Sivas Research Articles

Role of Takshak in the Transition of Yug: a Critical Commentary (with Special Reference to Khandava Vana Episode)

In Indian belief system, snake is regarded not only an evil creature but also a divinity representing eternity and prosperity as well. On the mythological grounds, they are often associated with Lord Vishnu (He is the preserver of the Universe according to Hindu Mythology), Lord Krishna (He is described as the Supreme Being and creator of the Universe) and Lord Shiva (the third God in the Hindu Trimurti). The Bhāgvat Purāna (deals with all the incarnation Lord Vishnu) mentions several snake deities such as Kadaru or Kadaroo (mother of all snakes, and wife of Kashyap Rishi and Vinta (mother of birds Garuda and Arun, wife of Kashyap Rishi). There are various folklores representing multifaceted facts on Takshak (One of the major Nag or snake, it plays an important role in the Khandava Vana episode) and its deeds. In this backdrop, the present paper aims to explore, discuss and study Takshak’s dilemma, its struggle in Dwāparyug and also its role in the transition of Yugas.

The Interplay of DeFi and CeFi: Analyzing Decentralized Finance through the Lens of the Shiva Milk Story and the Ramayana Metaphor

This paper explores the evolution of decentralized finance (DeFi), represented as Rama, and its adversary, centralized finance (CeFi), represented as Ravana in the metaphorical context of the Ramayana. Drawing inspiration from the story of the Raja's attempt to fill a temple with milk for Lord Shiva, we examine how individual greed, lack of transparency, and improper contributions can lead to the collapse of collective financial systems. Just as Ravana's greed and manipulation disrupt harmony, CeFi is characterized by centralized control, fostering inefficiency and inequity. In contrast, DeFi offers a decentralized, transparent system that aims to align with Shiva's Linga, the symbol of purity and divine order, ensuring collective participation for an optimized financial ecosystem.

Fasting in Hinduism, Buddhism and Islam: A Comparative Study

Voluntary abstinence from food has been a spiritual purification rite in many religions. Penitence, purification and sacrifice are the major aims. Fasting in Hinduism is the denial of the physical needs of the body for the sake of spiritual gains. Hindus observe a period of fasting during the month of ‘Shravan’ (July/August), a holy month with religious festivals such as ‘Janmastami’ (Lord Krishna’s birthday) and ‘Rakhibandhan’ (when sisters tie a ‘rakhi’ on their brothers). Many Hindus also fast all year round on certain days of week for example, on Monday for Lord Shiva and his wife Goddess Durga. According to Hindu scriptures, fasting helps to create an attunement with the Absolute by establishing a harmonious relationship between the body and the soul. The Buddhist tradition prefers to abstain from eating meat, since this involves the killing of living beings. According to the Buddhist monastic rules, the Vinaya, monks and nuns should have only two meals a day, in the early morning and before noon, and abstain from food for the rest of the day. On festive days, especially at full and new moon, laypeople also follow those rules. There is also some occasional fasting such as the fasting for Lokesvara, which is supposed to cause the birth of a son; fasting for Tara, which frees one from illness and dangers. The Tibetan Buddhist practice of Nyungne (abiding in the fast) has been gaining increased attention. It is two and a half-day practice, which involves the keeping of strict vows, silence and fasting. Fasting the lunar month of Ramadan is one of the five fundamentals of Islam. It has been an obligatory duty ordained by the Almighty Allah for all the adult observant Muslims except who are ill, traveling or pregnant. There are also some other voluntary fasting in Islam. Fasting, in Arabic called Sawm, is abstinence from eating, drinking or sexual activity from sunset to sundown during the month of Ramadan. In Islam, fasting is an important act of worship done for Allah, whereby a Muslim draws closer to his Lord. Because of fasting, the sincerity of faith and devotion to Allah should become all the more evident. The purpose of fasting is to develop God-consciousness (Taqwa), which can lead to the forth of goodness and virtue in life and hereafter. The learning of self-restrains from fasting is capable enough to lead a purer life in this world as well as to an eternal life of happiness in the next. After having a comprehensive study and finding out the similarities and dissimilarities among the fasting tradition of Hinduism, Buddhism and Islam, this paper is mainly aimed at proving the highness and glory of fasting system of Islam in gaining its material and spiritual objectives.

Transcendence and Cosmic Consciousness: Unveiling the Philosophical Depths of Lord Shiva

Transcendence and Cosmic Consciousness: Unveiling the Philosophical Depths of Lord Shiva

Impact of Income, Gender and Age of the Tourist on Spiritual Tourism in Varanasi

Varanasi is the oldest city of the world. It is also known as Kashi. It is famous for spiritual tourism for all religions. Hindus visit here to see the temple of Lord Shiva and Ganga Aarti, Buddhist visit here for the Sarnath. This study highlights the impact of income, gender and age of tourists on spiritual tourism in Varanasi. Spirituality means belief and religion has been since and in future will be one of the major factors for tourism. Using the correct stimuli called spirituality the tourism industry can excel. The search for spirituality has always been and will remain a major motivator for tourist for exploring religious and spiritual destination. There were the main objective of this study to analyze the impact of income, gender and age of tourist on spiritual tourism in Varanasi. There were three hypothesis were formulated. 50 respondents were selected for data collection. In analysis part correlation test has been used. All three null hypotheses were rejected and all three alternative hypotheses were accepted. Therefore we can say that there is a strong impact of income, gender and age of tourist on spiritual tourism in Varanasi. This study will further help to others researchers who can do research on this topic with different variables and timeframe.

THE EARLY MEDIEVAL TEMPLE ARCHITECTURE IN TEZPUR: AN ANALYTICAL STUDY

The Sonitpur district of Assam is steeped in a rich tapestry of mythology and historical significance, making it a captivating region to explore. According to the Kalika Purana, it was once under the rule of Bana, a legendary figure whose name resonates in the “Shanti Parva” of the Mahabharata. Bana, an ardent devotee of Lord Shiva, is renowned for leaving behind a legacy of numerous Shiva temples in Sonitpur.Traditional beliefs have preserved the ancient name Sonitpur for Tezpur, as documented in the Puranas, which underscores the deep-rooted historical continuity in the area. Tezpur is adorned with a multitude of temples and shrines, their ruins scattered throughout the region. These remnants serve as captivating archaeological subjects, offering valuable insights into the region’s cultural and historical heritage.This study takes an analytical approach to delve into some of the architectural remains of Tezpur under Sonitpur district of Assam. By examining the architectural marvels of this region, we can unlock the enduring legacy of its past and gain a deeper understanding of its cultural and historical significance.

Concept of Third Eye in Indian Mythology

Revelation of significance of metopic suture in medical science is a big leap forward. Persistence of that suture gives communication in between Olfactory, Trigeminal and Facial nerves. Olfactory has direct connection to forebrain without the intervention of thalamus. This makes the show of ‘rapid fire’ so popular in TV where questions are asked and answered in jet speed. In Hindu mythology, the Nasion concept was known and they drew Lord Shiva with a third eye and Yoga practitioners focus their attention to Nasion for better cerebral introspection provided metopic suture persists and previous nerves communicate with each other over there.

Arun Kolatkar’s “The Bus”: A Skeptic Journey Toward Spiritual Nothingness

One of the leading literary voices of his generation Arun Kolatkar in his surrealistic poem The Bus, the opening poem of his magnum opus poetry collection Jejuri depicts a sojourn strenuous journey towards Jejuri a holy site renowned for the pervading Deity Khandoba the incarnation of Lord Shiva. The poem displays the oscillation between modernity and tradition the rational poet-persona of scientific sensibility scorns the religious practices as nothingness whereas the dogmatic old man finds solace in spiritual devotion and rituals following ancestral rites. The poet speakers split consciousness leads him to skepticism and quest for absolute truth.

The Hindu Icon God Shiva as a Visual Communication of Interactions between the Hindus and the Buddhists at the Borobudur Temple in Indonesia

In vernacular settlements, it is a common practice to venerate religious icons. The figure of the God Shiva Mahadeva is one of the icons of Hinduism generally venerated in India. Interestingly, this figure is carved on the relief of the Buddhist temple, Borobudur in Indonesia. The visualization shows that the figure is God Shivam and its presence can be interpreted as a form of visual communication representing the interactions between the Hindu and Buddhist communities living in the surrounding vernacular settlements of the Borobudur temple. This article reviews the art historiography and raises several research questions regarding the visualization of Hindu icons in this Buddhist temple. The study examines the visualization of the figure of God Shiva in one of the relief panels of the Borobudur temple. The paper employs a case study method. It produces visual comparisons of approaches to artistic practice and art history delineated through the characteristics of the visual elements of God Shiva in the 104 Gandavyuha relief panels. Data was collected through photo documentation, visits to the Borobudur temple, photograph tracing, making lithography, and comparing visual findings with published literature. This is to ensure the accuracy of the visualization and investigate Hindu-Buddhist interactions in Java in the 8th—9th centuries. It concludes that the figure carved on panel 104 in the second gallery of the Gandavyuha reliefs is God Shiva, a Hindu icon as per the Gandavyuha Sutra text where God Shiva is mentioned as a spiritual guide who has carried out dharma as a bodhisattva.

Investigating Role of Intangible Cultural Heritage in constructing the phenomenon of Narmada River Parikrama

The traces of earliest human settlements are found on the bank of rivers which are one the natural forms of drinking water which are considered as a lifeline of the settlements. Since ancient time, Indian Culture assigned motherly values to rivers because of their significance in respective regional settings. Through-out the Indian Subcontinent, traditions and rituals evolved from ages around the rivers have shaped up some commonly followed cultural aspects along with some specific rituals to the rivers. Circumambulation of River Narmada, Shri Krishna Poojan on Yamuna River Banks at Vrindavan are examples of some of these specific cultural aspects. Out of the most sacred seven rivers (Ganga, Yamuna, Godawari, Saraswati, Narmada, Sindhu, and Kaweri); River Narmada has special cultural significance with its strategic geographical location dividing Indian subcontinent in Northern and Southern parts. This research is aimed to investigate the role of intangible Heritage in constructing the phenomenon of Narmada River Parikrama based on the parameters like historical importance, poetic references, mentions in Puraans, folk culture, religious importance, TapoBhumi Narmada (रेवा तीरे तप: कुर्यात!) with the very unique cultural aspect of Parikrama (Circumambulation) of a river as a deity. Parameters to understand cultural footprints were delineated to these aspects with the focus of completing one stage of research in stipulated time schedule. The religious aspect includes Tirthsthana (Sacredscapes) on the Parikrama Path on North and South banks, rituals, and activities followed by the devotees, and the connectivity of Lord Shiva with River Narmada. A famous verse says नर्मदा का हर कंकर है शंकर! (Means, each gravel of River Narmada depicts Lord Shiva.) Hence the religious thread in cultural heritage studies is very strong and needs to be established with the Parikrama perspective. The analytical methodology for conducting research included study of various literature references about River Narmada written by historians, poets, Saints, and ancient scriptures like Puraan, Mahatmya etc. available in the form of books, doctoral research thesis, research papers and scholarly articles. These literature sources refer River Narmada focusing on various perspectives. They are critically analysed and inferences regarding role of intangible cultural footprints around Narmada River banks in forming the Phenomenon of Parikrama are summarized in this paper. Next stage of the research or a way-forwards of this research study can be continued further to establish manifestation of Parikrama Concept in the tangible cultural heritage with respect to spatial planning and built forms.

AI and augmented reality for 3D Indian dance pose reconstruction cultural revival

This paper delves into the specialized domain of human action recognition, focusing on the Identification of Indian classical dance poses, specifically Bharatanatyam. Within the dance context, a “Karana” embodies a synchronized and harmonious movement encompassing body, hands, and feet, as defined by the Natyashastra. The essence of Karana lies in the amalgamation of nritta hasta (hand movements), sthaana (body postures), and chaari (leg movements). Although numerous, Natyashastra codifies 108 karanas, showcased in the intricate stone carvings adorning the Nataraj temples of Chidambaram, where Lord Shiva’s association with these movements is depicted. Automating pose identification in Bharatanatyam poses challenges due to the vast array of variations, encompassing hand and body postures, mudras (hand gestures), facial expressions, and head gestures. To simplify this intricate task, this research employs image processing and automation techniques. The proposed methodology comprises four stages: acquisition and pre-processing of images involving skeletonization and Data Augmentation techniques, feature extraction from images, classification of dance poses using a deep learning network-based convolution neural network model (InceptionResNetV2), and visualization of 3D models through mesh creation from point clouds. The use of advanced technologies, such as the MediaPipe library for body key point detection and deep learning networks, streamlines the identification process. Data augmentation, a pivotal step, expands small datasets, enhancing the model’s accuracy. The convolution neural network model showcased its effectiveness in accurately recognizing intricate dance movements, paving the way for streamlined analysis and interpretation. This innovative approach not only simplifies the identification of Bharatanatyam poses but also sets a precedent for enhancing accessibility and efficiency for practitioners and researchers in the Indian classical dance.

The Reflection of Myth in Rick Riordan’s Percy Jackson Series and Amish Tripathi’s Shiva Trilogy

Mythology is considered as a pillar of literature. In recent years it has regained its former glory of playing a pivotal role in the field of literature. Mythology and fiction have worked hand-in-hand to create some of the master pieces that of the past. Two such mythological works of the contemporary era are focused to correlate the world of reality and mythology and also to discover the reflection of myth in literature. Mythological works like Odyssey is recounted more as a historical fiction rather than fiction alone. In recent times, a series of novels focusing on the Greek mythology has been published and has achieved great appreciation from audience of all ages; Rick Riordan’s Percy Jackson series portrays the life of a teenage boy who is a half-blood, half-god and half-human. Percy Jackson is a normal boy who spends his day being bullied and alone but soon he discovers that he is the son of an ancient god from the Greek myth, this is the plot of the first book from the series of novel and from there the story goes on to elaborate on the protagonist’s various endeavors interconnecting both the mythical world and the world as one see. Rick Riordan, an American author is best known for his work, the Percy Jackson series. The author has also taken the effort to portray the Greek Gods in a more sophisticated manner which blurs the line between them being gods or humans. The paper focuses on the inter-relation of the mythical world and the reality from the perspective of the Rick Riordan’s Percy Jackson series and Amish Tripathi’s, The Shiva trilogy. Amish Tripathi is an upcoming prolific writer who has gained recognition for his debut novel. God Shiva of the Hindu mythology and unlike the actual myth the whole of novel is from a new and thought-provoking perspective of the writer. The main aim of the paper is to stress on the idea of how the contemporary authors utilize the age-old myth to weave a story that inter-mingles with myth and modern world.

Nandanar: Visibilizing Caste in Bharatanatyam Performance

What are the implications of a bejeweled dancer in fine silk on the proscenium stage performing a piece that undeniably centers caste? As the Bharatanatyam field reflects on the art form’s appropriation from the hereditary dance community, analyzing choreography reveals different bodily representations of caste. Many Bharatanatyam dancers globally perform excerpts of the Nandanar Charitram, by Tamil composer Gopalakrishna Bharathi. The plot traces Nandanar, a Dalit saint who is not allowed in many temples and ends with his immolation, allowing his “purified” self to unite with the Hindu god Shiva. I study performances of the Nandanar Charitram comparing two Bharatanatyam showings and the 1942 film “Nandanar”. To recognize how caste is both articulated and understood, I analyze choreography, interviews conducted with dancers, and forums where audience members share their responses to the works. I use Judith Butler and Dwight Conquergood’s theorization of performativity, acknowledging that while Bharatanatyam choreography is often “iterative”, it has the potential to “disrupt” dominant norms on caste and politics. Nandanar remains the most prominent Dalit figure seen in the Bharatanatyam repertoire. By studying representations of his story, I highlight the relevance of bodily caste politics in the South Asian diaspora today.

Pecuk: Karawitan Artwork inspired by Pecuk Kite | Pecuk: Karya Seni Karawitan Yang Terinspirasi Dari Layangan Pecuk

Pecuk is a pepanggulan percussion creation inspired by the pecuk kite. A Pecuk kite is a form of traditional Balinese kite that has two equal corners, the result of stretching two identical girlish or bantangs. Kites and flying are entertainment, believed to originate from the mythology of Dewa Rare Angon, a manifestation of Lord Shiva. The pecuk kite is also a symbol of Ulu Candra and Windu, the wijaksara or sacred script symbol of God. Cormorant kites are unique in terms of shape and when they fly. The simplicity of balance in the making and the uniqueness of flying this kite are transformed in preparing this pepanggulan percussion creation. This creation aims to be able to implement ideas taken from the local wisdom of the Balinese people (kites and hovering) into a genre of Balinese composition called Tabuh Kreasi Pepanggulan. The novelty of this pepanggulan percussion creation has been obtained through research using qualitative methods accompanied by methods for creating performing arts based on local wisdom (Rai S., 2021), which includes a process of developing talent, creativity, understanding the local culture, the concept of the work, belief and praying for the implementation of the idea. Work, trial work, and determining the form of work (IPR). Observations, interviews, and literature studies were conducted to find a progressive work concept. The creation process that most produce new percussion creations is entitled "Pecuk, using the Gong Kebyar gamelan barungan as a medium of expression. This work involved 35 musicians and was performed at the Natya Mandala Building, Indonesian Institute of the Arts Denpasar, using the aesthetic rules of performing arts such as stage design, lighting, and clothing.

An Investigative Study of Modern Social Attitudes towards the Current Status of Religious Beliefs Associated with the Concept of Shiva (A Study of Selected Major Shiva Temples in Sri Lanka)

Folktales can be recognized as an Ancient Intangible Heritage of the entire Human race. Since time immemorial, man has become a pyramid of collective wisdom built through the practice of systematic thinking. Folk religion, which is a major part of folk culture, can be identified as a set of beliefs and beliefs that are born in each culture and passed down from generation to generation. Also, this concept was a great opportunity to showcase the culture of the common people of society with various religious beliefs and practices centered on Lord Shiva. The primary problem of this research is to study what the modern social attitudes are towards the current status of religious beliefs related to the concept of Shiva. The primary objective of this study is to identify the behavior and religious beliefs associated with Shiva temples in the context of current social changes. As a research method, data was collected using the participatory observation method under the Qualitative Research method. Also, statistically based Quantitative data was used to identify the number of Shiva temples Established in Sri Lanka and their distribution. This study was conducted in connection with some selected major Shiva temples in Sri Lanka. Due to the strong attraction that developed in the human mind towards God in cultural integration, various social trends related to God were created. Lord Shiva, who occupies a prominent position in Hinduism as 'Mahadeva', takes precedence in Linga worship. Expectation of children can be identified as one of the main purposes of Shiva worship in local worship systems. The study revealed that the worship of Lord Shiva, which belongs to the rural religion, has been alienated from the common people. As a Maheshakya deity in the Hindu trinity, Shiva is supreme in his power and respectability. Thus, the overall research results revealed that the worship of Lord Shiva has moved away from the usual beliefs and worship.

Traditional Knowledge and Practices for Water Harvesting and Conservation in the Northwestern Himalaya, India

In the present study, we assess the importance of traditional knowledge for water harvesting and conservation. Traditional technologies and practices of water harvesting have met the needs of local people since ages. The Traditional technologies and practices of water harvesting at remote areas of northwestern Himalaya is very helpful to provide drinking and irrigation water even in today’s. Water is the basis of life that’s why it is said that if there is water, there is tomorrow. The Himalaya, also refer as a ‘Third Pole’, is a huge storage tower of fresh water resources; however, at present the communities residing over there faces problems of water scarcity due to many anthropogenic activities and climate change. The water sources are under huge pressure in terms of their quality and quantity. People of ancient times considered nature as mother and used the resources available from nature in a restrained manner. Traditional Khuls, Baories, Jayroo, Nauns and Maggaru were used for water harvesting. As per the age-old water conservation perspective the natural springs were linked with some deity so that people would not pollute that source and protect them. Water springs of Yangrang village of Lahul Spiti district are called the water spring of Nag Devta, the Kaudimurti water spring of Udaipur have been associated with the famous Lama with the belief that this water has been revealed by Lama. Similarly, in Kullu, the famous Raje Ra Jairu water spring has been protected by boundary wall from all sides and developed a small Shivling of lord Shiva near it.

Ethnomedicinal properties of Bael Aegle marmelos Corrêa family Rutaceae: A review

Bael or Aegle marmelos Corrêa is considered a sacred tree by Hindus and is offered to Lord Shiva while worshipping. It grows in the Indian subcontinent and Southeast Asia and is called by various names in different regions. Bael has been used as a traditional medicine in India and other Southeast Asian countries to treat various ailments, including diarrhea, chronic dysentery, constipation, gonorrhea, catarrh, diabetes, deafness, inflammations, ulcerated intestinal mucosa, intermittent fever, melancholia, heart palpitation, and also to control fertility. The ethnomedicinal properties of Bael are owing to its ability to synthesize alkaloids, cardiac glycosides, anthocyanins, flavonoids, steroids, saponins, terpenoids, tannins, lignins, quinones, coumarins, proteins, carbohydrates, amino acids, reducing sugars, fats, and oils. The aegeline, auroptene, umbelliferone, psoralene, marmin, imperatorin, xylorhamnoarabinogalactan I pectic polysaccharide and skimmianine are synthesized by different parts of Bael, and they have shown antibacterial, anti-inflammatory, analgesic, anti-allergic, anthelmintic, antidiabetic, anticancer, cardioprotective and neuroprotective activities in various experimental models. The present review has been written consulting various publications, and different websites including Google Scholar, Pubmed, ScienceDirect, and Google.

Sang Hyang Semara Ratih as The Creation of Painting

This independent project thesis raises the title Sang Hyang Semara Ratih as the creation of a painting. In the Hindu mythological story Sang Hyang Semara Ratih, which is the lamp of the gods and goddesses as a symbol of love full of desire and loyalty and sacrifice. The story is told in Lontar Cundamani II. In this quote, it is told that heaven is being attacked by the giant Nilarudraka, a powerful giant who wants to rule over heaven. The gods were all defeated, none of them could fight him. Finally the gods came to Bhagawan Wraspati to ask and predict who would be able to beat the giant. Finally the results of the prediction showed that the giant Nilarudraka would only be defeated by the elephant-headed children of Lord Shiva. From the contents of this thesis, the author also reveals the creation of works of art, which the author creates and shows, namely the visuals of the Hindu Mythological object Sang Hyang Semara Ratih which contain many philosophical meanings in it. The conclusion of Sang Hyang Semara Ratih's thesis as the creation of this painting aims to provide an understanding for readers to recognize the meaning of the symbols contained in Sang Hyang Semara Ratih.

ANALISIS HERMENEUTIKA LONTAR BARONG SWARI

The symbols in Hinduism are closely related and cannot be separated from Hindu philosophy, because these symbols are an expression of bringing humans closer to the Creator. One of the symbols used by Hindus is the Barong which has gone through a series of purifications and has become sacred. The existence of Barong cannot be separated from the existence of Rangda. Barong is a form of embodiment or figure of Banaspati Raja, namely the form of a magical animal with magical powers as the incarnation of Lord Shiva when destroying various diseases and dangers. The mythology of the Barong and Rangda is contained in the Lontar barong Swari. Briefly tells the story of Lord Shiva and Goddess Uma. When the two of them were having fun making out and facing east, the people in the east were suffering from vomiting, in the south the plague was rampant, if he was making out facing south. When he had fun facing west, people in the west were hit by a cholera epidemic. If Lord Shiva and Goddess Rohini make love facing the north, then people in the north suffer from very severe stomach aches and also get jaundice. Gods Brahma, Vishnu, and Iswara created what is called Barong Swari. Betara Tiga did this with the aim of making God Shiva and God Uma reconcile again. So God Brahma became the Red Mask, God Vishnu became the Telek Dancer, and God Iswara became the Barong, dancing at the village intersection. The three Gods danced with the aim of driving away evil forces. Based on the story told in the Barong Swari lontar, currently the Barong's power is believed to be able to neutralize evil forces by surrounding the village called ngelawang, usually carried out before or during the Galungan holiday or a certain time. Apart from giving rise to the ngelawang tradition, the implementation of the Barong Swari story can also be seen in the Calonarang dance drama, starting with the performance of the Telek Dance, Barong Dance, and ending with a fight between Barong and Rangda.

Katas Raj: A Road Towards Peace and Harmony

Katas Raj is momentous for many religions because of its more than a dozen sacred monuments. These monuments belong to Sikhism, Buddhism, Shaivism, Vaishnavism and Hinduism. It is compelling for Sikhs because of the historic Hari Singh Nalwa fort. It is cogent for Buddhists because of the ancient stupa of Asoka. Katas Raj is much more symbolic for the Hindus; every year several Hindus visit this place, perform holy baths and fill their pitchers with the holy water of Katas Raj; they assume the water; is the tears of Lord Shiva. As per the Hindu tradsitions, Katas Raj has the second holiest water; after the water of the River Ganges. With the government's efforts, this site can also be placed in the World Heritage Sites by UNESCO. The current study finds positive management policies for the protection and promotion of the Katas Raj group of temples.