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Temples & Legends Of Somanatha

Kulapati's Preface

Author

Preface To the first Edition

Preface To The Second Edition

Publisher's Note: Fourth Edition

Abbreviations

List Of Illustrations

Somanatha- Lord Of Soma, The Moon God

Prabhasa In Historical Tradition

Dehotsarga-The Hallowed Spot

Shiva-Guardian Of National Resurgence

Shiva And His Worship

The First And The Second Temples

The Third Temple

The Guardian God Of Gujarat

Rise Of A Destroyer

Destruction of The Third Temple

The Fifth Temple

Renovation Of Tripurantaka

Destruction By All-Ud-Din Khilji

The Shrine Rises Again And Again

A Destroyer And A Restorer

A Great Restorer Rises

AS I Saw It

Planning: University Of Sanskrit

Preparation- Advisory Committee and The Trust

Dehotsarga

Somanatha-The Shrine Eternal

The Days Of Aurangzeb

The Mystery Of The Two Outlets: The First Temple

The Second, Third And Fourth Temples

The Fifth Temple

Topography

Historical Background

Introductory To Excavations

Objects Of The Excavations And A summary Of The Results

Descriptions Of The Cuttings

Conclusion: Identification And chronology Of The 'Original' Temple

Muslim Chroniclers On Somanatha

Stone Inscription In The Temple Of Bhadrakali

Stone Inscription At Veraval Under Bhima Deva II Of Junagadh

Cintra Prashasti Of The Reign Of Saranga Deva

Appendix

 
Major Sections
Temples & Legends Of India
Andhrapradesh
Maharastra
Kerala
Himachal Pradesh
Tamilnadu

Bengal

Assam
Bihar
Somanatha

DESCRIPTIONS OF THE CUTTINGS

Associated with this floor are six octagonal pillar bases, each side of which measures 1 foot 3 inches. These pillars when reconstructed conform to an octagonal arrangement for the nave. Further clearances of this plinth showed that on either side, on its upper half, it contained three sculptured pieces distributed along the entire length of the mandapa. It is significant that on the south, i.e., towards the sea, these sculptures depicted images of gods, while on the north they formed mere floral patterns. The images were enclosed in a niche of fretwork. One of these contained Shiva Tripurantaka while the other Lakuleshvara. The location of the third, however, was found badly damaged.

The sea-wall associated with this phase consisted of scrappy revetments built in a stepped fashion, on the sloping debris of the earlier sea-wall from which it was separated by 11 feet.

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Jyotirlinga-Somanatha
About Cuttings
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