Coming from the lane linking the Sankatha Ghat close to the corner of Sankatha Devi temple is the temple of Vindhyavasini (CK 2/ 33), a spatial manifestation of the goddess of the Vindhya Mountain (Vindhya-vasini), the original place of which is 78km southwest of Varanasi city. The legends refer that in mythic period goddess Durga was residing in the Vindhyan Mountain, so the name Vindhyavasini. The annual celebration is held on the 3rd day of dark fortnight of Bhadrapada (August-September) which is known as her birthday. This is one of the popular temples among the devotees of Kashi, especially for the tonsure (mundana) ritual of children. After a short walk along the lane towards the left, one reaches the compound of Siddheshvari Devi (CK 7/ 124). The Kashi Khanda (79.105) says that by living here for six months one can attain great spiritual power. The compound is divided into two parts. Close to the entrance on the left is a stone image of Koka Varaha in the open space, and on the right is the shrine of Satynarayana Vishnu. Beside this on the open porch is Varaheshvara linga, a symbolic image of interrelatedness between Shiva (linga) and Vishnu (Varaha). In the corner below the surface is Kaliyugeshvara linga, and in the adjacent wall is Candreshvara Yantra, a cosmic design to please the Moon god (Candra) who represents fertility, coolness and beauty. In the courtyard is Candreshvara Kupa (well), in the water of which devotees see their auspicious reflection with a view to having long life. Passing through a narrow gate one enters into second part of the compound. In the left corner first one meets the lingas of Candreshvara and Siddheshvara. Attached to them on the altar along the wall is the image of Siddheshvari Devi. On the opposite side of this hall is the Vidyeshvara linga.

The area of the temple complex symbolises the Puri Kshetra of Orissa. With the support of Beni Ram and Vishambhar Ram, the two prominent and rich citizens of the Bhonshala estate of Nagpur living in Banaras, the Svami built a temple honouring Jagannatha in 1802. This is the replica of the famous Jagannatha temple of Puri, Orissa. Beni Ram and Vishambhar Ram started the Ratha Yatra festival in 1806 they. Every year during the month of Ashadha (June-July) the wooden idol of Jagannath from this temple is brought to the garden of Pandit Beni Ram in the Rathyatra area for celebrating the famous chariot festival, of course in abbreviated form compared to what takes place in Puri. On the 7th day of light fortnight of Ashadha (June-July), a chariot procession festival (Ratha Yatra) that lasts for 3 days attracts a huge mass of visitors. This festival presents an abbreviated form of the world-famous Ratha Yatra of Puri (Orissa), started by the chief priest of Puri, Svami Brahamachari, who came to Varanasi in exile in 1790, and later died here in 1815. The procession is taken out of Jagannathaa Temple (near Asi Ghat) by carrying the images of Krishna, Balarama and Subhadra to Ratha Yatra Crossing on the Godaulia-Mahmoorganj Road. For the 3-day period, the road is crowded with the people gathering from the neighbouring countryside. Many temporary shops adorn both sides of road and are known for special cookies like nan-khatai, a crisp and very soft biscuit. The images in the temple are of Jagannath, his brother Balarama and their sister Subhadra. In the backside chamber, attached to the wall is the 4m high image of Pracanda Narasimha, a huge image on the wooden plate; nearby to it is the image of devotee Prahalada. The compound is divided into three sections linked by gates. The main temple is in the southern part, the last section. The frontal boundary is decorated by the networking of red sandstone. Outside of the main temple, in the open space is Garuda facing the Jagannatha. In all the four corners of the inner compound there are images of Vaishnavite divinities, like Rama Pancayatana, Lakshminarayana, Krishna and Kaliyamardan form of Krishna. On the square base-platform the temple plan is in rectangular shape. The main spire is 16m high.

Lolarka (“Trembling Sun”) is one among the two oldest sites mentioned in the Mahabharata (ca 1500 BCE), and is one among the twelve Solar deities. According to the Skanda Purana, the water of Asi river (now no more) and the fire power of the Sun god Lolarka work together to destroy any sin. Lolarka Kunda (sacred water pool), together with steps, is triangular in shape, measuring 23m from north to south and 15m from east to west. Three long staircases descend into the Kunda on the west, north and south. After 35 steep steps one reaches to the pool 17m below. The eastern side is a wall, which is bifurcated by a wide cut that allows water to flow from the Kunda into the adjacent well to the east and eventually into the Ganga River. The buff-red stone architecture of the well was the work of Rani Ahilyabai, King of Cooch Bihar and Amrit Rao who made repairs and extensions in different periods during mid to late 18th century. In the niche on the stairs is disc of the Sun. On the nearby platform in the northwest corner there is a standing form of Ganesha. On the upper part of the space under the holy fig tree there are images of the Sun god, the one new and other an old replica In the southern part stands the shrine of Bhadreshvara Shiva, also known as Lolarkeshvara, a large linga like the Svayambhu (“Self-manifested”). During the month of Bhadrapada (August-September), in the light fortnight, a great celebration is held here. Would-be mothers perform a sacred bath and worship Lolarka to obtain the blessing of the birth of male child, and later follow up with a visit for the well being of their children. Passing 150m along a narrow lane in the northwest, is a shrine of two folk goddesses, protecting the city from the south, named Carmamunda, ‘leather-headed goddess’, and Maharunda, ‘mutilated goddess’ (attached to the house of Munnar Panda, No. B 2 / 62). About 21m east is a shine of Svapaneshvari (locally called Mahisasuramardini), which attracts a good number of devotees every day and during navaratris (March/April, and September/October) a huge crowd. In the puranic text, She is called Camunda, one among the eight mother goddesses (matrikas), who bear skull-necklace and was eulogised as the killer of the two brother demons named Canda and Munda. 8.History and development (as under Col. 5)

Lakshminarayana Pancharatna Mandir: Close to the Asi Ghat, the Queen Dulari Radhakunvar of Surasand Estate, Bihar, who purchased the land in 1902 from the then king of Banaras Prabhunarayan Singh, has built Lakshminarayan Temple in the early 20th century. This 5-spired Vaishnavite temple is built on a ca 4m high platform and consists of a five spires-temple. The main temple consists of a mandapa (pavilion) and a semi-mandapa. The inner sanctum is rectangular in shape and having three gates. The main gate faces to the east. At the entrance in the upper part there is an image of Ganesha. In the inner sanctum there is a eight-metal image of Lakshinayayana, and at the four corners are images of Shiva, Radha-Krishna, Rama-Sita and Lakshmana. There also is an image of Mayureshvara Shiva. In the medieval period, 11-12th century a tradition of Pancayatan style of inner sanctum has developed; according there should be images of Surya (sun-god), Ganesha, goddess Parvati, Vishnu, and at the centre Shiva. However in this temple, the rule has not been followed on that line. According to a legend, before the finial consecration of the spire the queen died (27 June 1927), therefore the kalsha has not been installed there. Asi Sangameshvara: This temple (of “the Lord of the confluence of Asi”) is marked with a marble plaque to commemorate the puranic heritage of the site. In the 14th century text, the Kashi Khanda this temple is eulogised vividly, especially with reference to various pilgrimages like Pancakroshi, Nagara Pradakshina, Kedarkhanda, etc.. Built in the 19th century on a small square, the temple consists of only the inner sanctum and lacks the surrounding veranda for circumambulation. Of course, there are four gates facing to all the directions. In the inner sanctum there also exists the Baneshvara linga, and in the niches there are images of Ganesha, Vishnu, Surya and Annapurna. This is an example of a simple Nagara style of architecture. In the November of 1987, the family members of (late) Mahabir Prasad Jhunjhunwala have repaired and renovated the temple.

This temple is an example of spatial manifestation of the ancient temple of Kala Bhairava. The partially destroyed image of Dandapani (“a pillar of punishment”) has later been re-established in the back of this temple, and given a name called “Kshetrapala Bhairava”, the ‘Bhairava protecting the territory’ (house no. K 32/ 26). In this area there are also shrines and images of Kaleshvara and Mahakala, both representing the “death”. Altogether this area symbolises the sacral power of death as controlled by Shiva. That’s how the city is called as “City of Good Death”. Although this temple is popular and beloved among those who live under its influence in the surrounding Kotwalpuri section of the city, it is not a mandatory stop for pilgrims today. 6.Authenticity (as according to article 24 to 34 of operational guidelines): Only the silver face of Kala Bhairava, garlanded with flowers, is visible through the doorways of the inner sanctum. Making a circumambulation of the temple compound, one find an array of subsidiary shrines - to Devi, to Hanuman, to Krishna and Radha, to Parvati and Ganesha. Most interesting is a large slab of the “Nine Planets” (navagrahas) upon which each of the planetary houses of the zodiac has its individual representation and altar. Bhairava is honoured for protection, health, and well being --- but not for liberation. The temple is situated close to the Town Hall. Kala Bhairava is popularly perceived as the “divine police chief” of Kashi and represents the “frightful form” of Lord Shiva. Kala means both Death and Fate, in addition to meaning Black. He is the Black One, who has also assumed the duties of the God of Death in Kashi. Death, it is said, is afraid of Kala Bhairava. He bears a garland of skulls and carries a club of peacock feathers. Shiva appointed Bhairava to be the chief officer of justice within the sacred city. The mythology of the terrible form of Shiva, called Bhairava, goes back to 6th -7th century. During the era of first destruction in late 12th century many of the temples were lost, and later on reconstructed at the sites recording historical and mythological connection befitting to the myth of the image lost. On the similar lines when temple of Bhairava was lost, at the site of Bhairaveshvara the temple of Kala Bhairava was built. The Maratha king Bajirao Peshva-II built the present structure in 1817; this is noted in the stone inscription on the backside wall of inner courtyard.

During the early Mughal period the leading poet saint of Krishna devotion was Vallabhacharya (1479-1531), who at the age of 11 years came to Kashi for study. Later after completing pilgrimage to all the important sacred places in India, he finally settled down in Varanasi. While living in Varanasi at Jatanbar he propounded the philosophy of Shuddhadvaita, and wrote about 84 books. He was married in 1504, and his son Vitthalanatha was born in 1515 in Kashi. Vallabhacharya built a small temple of Krishna, which was renovated and expanded in 1730 by one of the great saints of the same line, Sri Gopal-Ji. The present structure of the temple was built in 1777 and named Gopala Mandir. Lying in Chaukhambha area, the Gopala Mandir is the patron seat of the Vallabha group of followers. Facing the main temple are the temples of Ranachoda-Ji, Baladeo-Ji and Dau-Ji. Nearby other temples are ones dedicated to Siddhda Durga and Vindu Madhava. === Description ===: On the 8th day of the dark fortnight of Bhadrapada (August-September) falls the birthday of Krishna (the 8th incarnation of Vishnu), which is celebrated in the Krishna related temples, most notably the Gopala Mandir. In the temple, on this occasion the main hall and stage display elaborate scenes of Krishna with his cowherd and milkmaid friends, with tiny cattle and trees, with toys and swings for his pleasure. Distribution of special prasada (sweets offered to god) to as many visitors as possible is popular. The day after Dipavali (first moon in the Karttika, October-November) is Annakuta (“the Mountain of Food”), associated with the legend of Krishna. Krishna is worshipped as Lord of Govardhana, the mountain he lifted up to protect the cowherd folk from the wrathful rains of Indra (king of the heaven). In a more elaborate form as in the temples of Vishvanatha and Annapurna, the Gopala Mandir, changed to the special place of decoration, celebration and offering of foodstuffs. At this temple 56 types of bhogas (edible offerings to the God) are offered, and 3-day festival is performed there.

One can reach the temple by following the Godaulia-Chauk road, then turning to the right from Bansphatak towards the Ganga, and walking through the narrow lane. Coming out from the Vishalakshi temple on the left one finds a gate to the campus of the Dharmakupa, “Well of Dharma”, surrounded by thirty votive shrines and shaded banyan and fig trees. There is Shiva temple of Dharmesha, where the Lord of Death, called Yamaraja or Dharmaraja, received his jurisdiction over the fate of the dead, a power he wields everywhere on earth except in Kashi. Of course, not so popular among the devout Hindus, the Linga of Dharmeshvara (“lord of Moral Order”) is eulogised in the Kashi Khanda as unique, the most powerful. The lord of death, Yama, is considered to be the divine authory for making judgement of a person’s deeds in his/her life. Yama is described as son of Sun god, Surya. This myth clearly indicates the integration of the ancient tradition of sun worshap and its emergence in the Shaiva tradition. Here also is the linga established by mythical king Divodasa before he finally left Kashi. He was described as the supreme king of maintaining the law of nature that resulted to making the land of Kashi holy and divine. All the divinities and their followers were outthrown from the city. Later Shiva sent several groups of the divine beings who got settled in the city. At the climax of the myth, Divadasa installed a linga in memory of this incidence, called Divodasheshvara, lying in a small shrine west of the Dharmakupa. In the same compound are two other ancient and folk goddesses, vis. Vishvabahuka/ Vishvabhuja and Vindhyavasini. There are fragments of ancient images inside the chamber. In the north of Divodasheshvara under a banyan tree is an image of Vata Savitri Devi, representing the goddess of the tree spirit. Till 15th century the area was known for holy trees, where the great yogis were performing meditation. The area was known as Ananadavana (“Forest of the Bliss”). Vata (Ficus Indica) is one among the five sacred tress described in the Rig Vedic literature (ca 1500 BCE), and still continued in healing practices and the living rituals. Vata is associated with Vishnu.

During the 7th-9th century Bhavani was the main goddess, and her seat was one of the most important spots of worship. She was described as the liquid energy of the patron deity Vishvanatha in the Kashi Khanda, KKh (61.130), 132, a 14th-15th century text. She was also eulogised as Maha Gauri. According to another description (cf. Kashi Rahasya, KR, 16.10; and 20.102a), she also represents Annapurna. The Tristhalisetu (CE 1585) eulogised Annapurna and Bhavani as the same goddess. It is obvious from the Puranic description that Annapura was very popular and worshipped by different names. In course of Mughal invasion and destruction by the order of Mughal emperor Aurangazeb this temple was also destroyed along with others. The present temple of Annapurna (“goddess of plenitude of food”) was built in 1725 by Balaji Bajirao Peshva. She is known as the female force of Bhava, “Being”, one of the names of Shiva. She is called the “Mother of the Three Worlds”, and she promises to those who come to her what only a mother can give, naturally and freely: food. The great festivals associated with the goddess relate with her with production of cereal grains (anna). Annakuta (the “Food Mountain”) festival falls on the first day of the waxing fortnight of autumn month of Karttika (October-November). During the second festival in Margashirsha (November-December), Annapurna is decorated with green sprouts of paddy and the same is given as blessed-food. Standing in the court of the compound is the temple itself, a small sanctum with a large pillared porch. Inside the temple there are images of Mahagauri (Great White Goddess), Ganesha, Gauri Shankara and Hanuman. The temple possesses a tower, and also a dome, carved and ornamented in Hindu style. The present image of Annapurna within the sanctum is a new one, established and consecrated in January 1977 in a series of prana-pratishta, “breath-transfer”, rites conducted by the Shankaracharya of Shringeri. The famous novelist (late) Raja Rao (1968: 26) prays the Annapurna: O Thou who hast clothed Thyself in cloth of gold, Decked in ornaments made of many and varied gems; Whose breasts rounded like a water-jar? Are resplendent with their necklace of pearls; Whose beauty is enhanced by the fragrance of the Kashmir aloe? O Devi who president over the city of Kashi,O vessel of mercy, grant me aid.

The Agastyeshvara linga is said to have been established by the Vedic sage Agastya. In the early puranic literature Agastya is represented to have humbled the Vindhya mountains by making them prostrate themselves before him when they tried to rise higher and higher till they well-nigh occupied the sun’s disc and obstructed his path. This myth refers to typify the progress of the Aryans towards the south in their conquest and civilisation of India, the humbling of the mountain standing metaphorically for the removal of physical obstacles in their way. His wife was Lopamudra, who in most cases represented as an image near Agastya. This temple presents the important lingas of Varanasi, representing the microcosm of the city. The inner sanctum is surrounded by a wider circumambulatory path, which is of course blocked in the south by a holy fig (Ficus religiosa) whose lower stamen and roots spread in a way that it destroys the main building. The central figure in the inner sanctum is Agastyeshvara, south of which in the stone slab is the image of Lopamudra, his wife. In the east are Kedareshvara, Visveshvara and Dattatreya. In the western veranda is one-mouth linga, Sutikshana, named after one of the students of Agastya. The other images present in the temple are Narasimha, Parvati, Hanuman, Ganesha, Nava Grahas (nine planets) and Kali, and about seventy votive lingas established by the devotees who took a vow that after completion of their pilgrimage and wish would install a linga. In the eastern wall towards the circulatory path is a big size sun disc. The presence of Dattatreya at two places indicates influence of Trantrism. This is obviously noted by the predominance of votive lingas that in the past this was a very popular temple among the devout Hindus of the south, especially from Maharashtra and Gujarat.

The edges linking Vishalakshi Devi in south, Jnaneshvara in northeast Jnanavapi in the west form a triangle called as “Nabhi kshetra” (navel territory) of Kashi. There are about thirty shrines and temples of historically importance as eulogised in the Puranic literature, especially the Kashi Khanda of the Skanda Purana, dated ca 14th century. The patron deity of the city is Vishvanatha whose temple is the nucleus (navel) in this area. This is one of the 12 Jyotira Lingam located all over India. The Jnanavapi is symbolised as the pool (well) of the first primordial water on the earth. All the pilgrimage journeys (i.e. about 52) start and concluded at this site by taking vow and by getting release of the vow. In whole of India, thus this is the “navel” of the cosmic mandala of the whole India. The area was famous in puranic mythology, which always referred Jnanavapi as the symbol of the primordial water from where the life began. The folk tales say that after the destruction of Vishvanatha temple in 1669 in the Jnanavapi Kupa the Lord had taken refuge and since then resides there. The king of Darbhanga (Bihar) built the temple of Nilakantheshvara in 1915; this is another grandeur of the temple architecture. Entering near the compound of Jnanavapi mosque, one meets the Dhundhiraj Gali, a typical and unique bazaar that preserved the scene of the late medieval period. In the lane are the shrines of Markandeshvara Shiva, Dandapani Bhairava, Ganapati Ganesha, and at the crossing Dhundhiraj Ganesha in the left. By following the straight the lane enters to Vishvanath Gali. This represents the Banarasi culture and shops related to it. A proverb says ‘Whatever one want to purchase, one can get here’. Halfway on the right there is a shrine of the Sakshi (“witness”) Vinayaka built in 1770, a transformed form of old Yaksha Vinayaka re-established here.

The first original site of Vishveshvara/ Vishvanatha is an issue of historical investigation. However it is accepted that the first destruction took place in 1194 by the order of Qutb-ud-din Aibak. By the end of 13th century the Vishvanatha temple was built in the compound of Avimukteshvara, which continued till mid 15th century. In 1448 Muhmud Shah Sharqui demolished this temple and built on the site the Razia Bibi mosque. Later on in the western part of the compound, the present temple was made. Authenticity (as according to article 24 to 34 of operational guidelines): It is believed that the yoni (basement) of the linga is the original one representing the 13th century temple. In the inner sanctum sanctorum there are images of Ekdanta Vinayaka (“Ganesha with one tusk”), Sun-god, and very late additions of Rama and his family. In the compound exist the shrines of goddess Shringar (“beauty”) Gauri and Saubhagya (“auspicious wife) Gauri. Under an old fig tree there is an image of Sani (Saturn god), and nearby is a shrine of Yaksha (“Vegetal god”) Bhairava.

All the pilgrimage routes pass through the south certainly touch this site. Even in the ancient mythologies (e.g. Matya Purana as in TS 101; VM 177; KKh 97.253), the Assi drain was mentioned as seasonal stream and a dried bed. The temple of Asi Sangameshvara (“Lord of the Confluence of Assi”) marked with a marble plaque establishes the puranic heritage of the site. The plaque reads that “in the Pancakroshi pilgrimage, this site is one of the Pancatirthis”. This ghat was mentioned in the inscriptions of the Gahadavalas (11th-12th century). In Varadaraja’s Giravana-padamanjari (1600-60) this ghat is also described with glory. By the turn of 19th century the long strip of the Ghat got divided into separate ghats. In 1902 the Queen Dulhin Radha Dulari Kunwar of the Sursand Estate (Bihar) had purchased the southern part of ghat and built her small palace (presently Hotel Ganga View) and also the Lakshminarayana Temple. Till 19th century the Assi Ghat was in a natural shape, an open land with green lush of trees. However, its glory was already described in the ancient texts under the name of “Assi Sangmeh Tirtha”. In 1988 the Ghat was made pucca (stone-staired) by the Irrigation Department with the support of the Ganga Directorate project. There is no plan for conservation. In fact, in the name of beautification and change the development and transformation of the ghat area turned to be a big problem. The closing down of Assi confluence (in fact shifted ½ km in the south in 1981-82) and the pucca construction of Assi and nearby ghats resulted to create a crucial problem of silt deposition. According to an estimate about 8200m of silt in a length of 60m get deposited every year along the Assi and Rivan ghats, and to get it cleaned a good sum of money is spent every year. Moreover, the course and the flow are changing which cause loss of the aesthetic sense and sacramental values of the ghat. The consequences of modern approach of short-term planning are clearly visible here.

In the Mauryan inscription this ghat is described as sacred spot and a ferry point. Archaeological evidences support the settlement life in the nearby areas during 8th century BCE. Its importance as ferry ghat was maintained till 1 January 1887 when Lord Duffrin Bridge (road-cum-rail) was built. In 1948 the bridge’s name changed to Malaviya Bridge. In the Gahadavala inscriptions too this ghat is described as a sacred spot and also as ferry point. Till 12th century this was a very active ghat for religious festivities and transport, however since then the city spreads southwards and in span of time the other ghats became more prominent. Close to this ghat lie the remains of the Gahadavala fort where shrines of Rajaputa Vinayaka and Bhainsasura are present. The northern part of this ghat was referred in earlier puranic mythologies as Vedeshvara ghat, where now are many tress and a wrestling site, and the scene is dominated by water buffaloes owned by milkmen. Till 1988 the ghat was of open natural clay, but in the same year the government of Uttar Pradesh has made it pucca. Even today, the northern part is as such. At the top a grand temple of cobbler-saint Ravidasa (CE 1388-1518), who was born in the southern edge of the city in a village Sir Karahia, is made in 1986; at this place his birth day is celebrated on the full moon day of Magha (January-February). There are four water-tirthas affiliated to this ghat, viz. Sankha, Uddalaka, Hayagriva and Nilagriva. In the northern part of the ghat are two monasteries and a temple of Badri Narayana. Close to the present Ravidas temple is a small shrine of Mahisasura, “a buffalo-demon” killed by goddess and soon transformed into a divine associate. According to folk legend, later the demon’s spirit worshipped Shiva and goddess, that is how the tradition is to worship him.

Its reference is mentioned in the 17th century text, Giravana-padamanjari. Near Rama Ghat at the bank is the water-front puranic tirtha named Rama Tirtha, and there is a temple of Rama Pancayatana (the five images together). The name of the ghat is derived in this reference. There are three other water-front sacred spots, viz. Kala Ganga, Tamra Varaha and Indradhyumna. In 1665 the French traveller Jean Baptiste Tavernier paid visit to Varanasi and has described this ghat. It is obvious from this account that the ghat and Rama temple were built in the nearby past and were prominent in the scene. The Rama temple and the attached ghat both built by king of Jaipur (Rajasthan), Raja Savai Jaisingh. During the period of mass destruction of temples by the order of Mughal emperor Aurangazeb in late 1660s, this temple was also demolished. The present temple was built up in late 18th century. Other notable temples at this ghat are of Badri Narayana and Kala Vinayaka. Nearby to the latter one is a temple of Khandoba, a regional deity of Maharashtra, whose annual celebration takes place during 5th-8th light-half of Margashirsha (November/ December). This area is dominated by Maharashtrian people. -- In the mid 19th century the finance secretary of Gwalior Estate, Balaji Cimadaji Jatar has built this ghat with the support of the king Jiyajirao Shinde. After his name this is called Jatar Ghat. He has also built a multi-storeyed building (no. CK 24/ 33), in a portion of which exists the temple of Lakshminarayana. This temple is an example of the local craftsmanship, consisting of mosaic of colourful glasses in the large windows and light areas. At the gate there is an inscription, which reads the names of the finance secretary and the king, and their portraits are also shown there. Prinsep (1822) mentions this ghat as Chor Ghat. The name “Chor” (thief) reminds a fable about this ghat, which narrates the story that this ghat was defamed in the past for theft of the cloths of pilgrims and bathers. Greaves (1909) has mentioned this ghat as Jadau Ghat. The architectural beauty of the Lakshiminarayan temple is at the verge of danger limit; in lack of proper and immediate care this temple can be lost at any time. -- Till mid 19th century Gwalior ghat was part of Jatar Ghat. When Jatar Ghat was under construction the king of Gwalior Maharaja Jiyajirao Shinde has built this ghat; and after his name this is known as Gwalior Ghat. According to another tale one of the Peshava kings had also repaired and partly made the ghat pucca. There are three shrines containing Shiva lingas. The ghat is not important for cultural and religious activities.

This is one of the five water-front sacred most sites, and believed to be the meeting points of five drains, viz. the Ganga, the Yamuna, the Sarasvati, the Kirana and the Dhutapapa, among which only the first one is visible and the rest are vanished, or assumed in the form of manifestation. In the Gahadavala period (11th-12th century) this was a popular and prominent ghat, patronised by the royal family. Since that period there was a famous temple of Vindu Madhava, which was demolished and converted into a mosque in 1673, that is how the ghat was called Veni Madhava Ghat, presently this is the lower part of the ghat. The two water-front sacred tirthas mentioned in the ancient mythologies are the Vindu Tirtha and Pancanada Tirtha. The KKh (59.116-144) describes its glory very highly, and even today this is the second most important ghat after Dashashvamedha, with respect to devotees paying visit and the merit perceived by the people. This was the chief resort of a great teacher of Vedanta, Ramananda (CE 1299-1411) to whom Kabir (1398-1518), a great reformist bhakti poet, accepted as guru. Ramananda’s monastery is still there. Tulasi (1547-1623), the poet par excellence of the medieval period and author of Ramacaritamanasa, had passed a number of good years of his life (ca 1580s-90s) at this ghat where he composed the famous writing, the Vinaya Patrika (“The Petition to Rama”), describing the glory of Vindu Madhava temple (VP, 61-63; cf. Allchin, 1966: 129-132; compare KKh 60, 61). The ghat was made stone stepped (pucca) in 1580 by Raghunath Tandan (Todar Mala ?), the finance secretary of the Mughal emperor Akbar. This information has been supported by an inscription, which till a decade ago was in one of the niches. In 1735 Bajirao Peshva-I together with Sadashiva Naik rebuilt and repair it. In 1665 the French traveller Jean Baptise Tavernier, a dealer in jewels, paid a visit to Banaras and described the Veni Madhava Ghat and grand temple of Veni Madhava at the riverside, which he called a “great pagoda”. After destruction in 1673, the original image of black-marble Vishnu is kept in the nearby house of Lakshmanabala, now known as Vindu Madhav Temple, and attracts thousands of devotees and pilgrims. This rest house converted into a temple (house no. K 22/ 33) was built in the early 19th century by the king of Aundha Estate of Satara district (Maharashtra), on the first floor of the building. It contains a long veranda, in the southern part (enclosed as inner sanctum) of which is the main image of Vindu Madhava. The roof of the temple is made of good quality wood and stone slabs. There are two entrance gates, separated by a veranda, opposite site of which is the residential quasrter for the priest family. There are gates from the east and north to the inner sanctum. There is no circumambulatory path around the inner sanctum. To the left of the entrance gate, is an image of Vishnu’s vehicle Garuda, a divine bird, and to the right is Hanuman, Rama’s monkey-servant. These are the pieces of the original temple and are excellent examples of miniature and column architecture. One can also have a good view of paintings of the 10 incarnations of Vishnu in the hall, while in the corner compound is a chamber containing “72 lingas Shiva”, and several images of Shiva, Ganesha, Vishnu, etc. Most of the other temples belong to 19th-20th century. However, the only old temple in this area is Rama Mandir of Kanganvali Haveli (K 22/ 25), built in the early 17th century by the king of Amer (Rajasthan), Mirza Raja Jaisingh, originally as a Vedic School. This is described by the French traveller Jean Baptise Tavernier (in 1665). Nearby to it is Tailanga Svami Math (K 23/ 95), established by a great saint of 19th century Tailanga Svami, which contains a huge linga called Tailangeshvara. At the ghat, close to the river front, there are “the dozen of three-sided cubicle shrine rooms that open out into the river. Some contains a lingam or an image, such as the lanky reclining images of Vishnu sleeping down upon the serpent Shesha. Others are nearly bare and used primarily for yogic exercises and meditation. The arati (ritual of offering oil lamps) in honour of the Sun god and the goddess Ganga River at the time of sunrise is most attractive when seen in the morning. There are many shrines of the goddess Ganga along the ghat. It is believed that during the Hindu month of Karttika (October-November) the waters of the river Ganga, Varana, Asi, Yamuna (which meets the Ganga at Prayag, 125 km west) and the two lost streams of Kirana and Dhutapapa, the five rivers, meet here. Hence the name Panchaganga (i.e. Pancha-, five; -ganga, sacred river) Ghat. In the month of Karttika the ritual of offering oil lamps to ancestors, hung up in the air on bamboo poles (akasha dipas) is performed by the ghatias (ghat-priests) on behalf of the devotees who subsidise the cost of the materials involved. The stone column on the terrace, built by Ahilyabai Holkar in late 18th century, can hold 1008 oil lamps at festive days in honour of ancestors. There is a stone pillar with a 1008 sockets stone made structure to hold the lamps lighted on the night of full moon in the month of Karttika.

Phuta/ Naya Ghat was an old site of Yajneshvara Ghat and built pucca by Svami Maheshvarananda in the mid 19th century. In the nearby stream of the Ganga the location of Vishal Gaja Tirtha is eulogised. -- Nepali Ghat represents the southern part of the Lalita Ghat, which was made pucca in 1902 by Nanhi Babu, under the patronage of the king of Nepal.

This ghat is named after Prahlada, a great mythological devotee of Lord Vishnu. In 11th-12th century the Gahadavala inscriptions mention this ghat. This is spread over a longer distance. The historicity of this ghat can be traced through an 18th century sketch preserved in Savai Man Singh-II Museum at Jaipur, which glorifies this ghat. In 1937 with the construction of a new Nishada Ghat in the centre (where exists Satsanga Akhara), now the ghat is divided into two parts: the southern and northern. In the southern part exists the shrine of Prahladeshvara (A 10/ 82), Prahlada Keshava, Vidara Narsimha, and Varada and Picindala Vinayakas. Around the northern site exist Mahisasutra Tirtha, Svaralingeshvara, Yajna Varaha and Shivaduti Devi. The northern part (Nishada Ghat) was made pucca in 1988 by the irrigation department of the government of Uttar Pradesh; the arena of ghat is dominated by washermen. Sherring (1868: 190) described it as “a picturesquely site commanding a fine view of the city and its suburbs”. The ghat was made pucca in early 20th century by the City Council. Among the other temples in the vicinity notables are Narsimha (A 10/ 82), Jagannatha (A 10/ 76) and Shitala (A 10/ 77). According to oral history the great medieval saint-poet Tulasi was also living here in late 16th century. In commemoration of this incidence Tulasidasa Temple (A 10/ 58) has been built here. During the last five days of light-half of Vaishakha (April-May), a grand festive theatrical celebration to honour the appearance of Narsimha (“Lion-Man” form of Vishnu) is performed on massive scale in the temple of Prahladeshvara. Its climax reaches on the full moon day (i.e. 14th of the light-half). This is a very active ghat, attracting a good mass of devout Hindus from the nearby countryside to celebrate a variety of festivals and rituals.

This is the southern part of the Panchaganga Ghat, and named after famous 10th century temple of Veni Madhava. This ghat is eulogised in the KKh (59.120-121, also 61.243-244). The Veni Madhav temple, which was in ruins since CE 1496, was rebuilt by the king of Amber (Rajasthan) in 1585 together with a palace at Man Mandir Ghat. In 1669-70 the temple was demolished by the order of Mughal emperor Aurangazeb and converted into a mosque. This mosque serves as landmark touching the skyline in the area. The black marble made image of Vishnu has been re-established in the upper storey of the nearby building called Lakshmanabala which attracts hundred of devout Hindu every day, and the number crosses over thousands on the special festive days. The image is considered to be an awakened one, and one among the most notable old images of Vishnu.

Located at the top and reached by the steeply ascending lane south of the water pool is the temple of Manikarnikeshvara (Gomath Ashram, Brahmnal, CK 8/ 12), which is the first of the 108 shrines in the Panchakroshi pilgrimage route. It is located two storeys below the courtyard of the monastery. Here, the notion of the golden age becomes manifest as the pilgrim descends into the dark underground, down to the original, the “real” soil of the world. Says Eck (1982: 246), “The lingam of this temple – set dramatically underground at the bottom of a deep shaft – could at one time be reached by a tunnel originating on the ghat”. About 40m from the entrance point to the above ascending lane one will meet the shrine of Siddha (“perfection”) Vinayaka/ Ganesha (Brahmnal, Manikarnika Lane, CK 9/ 1) the right. He is the guard of the east and the giver of bliss, success and relief from the curse of Yama (the god of death). He is the 8th among the 56 Vinayakas who protects the city at all the 56 conjunctions made of 7 round spiral layers and 8 cardinal directions. Built in ca 1850 by the king of Amethy (Awadh, Uttar Pradesh), this Shiva-Durga temple is distinct with its five deep-red spires and gilded pinnacles. The temple is on a raised ground, ca 3.5m high from the nearby bank. Clambering up a side staircase, one passes under the Naubatkhana, where images of musicians are chanting praises of the goddess. On the right side of entrance is a fine bronze lion of Durga, and on the left Shiva’s bull. In the inner sanctum is the image of Mahisasuramardini. In the different portions of the temple there are images of the forms of Vishnu, like Varaha, Narasimha, Balarama, Krishna, and also are the goddess images of peacock riding, Vina carrying, and lion riding. No where on the wall there is any image of Shiva. There are many images depicting the life incidences of Krishna. The temple is an example of the Pancayatan style, the centre as the core and four other attached temples at the four corners. The quiet and cleanliness inside are a relief from the bustle, sloppiness and dirt, and somewhat sordid atmosphere of more popular Banaras shrines. Except by the temple trust and the local public organisations, those work on their own ways, there are no specific action plans, programmes and strategies for conservation and preservation of the ghats.

In the historical past Shivala Ghat was wide spread over the nearby ghats, and by the mid 19th century this area got divided into five ghats. First of all the king of Banaras, Balwant Singh had made this ghat pucca in 1767, and later in 1770 Chet Singh extended it during the period when his palace was under construction. One of the important palaces close to the ghat is built by the king Sanjay Vikram Shah in the late 19th century, who has also built a Shiva temple. For the well being of the pilgrims from south India the king of Banaras has built a monastery named Brahmendra Math. In the upper part neighbourhood there are shrine of Hayagriva Keshava, and temple of Svapaneshvari, Svapaneshvara and Hanuman. Till mid 20th century this ghat was part of the great celebration of Budhva Mangal (“the old Tuesday”), on which occasion the area between Chet Singh Ghat and Shival Ghat was full of decorated boats where different parties of musical concerts performing their art. This tradition is now no more. However, a few years ado the cultural division of Uttar Pradesh has started this festival, of course at Rajendra Pasad Ghat, and more inclined to attract western tourist. The present structure of the ghat was made in 1988 by the irrigation department of the government of Uttar Pradesh. -- The extended part of Shivala Ghat is called Gularia Ghat. In fact, earlier this was part of the Dandi Ghat. In 1819 a rich merchant of Banaras, Lalluji Agrawal had made this ghat pucca. After the well known old and huge gular tree, type of fig, the ghat is called Gularia Ghat. Attached to the ghat is a place of traditional wrestling. This ghat is in deserted form. -- A rich merchant of Banaras, Lalluji Agrawal has built it in1821 with a joint effort of Babu Sagaramal. Further renovation and re-structuring was done by the government of Uttar Pradesh. in 1958. In the upper part of the ghat are a temple and a wrestling place. A branch of the Sharadapith of Dvaraka is here where lives the Dandi ascetics who carry stick in their hand and use ochre coloured cloth. After this centre of Dandi ascetics the ghat is called Dandi Ghar.