Индийские Храмы- Загадка, Которую Никто Не Может Разгадать!

In the very heart of the Indian state of Maharashtra, among the steep rocks of Ellora, there is a temple, which even the experienced researchers-mystics dream to know about. Kailasanadha is a place where the granite mountain has turned into a monolithic complex, as if created not by human hands, but by some creatures with the technologies of the future. Every detail here is amazing. Everything from the roof to the floor is carved in a whole rock from top to bottom, and not built like ordinary buildings. Imagine, the work began not at the base, but right at the top of a huge basalt massif, at a height of more than 40 feet, where the masters began to methodically remove thousands of tons of hard rock, going down layer by layer. Instead of the usual blocks, which could be laid out and moved, the technology of removing excess is used here. The scale is impressive. Only the central hall is over 130 feet long, and more than 65 feet wide. In order to create such a volume, it would be necessary to remove more than 400 thousand tons of stone. Moreover, the carving itself was made not in separate rooms, but as a single monolith, without a single serious crack, which is not an easy task for ordinary tools, even modern ones. It is difficult to imagine how ancient masters, having neither diamond saws nor powerful drills, could so filigreely process hard rock. On the walls there are incredibly complex bas-reliefs, the height of which sometimes reaches 12 feet. Everything is carved with amazing symmetry. Whole stories from Hindu epics, dozens of columns, giant figures of elephants and lions. There is only one roof. Each beam and cornice is carved with jewelry accuracy. Even now, after centuries, it is impossible to find significant errors. Everything fits perfectly, as if the project was created by a computer model. The most intriguing thing is that no traces of tools have been found. No remains of workshops, no fragments of tools, no traces of burrows or forests, as if the masters came out of nowhere, cut out the temple, and then disappeared, without even leaving instructions for the descendants. Many halls are connected by tunnels and passages that go to different levels. The size of some of them allows you to easily ride elephants or arrange large-scale ceremonies. The water systems deserve special attention. They are arranged in such a way that even during the strongest monsoon rains, all the water is instantly removed from the interior. Local legends claim that the temple was built in just a few years. According to archaeologists, the work of such a scale, even with modern technologies, would take more than one hundred years and would require thousands of teams of qualified engineers and builders. But no evidence of mass construction, huge settlements nearby or burials of workers has been found. Everything seemed to appear suddenly. One of the most unusual mysteries of Kailasanatkha is the absence of intermediate stages of construction. Archaeologists often find half-destroyed or unfinished buildings, but there is not a single unfinished hall or carelessly treated site. All areas of the temples and corridors are equally carefully decorated. It seems that the creators had a precise plan for each stage, as if they were following an unknown technology that allows you to see in advance what will happen in the end. When you enter the central courtyard, you get the feeling as if you are on another planet. Granite figures made of polynes, multilayered galleries, many arches and sculptures create the feeling of an impossible art slipping away from time. But if the Kailasanatkha temple seems to be a masterpiece of architecture, then the next place holds no less strange and inexplicable mystery, connected not only with art, but also with the material, which even modern metallurgists cannot reproduce. In the heart of Delhi, on the territory of the oldest temple complex Kutab Minar, there is an object to which thousands of people from all over the world are drawn. This is not a magnificent palace and not a golden statue, but an ordinary column, at first glance, with a height of just over 23 feet and a weight of more than 6 tons. But its glory has long crossed the borders of India. The matter is not in the size or wealth of the finish, but in the material and history. This pillar is called a miracle of ancient metallurgists and a secret, which scientists have not yet been able to solve. The iron column has been erected on a stone foundation for 1,500 years. Its surface is dark, slightly rough, covered with mysterious writings in ancient Sanskrit. Thousands of hands touched this metal, and everyone tried to solve the secret why after so many centuries the column did not rust for an inch. Everyone knows how fast ordinary iron crumbles in the open air, in the rain, in the wind and in the scorching sun. But here the metal does not seem to know fatigue, all the time it has only a weak coating, similar to patina, but not to traces of corrosion. The most amazing way of production. The entire column is cast from solid iron, without welded seams and joints, and its composition amazed scientists. There is practically no sulfur and phosphorus inside, elements that usually make iron fragile and susceptible to rust. But there is a high percentage of pure iron and an unusual alloy with fixed phosphor inclusions, but in strictly specific proportions. Analysis of modern laboratories from California showed that in terms of strength and resistance to corrosion, the column is much ahead of even the latest designs of the 21st century. Locals believe that the column is magical. An ancient legend is associated with it. Whoever grabs it with his hands, standing with his back to it and reaches his fingers, is doomed to success. Tourists try their best, take pictures, argue who can do it and who can't. But the secret of the creation of the column is much more interesting than any superstition. Until now, no mention of how it was made has been found. The secret recipe is lost. And no laboratory, neither in the United States nor in Europe, was able to repeat the technology without modern additives. The main mystery is how the ancient masters melted and cleaned such a huge amount of iron without electric stoves. To melt a column over 23 feet in size, it was necessary to heat the raw material to a temperature of over 2,300 degrees Fahrenheit, and then pour it into a special mold and let it cool without cracks. For this work, you need huge blacksmiths and a system of constant airflow. However, there were no traces of such workshops, nor the remains of the accompanying equipment nearby. Such a column could only be created by a whole team of specialists – blacksmiths, castors, designers of the form. But according to the standards of the 6th century, when the first Kudbe Minara complexes were built, no civilization had such technologies. In different eras, the columns were also interested in conquerors – Arabs, Mongols, British military. Some made attempts to move or disassemble it, believing that treasures or magical artifacts were hidden inside. But iron was not given up. Even the most powerful tools of that time left only dents on the surface. In the days of British rule, enthusiasts tried to drill a hole and take a sample of the material for research, but broke several drills and gave up the idea. Archaeologists and metallurgists examined the column using spectroscopy and ultrasound analysis. It turned out that metal contains a special structure of microcrystals, which even modern technologies cannot reproduce. It is created only when it cools very slowly in the open air, without sudden temperature changes or mechanical impact. In traditional metallurgy, such conditions are impossible, especially for a product of such enormous size. The inscriptions on the column report about a mysterious king named Chandragupta II, who allegedly dedicated the pillar to the god Vishnu. But the letters left more questions than answers. Historians could not find mentions of the construction of such objects in the chronicles of that era, and the samples of metals from other structures are not at all similar to this pillar. Some scientists believe that the column was moved from another, even more ancient place, about which there is no information. For thousands of years, the column stood unmovable. Neither war, nor weather disasters, nor modern urbanization could destroy its mystery. In the evening, when shadows descend on the square, the metal table reflects the last rays of the sun, and it seems that it hides not only the secrets of ancient metallurgy, but also the unknown knowledge lost by civilization. But if the metals of the past still cause confusion among scientists, then the next temple holds a mystery and a physical property at all, as if gravity works in it according to other rules. Stormy sky, ancient gates, and now in front of your eyes the temple of Virabhadrashvara in the town of Lipakshi opens. From the outside, this complex looks like many others. Massive walls, traditional statues, exquisite carving on stone. But inside there is a hidden detail, which for decades amazes the minds of scientists and ordinary tourists. The stone, which does not touch the ground, seems to hang in the air, ignoring the laws of physics. Guides immediately lead guests to the sacred hall, where under one of the columns there is a 100% anomaly. A thin strip of light freely passes between its base and floor, and if you try to stick a sheet of paper or even a cloth, it moves as if in the void. The weight of the column is about 2.5 tons. Its height is slightly more than 15 feet, the diameter is about 2 feet, and all the pressure is distributed to several points of contact, the area of ​​which is enough only for a finger. It is not surprising that the locals consider this stone cursed or, on the contrary, divine. Thousands of tourists every year check the anomaly in front of their eyes. The first morning after sunrise, the hall is full of people with flashlights, rulers, smartphones. Some shoot on video, others desperately try to crawl under the column to make sure. There is no stand or support. The employees of the temple do not hinder the experiment, because for decades thousands of eyewitnesses have been convinced that the effect is not an illusion. Indian schoolchildren organize small contests who will be able to push the thickest textbook between the floor and the column. For archaeologists and engineers, Virabhadrashvara has become a real mystery. The column is not just floating, it carries a part of the weight of the entrance shaft. Calculations show that any skew in the installation should have led to the destruction of the entire structure or at least the appearance of cracks. But the temple is more than 600 years old. The chronicles of the Vijayanagar Empire describe it as the center of pilgrimage back in the 15th century. During all this time, not a single column has shifted, not a cornice, not a vaulted ceiling, not a crack. At the same time, the materials are simple granite, no signs of reinforcement or metal fastenings inside. In the middle of the 20th century, one of the British engineers, George Moore, arrived in Lepaksha on purpose to solve this riddle. He assumed that the column was installed using a tricky balancing technique. All the weight is distributed along the arc system, and a small gap between the stone and the floor is the result of a perfectly calculated balance. But after an attempt to carry out reinforcing repairs, the stone vault almost sank, and the column almost collapsed. Since then, no one has touched the column. Local builders say that the column was originally installed with other 6-10-6 supports, and each distributes the load so that the temple remains strong. But it is still impossible to explain how the masters managed to calculate the balance with such accuracy without modern technology. The most amazing thing is that even the laser levelers, brought by researchers from London and New York, showed that the gap under the column remains within 0.2 inches without changes for many decades. Among the secret corners of the temple there are other elements that seem to embody anti-gravity. In the hall for ritual dances, the ceiling is held by an intricate balcony based on such thin columns that engineers refuse to believe in their strength. Ordinary beam overlays were supposed to collapse under their own mass, but here they have been preserved for centuries. Not only the stone, but also the structure of the temple put the scientists in a deadlock. The basis of the structure was the method of dry cladding. There is no cement, only perfectly fitted stones, which are held by their own weight and gravity. But in the case of a suspended column, classical laws could lead to destruction, if not for the mysterious features of the rock. Some researchers assume that the original column was selected for many years, and then cut out strictly a certain shape to achieve absolute balance. Neither before nor after has anyone repeated something like this. Pilgrims leave flowers near the flying column, and Indian brides bypass it to get a blessing for a long and happy family life. They say that if you touch the gap and make a wish, it will come true. But for scientists, the real physical phenomenon is much more important It is not repeated anywhere else in the history of architecture. When the sunlight penetrates through the carved windows, it seems that the whole structure really challenges gravity. However, this temple is only part of a much more complex mystery, because under the layers of the earth, right under the ancient sanctuaries, something even more mysterious is hidden real underground labyrinths, in which someone could hide or store treasures unknown to even the most desperate adventurers. In the Indian temples, where each stone stores ancient secrets, there are places where tourists rarely end up. Under the temple of the giant, in the state of Karnataka, a network of tunnels, galleries and halls is laid out, which will not be told by guides or guides. At the entrance there are carved gates, behind which dark corridors are hidden, The first archaeologists, who got access to the dungeons in the early 20th century, went down with torches and ropes. There was no electricity here. They passed through narrow stone passages, where the walls are covered with images of unknown animals and warriors with unusual weapons. In some places, even experienced speleologists got stuck. In these labyrinths, there are dozens of rooms, halls, reservoirs and tunnels for hidden movement. The main corridor begins under the altar, and then diverges in different directions, forming a network more than 300 feet long. Somewhere on the walls you can see ancient markings. Triangles, circles, arrows, which, perhaps, helped not to get lost. But not all branches are fully explored. Some of the tunnels are collapsed, others are flooded with underground waters, the third goes into absolute darkness. Even in modern lighting, it is easy to get lost, and local residents talk about the brave men who went down and did not return. The attention of scientists is attracted by the so-called halls of shelters. Large rooms with thick doors and narrow ventilation passages. Their walls are covered with thick slabs, and bronze gratings are hidden between the slabs. In one of these halls, traces of bonfires, food remains and rusty arrow tips were found. According to historians, dozens of people could hide here, and food and water were stored in special ceramic vessels found under piles of sand. For ventilation, vertical shafts were installed, but they were hidden under the usual gratings or statues. In the dry season, researchers found a secret staircase leading deeper to the next level. It turned out that there was a whole system of traps under the temple. False doors, dead-end corridors, hidden shafts with sharp stakes at the bottom. Some traps worked on a person's weight. It was worth stepping on the stove and a massive stone door It is hard to believe that such a protection could be built without drawings and modern tools. According to local legends, the labyrinths were not just treasures. In them, priests and rulers hid during wars and raids. In the dungeons, there were weapons' hiding places, massive swords more than 4 feet long, shields and spear tips. All weapons are neatly arranged in stone niches. Nearby, there are ancient scrolls on palm leaves, still unencrypted. In one of the galleries, researchers stumbled upon a statue of a mysterious creature. Half lion, half fish. On the base of the statue, there are letters that do not look like any known alphabet. In the separate rooms, the walls are covered with wall paintings, scenes of battles, strange flying objects, images of people in masks and clothes, not typical of local traditions. On the ceilings of some halls, star maps are made with such accuracy that modern astronomers were able to determine how the night sky looked like thousands of years ago inside India. In the halls, there are absolutely uncharacteristic objects. Thin bronze wires, crystal bowls with an incomprehensible sediment, pieces of unprocessed minerals. Closer to the exit from the labyrinth, there were small altars on which fragments of vessels covered with gold dust still lie. All the finds are carefully documented by expeditions from London, Boston and Delhi. Despite all the efforts, no one was able to figure out the exact purpose of the whole system. In some halls, the floor is covered with thick carpets of layers of dried grass, in others there are signs similar to coordinates or codes. Archaeologists still cannot explain where the ancient builders took such complex schemes and how they coordinated work underground. Sometimes, among dust and stones, scientists found vessels with sealed lids. In one of them, water was preserved at the age of more than 700 years, and the tests showed that it did not evaporate due to the special structure of the vessel. Bronze mirrors with perfect polishing were also found, allowing to illuminate long corridors with reflected light, and not with open flame. The most amazing thing is that despite all the searches, no underground hall was robbed or badly damaged.