mysore Palace is priceless national treasure and the pride of a kingdom, the Mysore Maharaja Palace is the seat of the famed Wodeyar Maharaja's of Mysore. The palace is now converted into a museum that treasures souvenirs, paintings, jewelery, royal costumes and other items, which were once possessed by the Wodeyars. It's a Kaleidoscope of stained glass & mirrors. The tastefully decorated and intricately carved doors open into luxuriously decorated rooms. The ground floor with an enclosed courtyard displays costumes, musical instruments, children toys and numerous portraits. The upper floor has a small collection of weapons. The beautifully carved mahogany ceilings, solid silver doors, white marble floors and superb columned Durbar Hall are a fest to the eyes. The palace is a treasure house of exquisite carvings and works of art from all over the world. Exquisitely carved doors open into stunningly luxurious rooms.  Mysore Maharaja PalaceThe front of the Amba Vilas Palace has an open balcony supported by massive circular columns. The Royal portrait gallery, which is of historical importance, is a visual treat to the visitors. This three-storied structure has beautifully designed square towers at various cardinal points covered by domes. Craftsmen from Jaipur and Agra along with local workers were engaged in crafting them. The marriage pavilion or the Kalyana Mantapa with a center octagonal gabled roof, covered by stained glasses, is to the south of the building. The flooring of this magnificent Kalyana Mantapa has artistic geometrical patterns created by using glittering glazed tiles imported from England. The building has gorgeous chandeliers of Czechoslovakian make.  The royal throne, regal seat of the is called the Chinnada Simhasana or Ratna Simahasana with captivating artwork on its gold plates is displayed during the Dasara festival. The Maharajas of Mysore used to sit on the golden throne and hold durbars in the Palace Durbar Hall. The paintings of eight manifestations of Goddess Shakthi (strength) and an original painting of the renowned painter Raja Ravi Verma are also on display.  The palace complex has a selection of twelve Hindu temples. The oldest of these was built in the 14th century, while the most recent was built in 1953.

 Someshvara Temple, dedicated to God Lord Shiva and Lakshmiramana Temple, dedicated to God Lord Vishnu are some of the more famous temples.  The erstwhile Royal family continues to live in a portion of the Palace. Srikantadatta Narasimharaja Wadiyar is the current scion of the Wodeyar Dynasty.

METTALLURGY: In Indus valley Civilization

Metallurgy in India has a long and varied history. Bronze and copper were known during the period of the Indus Valley Civilization. The recovery of metal articles (including a bronze dancing girl) and the discovery of crucible with slag attached are clear indicators of the knowledge of casting (pouring molten-hot metal into moulds of the desired shape and size) and forging (hammering hot metal into required shapes). Further, this points to the fact that these early peoples could produce and handle temperatures as high as 1084° C (melting point of copper), as also 1065° C (gold), 960° C (silver), 327° C (lead), and 232° C (tin). Working with iron with its melting point at 1533° C was inarguably a later achievement.
Mohenjodaro, Harappa and Lothal are the three major sites of this civilization. At Lothal in the state of Gujarat, two types of kilns have been excavated, One, a circular kiln that measures 1 metre in diameter, that was most probably used for smelting copper ingots; the second, a rectangular kiln measuring 75 by 60 cms. with a depth of 30 cms. This is believed to have been used for casting tools.
The many metal discoveries at Lothal include figure, amulets, pins in the shape of a bird-head, miniature figures, and tools such as a curved or circular saw, a needle with an eye at the piercing end, and a bronze drill with twisted grooves. This last is by far the most important find of ancient tools because this single item led to an unparalleled precision at the time, and is widely regarded as the precursor to modern machine tools.
The above-mentioned tools are exceptional in the entire Indus Valley civilization, and neither do they bear resemblance to Harappan tools. Indeed, Lothal was already a prosperous town prior to the arrival of the Harappans sometime around 2450 BC and till 1600 BC.
One thousand and fifty BC is usually accepted as the year the Iron Age began in most of India. Iron is mentioned by the Atharvaveda, referred to specifically as ayas. Previous to this, the Vedas used the term ayas as a generic one for metals : the Brahmanas and the Upanishads referred to Lohitayas (i.e. red metal or copper) and Krishnayas (i.e. black metal). One thousand BC is the accepted date for the appearance of extracted iron.
Iron and its technology gave momentum to the process of urbanization, and the lives of the peoples changed in reflection.

A Clockwork Furnace! Metallurgical skill best exemplifies the Indian propensity for evolving simple techniques and processes that could be adapted to a complex scale. Ironsmiths perfected their art and indigeneous methods were to prove faster and more efficient than contemporary European ones in the years to come. The rough construction of the small furnaces belied the precision of their interiors. The ironsmiths could construct, demolish and reconstruct to get the correct angle of blast. The entire exercise required no more than simple tools and a few hours. These furnaces were efficient by existing standards for smelting iron and for making steel. production of one unit of crude iron entailed two units of charcoal. Iron was directly carbonized to steel by placing it with charcoal, green leaves and wood in closed crucibles. European methods of the time required days while the above-mentioned processes took a matter of hours.

Iron was closely associated with :
o Painted Grey Ware Culture -- the iron objects of this association date back to 1025 +/- 110 BC. Excavations have revealed arrowheads (including leaf-shaped ones), daggers, hoes, adzes, spearheads with tongs, fish hooks, and plain tongs. A vital site - Atranjhikera - has yielded implements at practically every level of excavation! Other sites are Hastinapur, Alamgirpur, Kausambi and Ujjain.
o Black-and-Red-Ware-Culture -- objects discovered at Eran in the state of Madhya Pradesh date back to 1250 BC and 700 BC, according to C14 dating. Another site, Nagda, has 59 objects, all belonging to the period 750-500 BC. These include a double-edged dagger, the round socket of a broken axe, arrowheads with a biconical cross-section, a celt with a wide cutting edge, spoon, nails, clamps, and knife blades. o Megalithic Culture -- While the rest of the country proceeded from the Neolithic to the Copper and then to the Iron Age, South india moved directly from the Neolithic to the Iron Age. At Hallur, the Iron Age is believed to have begun in 1105 BC, while the rest of the South coincided with the North i.e. approximately between 1050 and 950 BC. Spread throughout this region, implements and tools are marked by their similarity. Flat iron axes, sickles, spades, daggers, swords, knives, chisels, tripods, horse-bits, frying pans, ladles and even bangles - all point to a usage for both domestic and warfare purposes. Taxila stands apart due to the clear Graeco-Roman influence, for example, ladles with vertical handles, folding chairs, candelbras, plate armour for men and horses, cheekbars. Of special interest are the arrowheads that are distinctly Mediterranean in style, and made their appearance in both distant regions in AD 1!

The Special Four
1) The Iron Pillar in the Qutb Minar complex at New Delhi is an AD 310 structure, and has survived corrosion-free! It stands at 23 feet & 8 inches, upper diameter - 12.5 inches, lower diameter - 16.5 inches, and weighs 6 tonnes. Analysis of the pillar - iron: 99.720%, carbon: 0.080%, silicon: 0.046%, sulphur: 0.006%, phosphorus: 0.114%, manganese: negligible. The low levels of sulphur and manganese, and the relatively high level of phosphorus, are credited with its rust-free existence.

Iron Pillar in the Qutb Minar complex at New Delhi

2) Iron Pillar at Dhar (near Indore) is believed to have been built during Chandragupta Vikramaditya's reign, between AD 375 - 413. Originally 50 feet in height, it has an average cross-setion of104 square inches, and weighs 7 tonnes. Unfortunately, the pillar is now in three parts.

3) Iron beams (29 of them) at the temple at Konark (near Puri) - the largest measures 35 feet by 6 inches, and the second in size, 25 feet by 6 inches. Both have a cross-section of 11 inches by 11 inches. The temple was constructed sometime around AD1240.
4) The 232 beams of the twelfth century Gundicha Bedi Temple at Puri! The longest beam is 17 feet in length, and cross-sections of the beams vary from 6 inches by 4 inches to 5 inches by 5 inches.

SWASTIKA: OLDEST FROM INDUS VALLEY CIVILISATION

The word swastika came from the Sanskrit word svastika, meaning any lucky or auspicious object, and in particular a mark made on persons and things to denote auspiciousness.

It is composed of su- meaning "good, well" and asti "to be". Suasti thus means "well-being." The suffix -ka either forms a diminutive or intensifies the verbal meaning, and suastika might thus be translated literally as "that which is associated with well-being," corresponding to "lucky charm" or "thing that is auspicious." The word in this sense is first used in the Harivamsa. The Ramayana does have the word, but in an unrelated sense of "one who utters words of eulogy".

The most traditional form of the swastika's symbolization in Hinduism is that the symbol represents the purusharthas: dharma (that which makes a human a human), artha (wealth), kama (desire), and moksha (liberation). All four are needed for a full life. However, two (artha and kama) are limited and can give only limited joy. They are the two closed arms of the swastika. The other two are unlimited and are the open arms of the swastika.

Geometrically, the swastika can be regarded as an irregular icosagon or 20-sided polygon. The proportions of the Nazi swastika were fixed based on a 5 × 5 diagonal grid.

Characteristic is the 90° rotational symmetry and chirality, hence the absence of reflectional symmetry, and the existence of two versions of swastikas that are each other's mirror image.
The mirror-image forms are often described as:

• clockwise and anti-clockwise;
• left-facing and right-facing;
• left-hand and right-hand.

"Left-facing" and "right-facing" are used mostly consistently referring to the upper arm of an upright swastika facing either to the viewer's left (卍) or right (卐). The other two descriptions are ambiguous as it is unclear whether they refer to the arms as leading or being dragged or whether their bending is viewed outward or inward. However, "clockwise" usually refers to the "right-facing" swastika. The terms are used inconsistently in modern times, which is confusing and may obfuscate an important point, that the rotation of the swastika may have symbolic relevance, although ancient vedic scripts describe the symbolic relevance of clock motion and counter clock motion. Less ambiguous terms might be "clockwise-pointing" and "counterclockwise-pointing."