The Spiritual Landscape of Ancient Kashmir: From Sharada Peeth to Martand Sun Temple

Introduction: The Valley of Wisdom

Kashmir, often celebrated for its breathtaking landscapes, the Dal Lake, the Zabarwan mountains, and lush valleys holds a deeper legacy than scenic beauty. For millennia, it was a cradle of learning, philosophy, and spirituality, a place where scholars, sages, and pilgrims gathered to explore the mysteries of consciousness, language, and cosmic order.

Ancient texts, archaeological remains, and oral traditions point to a civilization where devotion and intellect were inseparable. The region was not merely a kingdom or a settlement; it was a spiritual and intellectual hub of India, influencing thought across the subcontinent and beyond. From Sharada Peeth, the renowned ancient university, to the Martand Sun Temple, Kashmir became synonymous with learning, ritual, and transcendence.

This article traces the spiritual landscape of ancient Kashmir, exploring the institutions, temples, and philosophies that made the Valley a beacon of civilization.

Sharada Peeth: The Seat of Learning

In the ancient town of Sharda, located in present day Pakistan administered Kashmir, stood Sharada Peeth, one of India’s most revered centers of scholarship.

·        Established centuries before the medieval era, Sharada Peeth was dedicated to Goddess Sharada (Saraswati), the deity of learning and wisdom.

·        The temple complex was not only a site of worship but also a living university, attracting scholars from across India, Tibet, and Central Asia.

·        Subjects taught included Sanskrit, Vedas, grammar, philosophy, logic, astronomy, and Shaiva Tantra.

The significance of Sharada Peeth extended beyond education. It was a cultural repository, preserving manuscripts, commentaries, and oral traditions. Legends speak of the Sharada script, which was used for writing Sanskrit texts here, a script that influenced Himalayan and Central Asian scripts over centuries.

Scholarship at Sharada Peeth was rigorous and holistic, emphasizing both intellect and spiritual practice. Students studied not only grammar and logic but also meditation, ritual, and ethics, embodying the ideal of jnana (knowledge) and dhyana (contemplation) in unison.

Martand Sun Temple: Solar Glory and Cosmic Vision

While Sharada Peeth nurtured the mind, the Martand Sun Temple celebrated the cosmos itself. Situated on a hill overlooking the Lidder River, Martand stands as a testament to architectural ingenuity and spiritual symbolism.

·        Built during the reign of King Lalitaditya Muktapida (8th century CE), the temple was dedicated to Surya, the Sun God, representing illumination, energy, and the source of all life.

·        Its design reflected cosmic order, with the main sanctum oriented to the rising sun, and surrounding colonnades symbolizing the cycles of day, night, and seasons.

·        The temple’s sculptures and reliefs depicted deities, sages, and celestial motifs, blending art and spirituality into a cohesive narrative of cosmic philosophy.

Martand, like Sharada Peeth, was more than a site of worship; it was a space for meditation, contemplation, and celebration of natural laws. Pilgrims came to align themselves with the rhythms of the cosmos, seeking both worldly balance and spiritual insight.

Kashmir as a Center of Shaiva and Buddhist Thought

The spiritual landscape of ancient Kashmir was plural and sophisticated. Two major currents shaped its intellectual and religious character:

Shaiva Philosophy:

·        Kashmir became a cradle for Shaiva Siddhanta and Trika Shaivism, producing sages like Vasugupta, Kallata, Utpaladeva, and Abhinavagupta.

·        Temples, meditation centers, and monastic schools provided the environment to integrate philosophy, ritual, and aesthetics, emphasizing recognition of consciousness (Pratyabhijna) as the ultimate goal.

·        The valley’s geography, mountains, rivers, and serene lakes supported practices like meditation, retreat, and observation of nature as a reflection of the divine.

Buddhist Influence:

·        Kashmir also contributed to Buddhist scholarship, particularly Mahayana and Vajrayana traditions.

·        Monasteries preserved manuscripts, taught philosophy, and facilitated exchanges between Indian and Central Asian scholars.

·        The crosspollination of Shaiva and Buddhist ideas led to innovative approaches to meditation, metaphysics, and ethics.

This pluralism created an environment where intellectual rigor and spiritual practice were mutually reinforcing, making Kashmir a unique incubator of Indian philosophy.

Temples as Centers of Learning

In ancient Kashmir, temples were more than places of worship; they were hubs of knowledge, art, and community life.

·        Avantipur Temples: Dedicated to Shiva and Vishnu, these complexes were centers for ritual, philosophical debates, and education.

·        Vishnu and Shakti Shrines: Many smaller shrines and hermitages served as spaces for textual study, meditation, and community festivals.

·        Integration with Daily Life: Festivals, agricultural cycles, and public rituals were intertwined with philosophical teaching, reinforcing cosmological understanding in everyday life.

Architectural design itself conveyed philosophical principles: columns represented cosmic axes, carvings illustrated moral and metaphysical truths, and temple orientation aligned human experience with celestial patterns.

Manuscripts, Scripts, and the Sharada Legacy

Kashmir’s intellectual wealth was preserved in manuscripts, many of which survive today in libraries and private collections.

·        Texts spanned Vedic rituals, Shaiva philosophy, grammar, astronomy, medicine, and poetry.

·        The Sharada script became a hallmark of Kashmiri scholarship, used for sacred and secular texts alike.

·        Scholars from Kashmir traveled to Tibet, Nepal, and Central Asia, transmitting knowledge and influencing distant civilizations.

Through these manuscripts, Kashmir became a bridge between classical Indian thought and global intellectual currents.

The Role of Sages and Acharyas

Sages in Kashmir were more than teachers; they were philosophers, spiritual guides, and cultural stewards.

·        Abhinavagupta integrated ritual, aesthetics, and philosophy into a unified worldview.

·        Vasugupta and Kallata codified Shaiva doctrines, making meditation and recognition accessible.

·        Monastic teachers-maintained libraries, hosted debates, and trained disciples who would carry Kashmiri scholarship across India.

This combination of intellectual rigor and spiritual depth defined the Valley’s character as a civilization of learning.

Pilgrimage and Cultural Connectivity

Pilgrimage in Kashmir connected individuals to both spiritual and intellectual landscapes:

·        Journeys to Martand, Shankaracharya Hill, Kheer Bhawani, and other sacred sites were opportunities for reflection and learning.

·        Pilgrims encountered texts, teachers, and rituals that reinforced philosophical insight and communal identity.

·        These journeys ensured that knowledge was embodied, experienced, and transmitted, not merely recorded.

Through pilgrimage, temples, and monasteries, the Valley became a living classroom, where every act of devotion also cultivated awareness and understanding.

Integration of Philosophy and Daily Life

A hallmark of Kashmir’s spiritual tradition was its integration of theory and practice:

·        Meditation, study, and ritual were inseparable.

·        Ethical living, social responsibility, and intellectual pursuit were all expressions of the same spiritual principle.

·        The landscape itself, mountains, rivers, and lakes became tools for contemplation, reflection, and understanding the cosmic rhythm.

This holistic approach ensured that spirituality was dynamic, lived, and embodied, not abstract or limited to temples alone.

Legacy Beyond Kashmir

The spiritual and intellectual achievements of ancient Kashmir influenced all of India and beyond:

·        Shaiva and Buddhist texts shaped philosophical discourse in South India, Nepal, and Tibet.

·        Sanskrit scholarship and manuscript preservation contributed to the continuity of Indian literary and philosophical traditions.

·        Temple architecture inspired design and symbolism across the subcontinent.

Kashmir’s legacy reminds us that spirituality and learning are intertwined, and that culture flourishes when thought and devotion walk hand in hand.

Conclusion: The Enduring Light of the Valley

Today, the ruins of Sharada Peeth and Martand Sun Temple stand as silent witnesses to a civilization that valued learning, consciousness, and cosmic harmony.

The Valley of Kashmir was more than a home; it was a university, a temple, and a laboratory of thought, where the human mind explored the infinite and the soul experienced the eternal.

By remembering and studying these institutions, texts, and sages, we reconnect with a heritage that is both ancient and timeless, a heritage that reminds us that true civilization is measured not just by wealth or conquest, but by the depth of insight, devotion, and the pursuit of knowledge.

Kashmir was the cradle of learning, the stage for the dance of consciousness, and the home of seekers who looked beyond the material, seeing the universe as a living expression of divinity. Its legacy continues to inspire scholars, pilgrims, and seekers alike, a reminder that the Valley of Wisdom endures, even through the passage of centuries.

Shankaracharya Temple

The Shankaracharya Templeor Jyoteshware temple is on top of the Shankaracharya Hill on the Zabarwan Mountain in Srinagar, Kashmir. The Temple is dedicated to Lord Shiva and is at a height of 1,000 feet (300 m) above the plain, overlooking the city of Srinagar. 

The temple dates to 200 BC, although the present structure probably dates to the 9th century AD. It was visited by Adi Shankara and has ever since been associated with him; this is how the temple got the name Shankaracharya.

According to Pandit Anand Koul (1924) the temple was originally built by the Hindu king "Sandiman" who, according to Koul, reigned in Kashmir from 2629 to 2564 BC.

The earliest historical reference to the hill comes from Kalhana. He called the mountain Gopadri. Kalhana says that King Gopaditya granted the land at the foot of the hill to the Brahmins that had come from the "Araya versh." The land grant was called "GOPA AGRAHARAS". This area is now called Gupkar. Kalhana also mentions that King Gopaditya built the temple on the top of the hill as a shrine to Jyesthesvara (Shiva Jyestharuda) around 371 BC.

It is said that Lalitaditya Muktapida (724-726 AD) of Karakote dynasty did repairs to the temple. The Dogra King Gulab Singh (1846-1857 AD) constructed the steps to the hill from Durga Naag temple side. The Maharaja of Mysore came to Kashmir in 1925 and he made the electrical installations at the temple. In 1961 Shankaracharaya of Dwarkapeetham put the statue of Adi Shankaracharaya in the temple. In 1974 the Government of J&K constructed the road that goes to the top of the hill.

Kashmir is believed to be the seat of Shaivam, the Himalaya Mountains and Sri Kailashagiri as "The massed laughter of Sri Shiva." It was from here that the sweet nectar of Shiva devotion spread in India and around the globe, by the spiritual works of saints like Adi Shankaracharya. Soundarya Lahari was composed by Adi Shankara atop the Gopadari Hill, after accepting the fact that the union of Sri Shiva and Devi Shakti, as in Shaktism, transpired into the Shakti-Shri Chakra, the symbol of Devi (Goddess), as Sri Yantra, as mentioned in 'Shankara Digvijay' - Life history of Shankaracharya, and only when Shiva is united with Shakti does he have the power to create.

The Jyoteshware temple rests on a solid rock. A 20-foot tall octagonal base supports a square building on top. The terrace around the square temple is reached by a stone staircase enclosed between two walls. A doorway on the opposite side of the staircase leads to the interior, which is a small and dark chamber, circular in plan. The ceiling is supported by four octagonal columns, which surround a Basin containing a Lingam encircled by a snake. There are 243 steps leading up to the temple area and another 8-10 steps from there to the temple hall.

Sharika Bhagwati Hari Parbat Maha Yantra

Maha Yantra The Mystic Chakra of Tripursundari

Description of Sacred Sri-Yantra Self Engraved on the Shilla:

The sacred Sri Chakra, commonly known by the Hindus as ‘Sri Yantra,’ composed of circles and lotus petals, contains nine independent Trikonas (Triangles) mystically drawn one within the other. The four Triangles that point upwards represent Shiva and the other five pointing downwards Shakti. The Shiva Triangles are called Srikanthas or Shiva element, and the Shakti triangles Shivayuvatis or Shakti element. All these are quite independent of the central Bindhu and are formatted by the Mulaprakriti of Shiva Bindhu.

The intersecting triangles represent the play of creation, protection and absorption of the whole universe by the pure divine force known as ‘Sudha Shakti’. The central point in the chakra is Bindhu which symbolises the union of ‘Shiva with Shakti’ or ‘Kameshiva with Kameshwari.’

‘Sri Tantra’ is in fact, the most magnificent composition of nine independent Trikonas charged with the supreme occult significance. The Trikonas in their upward and downward positions intersect one another and from themselves into fourty three big and small triangles. All these triangles are enclosed in the first inner circle on which is drawn one lotus with eight petals called ‘Ashta Dal’ which represents the mystical lotus of creation. The another circle following this with sixteen petalled lotus, drawn on it is called ‘Shadashadal.’ This lotus is significant of sixteen kalas or phases of the moon. The whole set of triangles and lotus petals are further enclosed in triple concentric circles or three fold girdles called ‘Trimekhia.’ The whole diagram, forming the mystical Chakra, fixed in a square, with triple parallel lines, having four openings on gates on its four cardinal points make up the Devi’s mansion. In the centre of the whole composition lies the Bindhu (point) which, in fact is the mysterious matrix of this Maha Yantra. The description of this Yantra is given in Sloka 11 of Sundaryalahri, reproduced just below in the Yantra itself.

The Yantra is adopted for the workshop of the mighty Shakti-Lalita Devi and is considered to be the most popular symbol than the Icon or image of Srividhya i.e. ‘Tripursundari’ Herself.

The mystery of ‘Sri Yantra’ is quite remarkable. Its secret doctrine is largely acknowledged even by renowed foreign authors and scholars. While acknowledging the mystical performance of these mysterious Yantra and Mandals a foreign scholar ‘Shree Guiseppe Tucci’ has stated in his book ‘The Theory and Practice of Mandals’ that the best example of a Hinduist Mandal is the one called ‘Sri Chakra’ or the wheel of ‘Sri’ i.e. the mystic wheel of ‘Shakti’ or divine power which is the motive force of the universe and by virtue of which God manifests and displays Himself in things which are all necessity the effect of Shakti itself, since without Shakti, God can do nothing.

One can well imagine and understand the might of this ‘Shakti’ which the God Himself has acknowledged as stated in ‘Sundarya-Lahari’ that only conjoined with Thee Oh! Shakti have I the power to be the absolute Lord otherwise I would not be able to move. Such is the might ‘Shakti’ - ‘Lalita Devi’ - the ruling deity of this celebrated ‘Maha – Yantra.’

The ‘Yantra’ can be described in two ways. It may be started from any of the four gates of outer Chakra and worked inwards towards the central Bindhu or in the reverse order it may be started from the Bindhu and worked outwards towards the gates. The former process is called ‘Layakrarna’ (Involution) and the later ‘Srishtikrama’ evolution. Here it is described in the latter way.

Starting from the central point (Bindhu) and ending with the four gates the whole complex is divided into nine Chakras or wheels – called Yantras – which according to ‘Tantraja Tantara’ are;

(i)            Central Red Bindhu, described as Sarvanandmaya

(ii)          Central White Triangle, described as Sarvasidhipradha

(iii)         Eight Red Triangles, described as Sarvaroghara

(iv)         Ten Blue Triangles, described as Sarvarakshakar

(v)          Ten Red Triangles, described as Sarvarthasadhak

(vi)         Fourteen Blue Triangles, described as Sarvasaubnagyadayak

(vii)        Eight Red Lotus Petals, described as Sarvasamksobhan

(viii)      Sixteen Blue Lotus Petals, described as Sarvaparipuraka

(ix)         Surrounding Yellow ground between the outer most circle and the four gates described as Trilokyamohan

Explaining the complex of these Yantras the sacred ‘Tripuramahimstotrum’ says that the same ‘Mulavaidyaksars’ as having contributed towards the unfloding of this ‘Sriyantra’ are responsible for the evolution of this universe as well, when it says that:-

a)    From the Lakar, which according to ‘Laya-Krama’ represents the first outer Chakra i.e the Yellow surrounded ground, this ‘Pararupa’ earth on which we live-has been born and on which there are mountains, forests, grooves fifty Peetas (Seats), all places of pilgrimages, all Ganges and all ‘Khetrasthanas.’ This Chakra is known as ‘Trilokyamohan’ that is, the Enchanter of the universe. 

b)    From Sakar, representing the second Chakra of sixteen blue petalled lotus it took the form of Moon, Stars, Planets and the Zodiac (Rashi Chakra). This Yantra is described as ‘Sarvapariporka,’ which is complementary in every way.

c)    In Hakar, which represents the red lotus of eight petals, it took the form of Vyom-mandal i.e. atmosphere, which is the ‘Sankirnrupa’ (Complex form of Shiva) this Yantra obtains third place in the diagram and is described as ‘Sarvasanksobhan.’

d)    In Ikar, which is represented by the fourteen blue triangles, it is ‘Turyamaya’ or the creater of the universe. This Yantra being fourth in the order is described as ‘Sarvasaubhagvadayak’ i.e. all auspicious.

e)    In Ekar, which obtains the fifth place in the order in the order and it represented by ten red triangles-the ‘Vishnavi Shakti’ manifests herself as one engaged in ‘Vaishvapalan’ (preservation of the universe.) This Yantra is described as ‘Sarvarthasadak’ or fulfiller of all desires.

f)     In Rakar, which is represented by ten blue triangles and is the sixth Yantra in the order-the all luminous and the most flaming aspect of the deity is revealed. This Yantra is described as ‘Sarvarakshakar’ that is, all protecting deity.

g)    In Kakar, the Shakti is radiated as ‘Kamda’ or granter of all desires, ‘Kamrupni’ or changer of form a will and ‘Avaya’ or eternal. This Yantra, represented by eight red triangles and occupying the seventh position in the order, is described as ‘Sarvaroghara’ or curer of all diseases.

h)    The eight Yantra-which is represented by the crescent shaped central white triangles, is known as ‘Vishvayoni’ or the womb of the universe signifying the Kamam or cause. Here Shakti is identified in ‘Shunyarups’, (Zero or Void form) of the Bindhu-Rupa Shiva. This Yantra is described as ‘Sarvasidhiprada’ or giver of all siddhis.

i)     The ninth and the last Yantra, represented by the central Bindhu, is described as ‘Sarvanandmaya’ i.e. all pervading and all blissful flaming Shiva or ‘Shivajyotirmaya’.

The wheel of the universe (Sansar Chakra) is thus equated with the ‘Mulavidhya’ and identified with the ‘Sri Chakra’. The letter established in Lakar, Sakar, Hakar, Ikar, Ekar, Rakar and Kakar and associated with various Yantras, described above, are its beejaksharas (Seeds) and the protecting deities, which are symbolic Tatwas, are the Shivas themselves.

The Central Bindhu has three-fold aspects. It is called ‘Bindhu Triya’. The upper part of this focal point represents the face of Devi and the two below it Her breasts.

This is the symbolism of worship in which such anthropomorphic forms are employed by the worshippers who clearly see such images as they are carved or conceived in their minds during their worship. More abstractedly the three Bindhus are compared to the Sun Moon and the Fire representing the names given to the aspects of Para Bindhu.

While commenting upon the Yantra worship, Sir John Woodroff, (Arthur Avalon) another learned scholar and noted author says ‘’that the more experienced and correct view is that the mind is Shakti which is a particular manifestation of it. By continual and repeated practice in that Chakra after Chakra everything becomes divinished’’ and again hesitates that ‘‘Practice of the ritual transforms the mind itself and what is at first seen merely as an external Yantra with lines, curves and petals, becomes a pure mental state in the Sadaka himself. He too is a ‘Sri Yantra’ and realises himself as such.’’ The body of ths Sadaka is yhus identified with ‘Sri Yantra’ and its nine appertures (Naudwar) correspond to the nine Chakras in the Yantra. The human body, is as such considered like an island of nine gems which are described to be,

Ajas, Sukra, Majja, Meda, Asthi, Mamsa, Roma, Tvak and Rudhir.

The object of the worship of these Chakras, as such is the realisation of the one Abhedabhavana of the knower who is one’s own self-(Swatma) or the worshipper, the knowledge and the object of the knowledge i.e. the ‘Sri Chakra’ itself. In fact worship of ‘Sri Yantra’ is the unification of these three. The knower of the knowledge and the object of the knowledge’’.

‘‘This celebrated Yantra,’’ says Sir John Woodroff further, represents the human body, the whole universe and the man-for what is in the former is in the latter and vice versa-as also the Shiva Shakti Swarupa or Atma. It is thus the symbol of Devi as she is in her own form (Swarupa) and as she is in the form of the universe (Vishwatma).’’

According to TANTARAJA TANTRA there are 960 Yantras which are signed Adya, Nitya and Lalita, the three Godesses, who are known ‘TRIPURASUNDARI’ conjoined in ONE.

Different fruits are gained by worshipping different Yantras. Of these 960 Yantras the principal one’s are:-

Sri Yantra, Puja Kaml Chakra, Amritghat, Sidcthavajra, Keshav, Wajralinga, Merulinga, Mahalinga, Yoni, Vajravajrak Maha Vajra and Vajra.

Yantras are purely linear diagrams. They are drawn provisionally or permanently. When it is desired to be drawn permanently, it is inscribed on a stone or on copper or bronze plates that are often seen in Hindu temples, shrines and other places of worship.

Righteously the Yantra Deserves a place in every Hindu Home if one desires to be happy, prosperous and free from ailments.

Sharika Bhagwati Hari Parbat

“Hari Parbhat” also known as “Sharika peeth” is one of the holiest sacred Place for the Hindus of Kashmir.It is the abode of Mahashakti, the Divine Mother Jagatamba Sharika Bhagwati, also known as Maha Tripursundhari or Rajrajeshwari (locally called as harie). The eighteen armed Goddess Sharika is regarded as the Presiding Deity (Isht - Devi) of Srinagar city. The Godess Sharika is represented by a Sayambhu’ Shri Chakra (Mahamaha Shri Chakra), also called Mahashriyantra, which consists of circular mystic impressions and triangular patterns with a dot (bindhu) at the Centre. The mystic Shri Chakra engraved on a vertical holy rock (Shila) is located at the middle of western face of Hari Parbat. The shrine can be approached from Deviangan by a flight of chiseled stones, numbering one hundred and eight. The number one hundred and eight has mystical significance in Hindu mythology.

As per the ‘Visishtadhvaita’ doctrine, ‘Shri’ is the Divine consort of the Lord and is said to play on intermediatory role between God and the human soul.

The Shrine of Chakrishwar has been a place of worship from the day, the Goddess Sharika manifested Herself in the form of a ‘Shila’ on the Hari-Parbat.

To worship the Supreme Godess, the devotees used to go to Hari Parbat regularly and reach the Shrine of Chakrishwar to be at the holy feet of the Divine Mother in the wee hours of the morning. Phagun Krishna Paksh Ashtami (Hora Ashtami) and Ashad Shukla Paksh Saptami, Ashtami and Navami (Har Satum, Har Aatham and Har Navum) are the auspicious days for the devotional congregational prayers at the Sharika-peeth Chakrishwar.Ashad Navami (Har Navum) is said to be the Birthday of Sharika Bhagwati.

Shree Yantra or Shree Chakra

Shree Yantra is considered one of the most auspicious, important and powerful Yantras. While this Yantra has been used as a source of attaining all worldly desires and wishes, the Yogis, saints and spiritual personalities, by virtue of their devotion, have used it as an instrument to attain the ultimate.

To attain the ultimate, the great spiritual personalities have always focused their energies on a “Swayambhu” Maha Shree Yantra considered to be in the old city of Srinagar, Kashmir. While in India there are 52 energy centres, but the energy centre of Hari Parbat Srinagar is considered the only of its kind in the entire universe which has a great significance in terms of attaining spiritual bliss.

The word “Shree” means wealth and “Yantra” an instrument - and it makes the sense of “Instrument for Wealth”. At Hari Parbat, where the Shree Yantra is considered to be in the shape of a rock, people have craved for spiritual wealth and they attained what they wished.

The whole hill of Hari Parbat seems to be the multi-dimensional figure of geometrical figure of Goddess Sharika and at the corner of the hill is this magnificent and holy rock and those who have the eye to look at it can find different geometrical images in the shape of triangles, squares and pentagons. On gets lost while gazing at this energy centre as it emits different figures while concentrating on it.

Although most of the lines and shapes are not so visible due to the “sindoor” coated on it yet those who can see through, can identify themselves to be a part of this holy rock.

This Shree Yantra has a great significance for Hindu community. Those who have its knowledge, categorize it in two forms - Evolution Yantra of Samyachar Order of Kashmir and Involution Yantra of Koulahar order of Kashmir.

There are nine folds of Shri Yantra - Outer three circles that depict the Chakra ruling the three worlds; Sixteen petals depicting 16 Yoginies associated with the attainment of desires; Eight petals— depicting power of speech, holding, walking, excreting, pleasure, abandoning, concentration and detachment; Fourteen triangles describing all good fortune and associated with chief nadis or currents of bio-energy; Ten outer triangles depicting Yognies of 10 vital breaths; Inner ten triangles depicting Shakties of 10 vital fires; Eight triangles depict powers that rule cold, heat, happiness, sorrow, desire and three gunas - Sativas, Rajas and Tamas; Central Triangle depicts Chakra giving all success and Bindu depicting Maha Tripura Sundari - the ultimate.

A legend from ‘Sharika Mahatmya’ records that inorder to save and free the residents of the valley (Satidesh) from the evil deeds of the demon“Jalodbhava”, the Mother Goddess Ashatadushbuja Jagatamba Durga took the form of a bird (Haer in Kashmiri) On the day of Ashad Shukla Paksh Navami (Har Navum), it is believed to have carried a celestial pebble in its beak and dropped it on the demon to crush it to death.

A miracle happened and the celestial pabble is said to have assumed the shape and form of a hillock giving it the name of Sharika Parbat or Hari Parbat. Subsequently the Goddess Sharika (represented by the mystic ‘Soyambhu Shri Chakra’) made Her permanent abode on the western face of the hillock (Hari Parbat) on the vertical rock (Shila) to assure the native people of Her presence and protection.

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A Video Presentation on Hari Parbat Temple