This city is named after Mughal Emperor Aurangazeb. It was called Fatehpur before it took its present name. This city is gateway to the World Heritage Sites of Ajanta and Ellora caves. Developed as a modern city, Aurangabad provides all comforts and modern facilities. There are several luxury budget and star hotels, which caters the tourists of the city.
Siteseeings at Aurangabad Caves, Bibi Ka Maqbara, Himroo Factory and Panchakki are always worth to be organized. Daulatabad, Khuldabad Anwa Temple, Pitalkhora Caves, Lonar Crater and Paithan can also be organized as excursions. Sunheri Mahal Museum, University Museum and Chhatrapati Shivaji Museum are three the museums in the city, housing art treasures of the region.
The original name of Aurangabad was Khadki (window), founded in 1610 by Malik Ambar. When Fateh Khan, Malik Ambar's son turned successor in 1626, he gave the city the name 'Fatehpur'. In 1653 when prince Aurangazeb was appointed Viceroy of the Deccan for the second time, he made Fatehpur his capital and called it 'Aurangabad'; Since then the city came to be known as Aurangabad.
The walls which enclose the central part of the city were added by Prince Aurangzeb in 1686. Most of the monuments in Aurangabad are of the Mughals and Maratha period. There are to 52 towering Darwazas (Gates), out of which very few are presently are in good condition, mostly constructed by Aurangzeb during his over-stay in the Deccan. There are four main Darwazas leading into the city, which along with nine secondary darwazas formed part of the defense systems of the city.
Maurya rule marked the arrival of Buddhism in Maharashtra. The earliest caves at Ajanta and Pitalkhora were excavated during the 2nd century B.C.). During the Chalukya reign, Buddhism continued to flourish, this resulted in several 'viharas' (monasteries) and ' chaityas' (chapels) being excavated at Aurangabad, Ajanta and Ellora.
The District of Aurangabad has over the centuries become a meeting place of life styles as it is centrally located on the map of India. It has witnessed the rise and fall of many dynastic such as the Setavachanas, the Vaustokas, the Chalukyas, the Rastrakutas, and the Yadavs spanning fifteen centuries till the advent of Muslim rule at the very end of the thirteenth century. The district has a long and undeterred history since the Jatava-period to the present day.
Today Aurangabad is a lively city of Maharashtra with various big and small industries, fine silken textiles, and wonderful hand woven brocades of silver and gold fabrics, Himroo of world frame.
Aurangabad is a success story of MIDCs efforts towards a balanced industrialization of the state. A city with no industrial background is today a thriving hub of industrial activity. Today Aurangabad has a renowned industrial area and is divided into four zones namely Chikalthana, Waluj, Chitegaon & Shendra. The industrialization in Aurangabad started in mid 70’s with companies like Lupin, API, Nirlep & Garware. The major industry sectors in Aurangabad are Automotive, Auto Components, Pharmaceuticals, Breweries, White goods/Appliances and now going for fast paced IT industries.
Few major companies that have their unit in the city are Bajaj Auto, Wockhardt, Shreya Life Science, Orchid, Lupin, Atra, Videocon, Nirlep, Skoda Auto, Colgate Palmolive, Endress+Hauser, Good Year and Siemens.
And now Aurangabad is a booming industrial zone and one of the fastest developing city in the whole asia!
Maurya rule marked the arrival of Buddhism in Maharashtra. The earliest caves at Ajanta and Pitalkhora were excavated during the 2nd century B.C.). During the Chalukya reign, Buddhism continued to flourish, this resulted in several 'viharas' (monasteries) and ' chaityas' (chapels) being excavated at Aurangabad, Ajanta and Ellora.
The District of Aurangabad has over the centuries become a meeting place of life styles as it is centrally located on the map of India. It has witnessed the rise and fall of many dynastic such as the Setavachanas, the Vaustokas, the Chalukyas, the Rastrakutas, and the Yadavs spanning fifteen centuries till the advent of Muslim rule at the very end of the thirteenth century. The district has a long and undeterred history since the Jatava-period to the present day.
Today Aurangabad is a lively city of Maharashtra with various big and small industries, fine silken textiles, and wonderful hand woven brocades of silver and gold fabrics, Himroo of world frame.
Aurangabad is a success story of MIDCs efforts towards a balanced industrialization of the state. A city with no industrial background is today a thriving hub of industrial activity. Today Aurangabad has a renowned industrial area and is divided into four zones namely Chikalthana, Waluj, Chitegaon & Shendra. The industrialization in Aurangabad started in mid 70’s with companies like Lupin, API, Nirlep & Garware. The major industry sectors in Aurangabad are Automotive, Auto Components, Pharmaceuticals, Breweries, White goods/Appliances and now going for fast paced IT industries.
Few major companies that have their unit in the city are Bajaj Auto, Wockhardt, Shreya Life Science, Orchid, Lupin, Atra, Videocon, Nirlep, Skoda Auto, Colgate Palmolive, Endress+Hauser, Good Year and Siemens.
And now Aurangabad is a booming industrial zone and one of the fastest developing city in the whole asia!
Bibi ka maqbara (imitation of taj mahal)
Bibi Ka Maqbara is situated about 5 kms from the Aurangabad city, the burial place of Aurangzeb wife, Rabia-Durrani. Aurangzeb’s son built this monument in 1679 AD in memory of his mother Rabia-Durrani. It is an imitation of the Taj Mahal (among 7 new wonders of world) at Agra, it is also called as "poor man's Taj Mahal" owing to it being a poor replica of the Taj. Behind the tomb is located a small archeological museum.
The comparison with the Agra monument has unfortunately somewhat degraded the Aurangabad tomb which in itself displays a worthwhile architectural design, with much distinguished surface ornamentation in the late Mughal style.
Bibi Ka Maqbara is situated about 5 kms from the Aurangabad city, the burial place of Aurangzeb wife, Rabia-Durrani. Aurangzeb’s son built this monument in 1679 AD in memory of his mother Rabia-Durrani. It is an imitation of the Taj Mahal (among 7 new wonders of world) at Agra, it is also called as "poor man's Taj Mahal" owing to it being a poor replica of the Taj. Behind the tomb is located a small archeological museum.
The comparison with the Agra monument has unfortunately somewhat degraded the Aurangabad tomb which in itself displays a worthwhile architectural design, with much distinguished surface ornamentation in the late Mughal style.
The tomb dates from 1678 and it was erected by Prince Azam Shah, one of Aurangzeb's sons, in memory of Begum Rabia Durani, his mother. It stands in the middle of a spacious and formally planned garden, some 457 by 274 meters, with axial ponds, fountains, and water channels, many defined by stone screens and lined with broad pathways. The garden is enclosed by high crenellated walls with fortress set at intervals, and open pavilions on three sides.
In the middle of the south wall is an imposing gateway with brass-inlaid doors; these are inscribed with the name of the architect, Atam Aula. The central focus of this vast enclosure is the tomb itself. This is raised on a high terrace to look out over the garden plots and waterways. Access to the octagonal chamber containing the unadorned grave at the lower level is from a flight of steps that descends from the terrace. The grave is enclosed by an octagon of perforated marble screens. The chamber above is a high square structure presenting identical fagades on four sides. Each is dominated by a lofty portal with a pointed arch, flanked by smaller arched niches of similar design. A great dome, with a pronounced bulbous profile and a brass pot finial, crowns the whole composition while four lesser domes mark the corners.
In the middle of the south wall is an imposing gateway with brass-inlaid doors; these are inscribed with the name of the architect, Atam Aula. The central focus of this vast enclosure is the tomb itself. This is raised on a high terrace to look out over the garden plots and waterways. Access to the octagonal chamber containing the unadorned grave at the lower level is from a flight of steps that descends from the terrace. The grave is enclosed by an octagon of perforated marble screens. The chamber above is a high square structure presenting identical fagades on four sides. Each is dominated by a lofty portal with a pointed arch, flanked by smaller arched niches of similar design. A great dome, with a pronounced bulbous profile and a brass pot finial, crowns the whole composition while four lesser domes mark the corners.
Doorways lead to an inner octagonal gallery, defined by stone screens, that overlooks the grave from an upper level, an architectural innovation unicfue, to this monument. Corner squinches carry the lofty dome that roofs the chamber. White marble is used throughout, interspersed with delicately moulded stucco. There is, however, no use of semiprecious stones. Exactly like the Taj Mahal, the mausoleum is framed by four lofty minarets that stand freely at the corners of the terrace, their part-octagonal bases continuing down to ground level.
They have diminutive square pavilions in red sandstone at their summits. To the west of the tomb is a small mosque with finely worked cusped arches and corner minarets. Small recesses, rosettes, and arabesques embellish the faqade. Mention may also be made here of the Sunheri Mahal, situated to the north of Bibi ka Maqbara, which is a notable building in the late Mughal style. It is of interest for the patches of old painting and goldwork that adorn the walls.
They have diminutive square pavilions in red sandstone at their summits. To the west of the tomb is a small mosque with finely worked cusped arches and corner minarets. Small recesses, rosettes, and arabesques embellish the faqade. Mention may also be made here of the Sunheri Mahal, situated to the north of Bibi ka Maqbara, which is a notable building in the late Mughal style. It is of interest for the patches of old painting and goldwork that adorn the walls.
