Black-backed dwarf kingfisher (Raigad)

 

Black-backed Dwarf Kingfisher (Ceyx erithaca)

Karnala Bird Sanctuary, Raigad District, Maharashtra, Aug 2025

PC - Prashant Kumar

Amur Falcon

 

Amur Falcon, Pune Outskirts, Maharashtra, India

PC - Saswat Mishra

Indian Roller, Pench Tiger Reserve

Indian Roller

The Indian roller is a bird of the family Coraciidae, the rollers. It occurs widely from West Asia to the Indian Subcontinent. It is listed as least concern on the IUCN Red List. It is best known for its aerobatic displays of males during the breeding season. Wikipedia

Scientific name: Coracias benghalensis

NIKON Gears

PENCH TIGER RESERVE, Madhya Pradesh and Maharashtra

February 2020

D.O.P. 4.4.2020

PC - Amol Bhoir

Green Bee-eater (Solapur)

Green Bee-eater

Solapur, Maharashtra, Jan 2020

PC - Brijesh Kasat

Birds

Ruffous bellied hawk eagle

Western Ghats, Karnataka

PC - Akshay Herale

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Green bee eater, Tadoba, Maharashtra 

PC - Shashank Phadke

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Indian Silverbill 

Aug 2016, Raipur & Environs

PC - Amit Kher

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Changeable Hawk Eagle, 

Kotdwar, Uttarakhand

PC - Sunil Sehgal

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Bar Headed Geese

PC - Govind Vijayakumar

Diveagar, Maharashtra

Gentle wind, sun kissed sands, calm and clean waters make the place appealing. The beach is a pleasant and clear water beach with the option of multiple water sports. The coconut cultivation that runs across the beach line makes it a lovely place to spent time around sunset with your partner. Bagmandala Beach is a clean and secluded beach near Srivardhan and one shall enjoy playing in the white sands of this beach. One can also visit the adjacent Bankot Fort via a boat ride.

Sinhagarh fort (Pune)

Sinhagarh fort, whose earlier name was Kondana or Kondhana, stands 20kms, south-west of Pune.  Perched on an isolated cliff of the Bhuleswar range of the Sahyadri Mountains, its height above sea-level is 1380 metres.  Given natural protection by its very steep slopes, the walls and bastions were constructed at only key places; it has two gates – the Kalyan Darwaza in the south-east and the Pun Darwaza in the north-east

Sinhagarh has a long history.  It was captured from theKoli tribal chieftain, Nag Naik, by Muhammad bin Tughlaq in 1328 AD.  Three centuries later, Chhatrapati shivaji Mahraj wrested it away by bribing the commander, by the Treaty of Purandar (1665 AD) had to cede the fort to the Mughals.  Sinhagarh was the scene of one of the most daring exploits in Maratha history when, in 1670 AD, it was recaptured by Shivjaji’s forces under Tanaji Malusare, who laid down his life in the battle.  On his death, a saddened Chhatrapati shivaji Mahraj said, “The fort is won, but the lion is gone!” Whereupon the fort got is new name:  Sinha (lion) gadha (fort).  Finally the British seized the fort from the Peshwas in 1818 AD, destroying its almost all ancient monuments.  Only the traditional gates and broken walls remain now.

The upper surface of the fort is undulating and retains few buildings, Ruins of temples, tombs and towers are scattered about.  Near the gorge is a monument (Samadhi) commemorating the bravery of Tanaji.  There is also a tiny tomb of Rajaram, Chhatrapati shivaji Mahraj’s son, who died here in 1700 AD. Also there are few bungalows, including that of Lokamanya Tilak.

In the Maratha period Sinhagarh played the crucial role of defending Pune.  The National Defence Academy (Kharakwalsa) trains its army cadet’s right under the shadows of Sinhagrah.

Matheran

Your toy train chugs along slowly without a care in the world. During the two hour ascent, food vendors and monkeys jump on and off as the valley glides by sedately.

Sprawling languidly at an altitude of 800 metres is Matheran - an undulating hilltop cloaked in green.

The cliffs of Matheran with incredibly steep drops to the plains below offer stunning viewing points. These panoramic vistas, by day and night, leave you feeling light headed. Standing at Hart Point in pitch darkness you get a breathtaking glimpse of the lights of busy Bombay. Matheran abounds in such quixotically named points. popular sites for picnics and fireside revelry.

The old world charm of the British and Parsi home capitavtes you all the way up to the Charlotte Lake. On each trip through the main bazaar you purchase some of its attractions - care and leather articles, hats, chappals and the irresistible chikki loved by young and old alike.

Temperatures vary from 16° C in winter to 32° C in summer with an annual rainfall of 524 cms. It is a place to visit round the year, monssons included, for the young at heart. MTDC provides accommodation facilities, the total capacity being 83.

Weather

Temperatures vary from 16° C in winter to 32° C in summer, with an annual rainfall of 524 cms. October to May is the best time to visit.

Chandoli National Park

Chandoli National Park in Sangli District Maharashtra state, India, established in May 2004, Earlier it was a Wildlife Sanctuary declared in 1985. Chandoli Park is notable as the southern portion of the Sahyadri Tiger Reserve, with Koyna Wildlife Sanctuary forming the northern part of the reserve. Chandoli National Park is located near the Chandoli Dam between longitudes 73°40' and 73°53' E and latitudes 17°03' and 17°20'N near Sangli in Western Maharashtra. It is located at the junction of Sangli District, Kolhapur District, Satara District and Ratnagiri District. It lies between the Koyna Wildlife Sanctuary and Radhanagri Wildlife Sanctuary and forms the southern part of the Sahyadri Tiger Reserve.

The historical places of the park include the 17th century Shivaji's Forts, Prachitgad and Bhairavgad, of the Maratha kings Shivaji Maharaj and his son Sambhaji Maharaj. Ruins of the Bhavani temples palatial buildings in Prachitigad and Kalavantin vihir depict the ancient glory of the Maratha Empire. Most of the protected area was used an open jail for the "prisoners of war" of the early Imperial Maratha Conquests during Shivaji Maharaj's rule. Sambhaji Maharaj used Prachitgad as an observation point and recreational place. The forest types seen here are a mix of Malabar Coast moist forests and North Western Ghats moist deciduous forests. In the dwarf evergreen forests, some tree species commonly seen here are the anjani ironwood tree, jamun, pisa (angustifolia), fig, Olea (diocia), katak spinous kino tree, nana or Crape myrtle (lanceolata), kinjal, kokum tree and phanasi false kelat (brachiata). Other trees dominating the landscape include asan wood or ain or Indian laurel, amla or Indian gooseberry, umbar or devil fig (hispida) and harra or chebulic myrobalan.

Grasses commonly seen here include bangala or bluestem grass sp., dongari or golden beard grass (fulvus), black spear grass, kalikusli or tangle grass, anjan grass or buffel grass, grader grass or karad or kangaroo grass (quadrivalvis) and grasses belonging to Poaceae family, like saphet-kusli or Aristida funiculata. Insectivorous plant species like sundews and bladderworts sp. are also found in this protected area. Nearly 23 species of mammals, 122 species of birds, 20 species of amphibians and reptiles are known to be resident in the forests of Chandoli.

Bengal Tigers, Indian leopards, Indian bison, leopard cats, sloth bears and Indian giant squirrels are quite conspicuous here.

Many prey species of ungulates such as barking deer, sambar deer, mouse deer and blackbuck are present. A census carried out in 2002 by the Forest Department showed a rise in the number of tigers, leopards, gaur, barking deer, mouse deer, sloth bears and blackbuck. A similar census carried out in 2004 showed a rise in gaur population in the Kolhapur Wildlife Division from 88 to 243. ‪#‎india‬ ‪#‎nationalpark‬ ‪#‎nature‬‪#‎bharat‬ ‪#‎flora‬ ‪#‎fauna‬

Ajanta & Ellora Caves

The Ellora Caves and the Ajanta Caves are near Aurangabad in Maharashtra. Chalukya and Rashtrakuta kings ruled over the Deccan from the middle of the 6th century AD to almost the end of the 12th century. The former were tolerant of all religions and, under their liberal patronage, the technique of excavating rock-cut temples reached a high degree of perfection. With the rise of the Rashtrakuta and other powers in the Deccan, there was a decline of Buddhist influence, but artistic activity continued unabated.

Rock-hewn architecture reached its zenith in western India as the Western Ghats provided suitable sites for excavation and carving. No existing caves as such were used. Thus architecture was sculpture on a mass scale. The solidity of the rock obviated the need for periodic repairs, and many of the temples are in a state of good preservation to this day.

An aesthetic vision and advanced technical knowledge combined in the architects. It is interesting to note that the excavation usually proceeded from the top downwards—the natural rock-surface below providing a platform and eliminating the necessity of scaffolding.

The Ajanta Caves, accidentally discovered by a shooting party in 1829, are excavated out of amygdaloid trap rock, and situated in the scarped side of a deep ravine that is shaped like a crescent. They are entirely Buddhist and date from about 200 BC to approximately 650 AD. It is of interest to note that the Chinese Buddhist travellers, Hiuen Tsang and Fa Hien, refer to Ajanta in accounts of their travels.

Of the 29 excavations, four are chaitya halls (all differing in design) and the rest are viharas. The decorative motifs differ with the age of the excavations.

The Hinayana and Mahayana phases are also well defined, the first being simpler the second being much more decorative and characterised by images of the Buddha. The caves are unique in that they combine three forms of art—architecture, sculpture and painting.

The technique employed in the frescoes was to spread on the rough surface of the rock a layer of clay mixed with cow- dung and rice-husks. Sometimes pounded brick mixed with fibre was added.

Over the plaster was spread a coating of white lime plaster, and the surface was kept moist while the colour was applied. The outlines were first drawn in red. The colours used were local pigments and all the colours except blue could be obtained from neighbouring hills. The paintings sought their inspiration from the Jatakas, legendary Buddhist stories.

Caves No. 13, 12, 10, 9 and 8 (according to chronological sequence) belong to the Hinayana period; No. 11, 14, 15, 16, 17, 19, 18, and 20 and perhaps No. 6 and 7 belong to a later Mahayana period ending approximately AD 580 No, 1 to 5 and 21 to 29, also Mahayana in character, came into existence between AD 500 and 650. Caves 19 and 26 (chaitya) and 1 and 16 (viharas) are good representative specimens. No. 16 is one of the most important caves, being the most elegant architecturally. The shrine has a large statue of the Buddha preaching.

This cave contains the famous fresco of ‘The Dying Princess’. The Ellora Caves are unique because the visitor can see three styles of architecture at one place, 12 Buddhist, 5 Jain and 17 Brahmanical caves being located here side by side. Unlike the Ajanta cave temples, they are excavated in the sloping sides of a hill and not in a perpendicular cliff.

As a result, most of the temples have courtyards and sometimes an outer wall or rock with an entrance through it. The 10th century Arab geographer Masudi and the European Thevenot who visited the temples in 1667, have left accounts of these cave temples in their writings.

The Buddhist temples were excavated between AD 350 to 700 Compared with the Brahmanical temples, they are austere and solemn. Cave No. 10, the only chaitya at Ellora, is in the form of a chapel, reminiscent of Ajanta and Elephant. It is called Vishvakarma, the name indicating its dedication to the patron saint of the craftsman.

Caves No.11 and 12 are some of the few caves in India with more than one storey.

The next group consists of Brahmanical caves, excavated between the seventh and the early eighth century. No. 14, Ravan ki Khai (Excavation of Ravan) is different from the Buddhist temples, having a front aisle of 4 pillars, 12 columns enclosing a central hall and, beyond, a shrine standing by itself at the end of the hall.

The south wall has Shaiva sculptures; the north wall has Vaishnava (i.e. pertaining to Vishnu) sculptures, representations of Durga, Lakshmi, the Varaha or boar incarnation of Vishnu, etc. Inside the shrine is a figure of Durga. Cave No. 15 is the Dasavatara cave.

The Kalidasa temple, dedicated to Shiva, is considered to be a magnificent achievement of the ancient Hindus, and represents Shiva’s celestial abode, Mt. Kailasa. It was executed under the patronage of the Rashtrakuta king, Krishna I. It is one of the grandest monolithic excavations in the world. The architects worked from above downwards, until they struck one gigantic solid rock which they shaped into a temple. The hillside was cut down to the level of the base of the hill and it has been estimated that 3 million cubic feet of rock were chiselled out.

The remarkable imagination which conceived it, the unstinted labour which was spread over an uninterrupted period of a hundred years and finally, the sculpture with which it is adorned have been aptly summed by Percy Brown: “This plastic decoration is something more than a record of artistic form, it is a great spiritual achievement, each portion being a rich statement glowing with meaning.”

Kailasa stands in the middle of a vast court in which are carved colossal elephants and other animals. The main temple is dedicated to Shiva. The temple proper stands on a plinth and has an impressive frieze of boldly carved elephants and lions.

The temple is approached by flights of steps and is double- storeyed with chapels and monastic halls hewn out of the rock. Over the temple rises the tower in three tiers, with a projecting gable front surmounted by a cupola.

The interior consists of a pillared hall with a cruciform central aisle. The friezes on the wall have scenes from the Ramayana executed with superb artistry and craftsmanship. The pavilion has Shiva’s bull, Nandi, in front. The two pillars on either side of the Nandi shrine are called dhvajastambhas (flag-staffs). They have symbolic carvings pertaining to the cult of Shiva and are fine works of art.

In the final group of five Ellora caves (the Jain group), the most interesting are the Indra Sabha (assembly hall of Indra, king of the gods) and Jagannath Sabha (assembly hall of the lord of the universe).

The Indra Sabha is a two-storeyed shrine cut into the rock to a depth of over 200 feet and is approached through a rock-hewn doorway leading into a square courtyard. To the right is an imposing statue of an elephant. The Jagannath Sabha is similar in plan to the Indra Sabha but smaller. The shrine is a small antechamber with a well proportioned torana (arch), and within it is a seated Mahavira. The walls are recessed for figured sculptures, and the pillars are richly carved in the best Jain traditions.

The upper storey is borne on 12 profusely sculptured pillars and these and the broad surface dividing the two storeys are profusely carved, the upper one having images of the 24 Jain tirthankaras. The ceiling over the large altar is in the form of a large lotus. At each end of the hall is a large shrine containing a statue of Mahavira. This temple is possibly the earliest of the Jain group.

On the top of the hill in which the Jain caves are excavated is a rock-hewn statue of Parasnath.

Pataleshwar Caves (Pune)

Pataleshwar Caves on Jungli Maharaj Road are 8th century cave temples dedicated to Lord Pataleshwar, God of the Underworld. Believed to have been cut out from a single rock, the place has massive pillars, which are the grandeur of the temple caves. The shrine out there is dedicated to Shiva and the Nandi. This religious shrine on Jungli Maharaj Road, housed in caves, that dates back to 700-800 AD has rather grand statues of Nandi, Sita, Ram, Lakshman, Lakshmi, Ganesh and an over-sized shivalingam under its roof.

 The attached museum is dim, dank and dusty and not worth wasting time over, apart from an exhibit that has made the Guinness Book of World Records - a grain of rice engraved with some 5000 characters 

Getting there: Open daily from 08.00 to 17.30, this is located in the middle of the busy thorughfare of Jangli Maharaj Road. Gettting there with most rickshaws willing to ply there! #india #pune #indiantourism #bharat