Adjacent to the Harmandir Saheb at the Golden Temple in Amritsar stands the Akal Takht. Guru Sri Hargobind constructed the Akal Takht in 1609. The place where the Takht stands was a playground where the Guru played in his childhood. As Guru, he himself sat there and held a court of justice, redressing grievances of the Sikhs. Thus, the Hukumnama (order of justice) issued by the Jathedar of Akal Takht is binding on all Sikhs. The picture of Akal Takht by Amanji 25 is from Wikimedia Commons.

Source : “Sikh Shrines in India”, GS Randhir.

The grand Vitthala temple is located in the heart of Hampi, near the banks of the Tungabhadra River. It is also known as Shree Vijay Vitthala Temple. It is a magnificent testament to the architectural prowess of the Vijayanagara Empire. It is a designated UNESCO World Heritage Site. It was constructed in the 15th century during the reign of King Krishnadevaraya II.
The temple has undergone architectural evolution with each successive king adding their unique touch to this captivating landmark. The temple is dedicated to Lord Vitthala, an incarnation of Lord Vishnu. It is renowned for its extraordinary stone structures, including the impressive Stone Chariot and the Musical Pillars.
The Wikimedia image is the stone chariot which figures in the 50 Rs note.
Source: https://www.incredibleindia.gov.in/en/karnataka/hampi/vitthala-temple-complex

Samarth Ramdas (1608-81) was one of the most influential in the ‘sant parampara’ (tradition of saints) of Maharashtra. He is said to have inspired Chatrapati Shivaji Maharaj. He wrote this most popular bhajan. The first two lines say,
Sukhkarta Dukhharta Varta Vighnachi ||
Nurvi Purvi Prem Krupa Jayachi ||
“Oh Lord who provides Joy, takes away Sadness and removes all “vighnas” (obstacles) in life.
Who spreads love everywhere as his blessing.”
Towards the end, the devotee implores, “Sankati Pavave Nirvani Rakshave Survarvandana ||
Please help us and protect us during bad times, my Salutations to lord.”
It has a familiar chant that repeats through the bhajan, “Jai Dev Jai Dev Jai Mangal Murti ||
Hail the Bhagwan, Hail the Bhagwan, Hail the auspicious image”.
Picture is Portrait of Samarth Ramdas from 17th century, Wikimedia
Source: https://kedar.nitty-witty.com/blog/ganapati-aarti-sukhkarta-dukhharta-with-english-translation-free-download-mp3

The medal is of bronze and circular in shape. On its obverse ( front) side it carries four replicas of Indra’s Vajra ( Thunderbolt) with the State emblem including the motto embossed in the centre. On its Reverse side the words Param Vir Chakra are embossed both in Hindi and English with two lotus flowers between the words. It has a plane purple ribbon attached to it .

The choice of Vajra as the motif for the Param Vir Chakra is an appropriate one. It was the Amogh Astra (unfailing weapon) and is part of Rig Veda. It was used by Indra, the Lord of Rains. Vritra is the embodiment of drought. Vritra had arrested the rivers, stopped their flow and kept them captive in his fortress causing a drought. Indra used Vajra to kill Vritra.

In the olden days, a river separated the Jagannath temple from the Gundeecha temple. Therefore two sets of chariots were made, one for each side. The deities would be carried across the river in boats. The Rath Yatra was also not completed in a day and it was over 2 or 3 days. Nowadays, the Yatra is completed within few hours.

Surya Sarathi Roy, Sangam Talks Lecture

Symbols with lotuses and Sri Lakshmi were used to depict the birth of Buddha. Lotus also has several symbolisms in Buddhism. Just as the beautiful lotus comes up from mud and water, an enlightened mind develops out of the ranks ordinary people. Water drops rolling off a lotus is a simile for non-attachment. An enlightened person is a like a lotus, standing above the water world of senses. Buddhism continues the sacredness associated with lotus in Indian traditions. In Rig veda, Agni is born from a lotus. Prajapati placed earth on a lotus based after dredging it from the cosmic ocean. Lakshmi is associated with Lotus. Padmanabha refers to Mahavishnu with lotus coming out of his navel. Source. Peter Harvey. Venerated Objects and Symbols of Early Buddhism. The picture is depiction of Birth of Buddha.

When Pandavas leave for the forest, some Brahmanas with their relatives decide to follow Pandavas. Yudishtira is concerned about how to feed them when the Pandavas themselves are in exile. Pandava’s purohit, Dhaumya tells Yudishtira that Surya provides for everyone and asks him to approach Surya. Yudishtira performs Diwakara Puja. A pleased Surya appears before Yudhistira and assures that there will be no shortage of four kinds of food in the Pandava’s kitchen – fruits, roots, meat and vegetables.

In the Critical Edition of Mahabharata, Akshaya Patra does not feature. In other versions and in popular stories, Surya gifts Yudishtira the Akshaya Patra which will provide endless supply of food, as long as it has not been completely emptied. Later on, when Durvasa muni visits Pandavas with his retinue, Draupadi is frightened as she had already eaten and emptied the vessel. She prays to Krishna who spots a morsel of food still left in the Akshaya Patra. He eats the morsel. Miraculously Durvasa and his disciples also feel satiated at the same time. Source; Arjun Bharadwaj and Hari Ravikumar. Essential Mahabharata

Picture – Rock art believed to be Pandavas and Draupadi with Akshaya Patra at Amba Teerth, Karnataka

In popular narrative, Ravana carries Sita in a Pushpaka-Vimana or a flying chariot. In Valmiki Ramayana, he carries her in a magical chariot pulled by donkeys. However, Jatayu fights Ravana, smashes his chariot, slays the donkeys and kills the charioteer. Ravana then carries Sita physically and flies away to Lanka.

The popular narrative that Ravana carried Sita scooped the earth around Sita and carried her is also not in the original Valmiki Ramayana. He holds her by the hair and thigh and carries her in his lap. The narrative only reminds us of the link that Sita has with her mother earth. No one would be able to separate Sita from mother earth and therefore she had to be carried along with earth.

Picture: Ravana slays Jatayu by Raja Ravi Varma

Lakshamana does not draw a line in front of the hut to protect Sita. This incident is not in any other Sanskrit version of Ramayana too. The latter narratives remind us of the immense sense of duty that Lakshamana had to protect Rama; and the moral valour of Lakshamana that his mere line could stop anyone from entering the hut. In fact, in Valmiki Ramayana, Lakshmana says that he will go and look for Rama and that the deities of the forest may protect Sita.

Picture: Sita is enthralled by the Golden deer, by Raja Ravi Varma

Sarasvati’s iconography illustrates her association with arts & culture. The earliest depiction of Sarasvati is with a Veena. An early iconic form of Saraswati is depicted in the Bharhut Stupa. She is shown in a graceful post atop a lotus pedestal, playing a Veena like instrument.

Normally, She is depicted as having four hands and the most common items held are a book, a lute (vina). A rosary and a water pot. The book associates her with learning, the vina with arts, the rosary with spiritual sciences and the water pot with religious rites. She is almost always said to be pure as snow, the moon or the kunda flower. Her garments are said to be fiery in purity and she is sometimes depicted smeared with sandalwood paste. All these illustrate her association with sattva guna, the pure, spiritual thread of prakriti or nature.

The picture is Saraswati from Halabeidu

Source: Development of Hindu Iconography, JN Banerjea. “Hindu Goddesses,” David Kinsley

At Vaishno Devi no fruits or food stuff are allowed as offerings. The Prasad offered to devotees includes dry fruits and dried apple. Besides, a silver coin, Chunri and Bhajan booklets are also offered.