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Meenakshi Amman Temple

image of Hindu deity in standing pose

 Meenakshi Sundareswarar Temple or Meenakshi Amman Temple or Tiru-aalavaai  is a historicHindu temple located in the southern banks of river Vaigai  in the temple city  of MaduraiTamil NaduIndia. It is dedicated to Parvati who is known as Meenakshi and her consort, Shiva, named here as Sundareswarar. The temple forms the heart and lifeline of the 2500 year old city  of Madurai. The complex houses 14 gateway towers called gopurams, ranging from 45-50m in height, the tallest being the southern tower, 51.9 metres (170 ft) high, and two golden sculptured vimana, the shrine over sanctum of the main deities. The temple is a significant symbol for the Tamil people, and has been mentioned since antiquity in Tamil literature, though the present structure is built during 1623 to 1655 CE  The temple attracts 15,000 visitors a day, around 25,000 during Fridays  and gets an annual revenue of sixty millionINR. There is an estimated 33,000 sculptures in the temple and it was in the list of top 30 nominees of the "New Seven Wonders of the World". The annual 10 day Meenakshi Tirukalyanam festival celebrated during April–May attracts 1 million visitors.
Meenakashi (IAST mīnākṣi) is an avatar of the Hindu goddess Parvati - the consort of Shiva. She is also one of the few Hindu female deities to have a major temple devoted to her. The name "Mīnachchi" means fish eyed and is derived from the words "mīna" meaning fish and "akṣi" meaning eyes. The lady goddess Meenakshi is the principal deity of the temple and not Sundareswarar - this is unlike most Shiva temples in South India where Shiva is the principal deity. According to Hindu legend, in order to answer the prayers of the second Pandya king Malayadwaja Pandya and his wife Kanchanamalai, Parvati appeared out of the holy fire of the Putra Kameshti Yagna(sacrifice for childhood) performed by the king.  According to another legend, the goddess herself gave a boon to Kanchanamalai in one of her previous births that she would have the privilege of mothering the goddess. The girl who came out of the holy fire had three breasts. A voice from the heavens told the king not to worry about the abnormality and added that the third breast would vanish soon the girl meets her future husband.  The happy king named the girl "Tadaatagai"  and being the heir to the throne, Tadaatagai was trained carefully in all the 64 sastras, the fields of science. As the time came for Tadaatagai's coronation, she had to wage war on the three worlds across eight directions. After conquering Brahma's Abode, Sathyaloka, Vishnu's Abode, Vaikunta, and Devas' abode Amaravati, she advanced to Shiva's Abode Kailasha. She very easily defeated the bhoota ganas(IAST: Bhūtagana, meaning Shiva's army) and Nandi, the celestial bull of Shiva, and headed to attack and conquer Shiva. The moment she looked at Shiva, she was unable to fight and bowed her head down due to shyness; the third breast vanished immediately. Tadaatagai realized that Shiva was her destined husband. She also realized that she was the incarnation of Parvati. Both Shiva and Tadaatagai returned to Madurai and the king arranged the coronation ceremony of his daughter, followed by her marriage with Shiva. 
The marriage was supposed to be the biggest event on earth, with the whole earth gathering near Madurai. Vishnu, the brother of Meenakshi, prepared to travel from his holy abode at Vaikuntam to preside over the marriage. Due to a divine play, he was tricked by the Deva, Indra and was delayed on the way. After the marriage, the pair ruled over Madurai for a long time and then assumed divine forms as Sundareswarar and Meenakshi who are presiding deities of the temple. Following the tradition, every evening, before closing the temple, a ritual procession lead by drummers and a brass ensemble carries the image of Sundareswarar to Meenakshi's bedroom to consummate the union, to be taken back the next morning in dawn. The marriage is celebrated annually as Chithirai Thiruvizha in Madurai. During the period of Nayakar rule in Madurai, the ruler Thirumalai Nayakar linked the festival Azhakar Thiruvizha and the Meenakshi wedding ceremony. 
The Meenakshi temple is believed to be founded by Indra (king of Devas, celestial deities) while he was on a pilgrimage to cure his misdeeds. He felt his burden taken off nearing the swayambu lingam(self formed lingam, a representation of Shiva used for worship in temples)  of Madurai. He ascribed this miracle to the lingam and constructed the temple and enshrined the lingam there. Indra worshipped Shiva, who caused golden lotuses to appear in the near-by pool. Tamil literature speaks about the temple for the last couple of millennia. Thirugnanasambandar, the famous Hindu saint of Saiva philosophy, mentioned this temple as early as the 7th century, and described the deity as Aalavai Iraivan. The temple was believed to be sacked by the infamous Muslim invader Malik Kafur in 1310 and all the ancient elements were destroyed.  The initiative to rebuild the structure was taken by firstNayak king of Madurai, Viswanatha Nayak (1559–1600) under the supervision of Ariyanatha Mudaliar, the prime minister of the Nayak Dynasty and the founder of the Poligar System.  The original design by Vishwanatha Nayak in 1560 was substantially expanded to the current structure during the reign of Thirumalai Nayak(1623–55). He took considerable interest in erecting many complexes inside the temple. His major contributions are the Vasantha Mandapam for celebrating vasanthorsavam (spring festival) and Kilikoondu Mandapam (corridor of parrots). The corridors of the temple tank and Meenakshi Nayakar Mandapam were built by Rani Mangammal.
The temple is the geographic and ritual center of the ancient city of Madurai and one of the largest temple complexes in Tamil Nadu. The temple complex is divided into a number of concentric quadrangular enclosures contained by high masonary walls. It is one of the few temples in Tamil Nadu to have four entrances facing four directions. Vishwantha Nayaka allegedly redesigned the city of Madurai in accordance with the principles laid down by Shilpa Shastras(Sanskrit: śilpa śāstra, also anglicized as silpa sastra meaning rules of architecture) relevant to urban planning. The city was laid out in the shape of square with a series of concentric streets culminating from the temple. These squares continue to retain their traditional names, Aadi, Chittirai, Avani-moola and Masi streets, corresponding to Tamil month names. Ancient Tamil classics mention that the temple was the center of the city and the streets happened to be radiating out like lotus and its petals. The temple prakarams(outer precincts of a temple) and streets accommodate an elobrate festival calendar in which dramatic processions circumabulate the shrines at varying distances from the centre. The vehicles used in processions are progressively more massive the further they travel from the centre.  The complex is in around 45 acres (180,000 m2) and the temple is a massive structure measuring 254 by .

The temple is surrounded by gopurams(gateway tower),  - There are ten gopuram the tallest of which, the famous southern tower, rises to over 170 ft (52 m) and was built in 1559. The oldestgopuram is the eastern one, built by Maravarman Sundara Pandyan during 1216-1238 Each gopuram is a multi-storeyed structure, covered with thousands of stone figures of animals, gods and demons painted in bright hues.  The outer gopuram presents steeply pyramidal tower encrusted with plastic figures, while the inner gopuram serves as the entrance to the inner enclosure of Sundareswarar shrine.
The central shrine of Meenakshi Amman temple and her consort Sundareswarar are surrounded by three enclosures and each of these are protected by four minor towers at the four points of the compass, the outer tower growing larger and reaching higher to the corresponding inner one. The Meenakshi shrine has the emerald-hued black stone image of Meenakshi. The Sundareswarar shrine lies at the centre of the complex, suggesting that the ritual dominance of the goddess developed later. Both the Meenakshi and Sundareswarar shrines have gold plated Vimanam (tower over sanctum). The golden top can be seen from a great distance in the west through the apertures of two successive towers. The area covered by the shrine of Sundareswarar is exactly one fourth of the area of the temple and that of Meenakshi is one fourth that of Sundareswarar. 
The tall sculpture of Ganesh carved of single stone located outside the Sundareswarar shrine in the path from Meenashi shrine is called the Mukuruny Vinayakar. A large measure of rice measuring 3 kurini (a measure) is shaped into a big ball of sacrifice  and hence the Ganesh is called Mukkurni Vinayagar(three kurinis).  This deity is believed to be found during a 17th century excavation process to dig the Mariamman temple tank. 


The sacred temple tank Porthamarai Kulam ("Pond with the golden lotus"), is 165 ft (50 m) by 120 ft (37 m) in size. According to legend, Shiva promised a stork that no fish or other marine life would grow here and thus no marine animals are found in the lake.  In the Tamil legends, the lake is supposed to judge the worth of a new piece of literature. Authors place their works here and the poorly written works are supposed to sink and the scholastic ones are supposed to float, Tirukkural by Tiruvalluvar was one such work. 
Only a fraction of 17th and 18th century paintings of Nayak period survives and one such portion is found in the small portico on the western side of the tank. It depicts the marriage of Sundareswarar and Meenkashi attended by Vijayaranga Chokkanatha and Rani Mangammal. The painting is executed on a vivid red background, with delicate black linework and large areas of white, green and ochre. The celestial couple is seated inside an architectural frame with a flowering tree in the background. 
The corridor surrounding the sanctum of Meenakshi is called kilikoondu Mandapam ("parrot cage corridor"). The space was once used to keep green parrots that were trained to utter the name of Meenakshi. There are two large cages full of squawking green parrots. 
The Kambatadi Mandapam ("Hall of temple tree") with its seated Nandi (sacred bull) has various manifestations of Shiva carved and also contains the famous "Marriage of Meenakshi" sculpture. Sculptures of Shiva and Kali trying to out-dance one another are pelted with balls of ghee by devotees. A golden flagstaff with 32 sections symbolizes the human backbone and is surrounded by various gods, including Durga and Siddar. 
The Meenakshi Nayakkar Mandapam ("Hall of 100 pillars") has two rows of pillars carved with images of yali (mythological beast with body of lion and head of an elephant), commonly used as the symbol of Nayak power. It is situated to the north of Sundareswarar flag staff hall.


The Puthu Mandapam ("new hall") constructed by Tirumala Nayak contains large number of sculptures. It is situated opposite to the east gopuram.
The Ashta Shakthi Mandapam ("Hall of eight goddess") is the first hall in the entrance of Meenakshi shrine tower near to East Tower. Ashta indicates eight and Shakthi refers to goddess - the hall has statues of eight goddesses. The gopurams(towers) can be viewed from this hall. The passage was named for eight forms of goddess Sakthi carved on its pillars. Other sculptures and paintings depict the Tiruvilayadal (holy games of Shiva).  The sculptures of heroes of Mahabharata, the Pancha pandavas can be seen in the Pancha Pandava Mandapam (Hall of Pandavas). 
The Viravasantharaya Mandapam is a large hall with huge corridors.  To the south of this hall is the kalyana mandapam, to the south of the pillared hall, is where the marriage of Shiva and Parvati is celebrated every year during the Chithirai Festival in mid-April. The golden images of Meenakshi and Sundareswarar are carried into the 16th century oonjal mandapam (swing corridor) and placed on the swing every Friday at 5:30 p.m. The shrine has a 3-storied gopuram guarded by two stern dwarapalakas (guardians) and supported by golden, rectangular columns that bear lotus markings. Along the perimeter of the chamber, granite panels of the divine couple are present.  The hall is situated in the western bank of the temple tank.
The Mudali Pillai Mandapam or Iruttu Mandapam (Dark hall) is a wide and long hall built by Muthu Pillai during 1613. On the pillars of the halls, there are fine sculptures depicting the story of Shiva taking the form of Bikshadanar to teach the sages a lesson. 
The Mangayarkarasi mandapam is a newly built hall situated opposite to the marriage halls and bears the name of saindy queen, Mangayarkarasi who contributed to Saivism and Tamil language.  To the south of Mangayarkarasi mandapam lies the Servaikarar Mandapam, a hall built by Marudu brothers in 1795.[28] The Nagara mandapam (Hall of beating drums) lies opposite to Sundareswarar shrine was built by Achaya Rayar, the minister of Rani Mangammal in 1635. The Kolu Mandapam is a hall for displaying dolls during the Navarathri festival celebrated during September–October. This hall is situated in the second corridor of the Meenakshi shrine at the western side.
The "Aayiram Kaal Mandapam" or Thousand Pillar Hall contains 985 (instead of 1000) carved pillars. The hall was built by Ariyanatha Mudaliar in 1569 and it is a structure where the engineering skill and artistic vision are blended.  Ariyanatha Mudaliar was the prime minister and general of Viswanatha Nayak, the first Nayaka of Madurai (1559–1600). He was also the founder of Poligar System, the quasi-feudal organization of the country, which was divided into multiple palayams or small provinces and each palayam was ruled by a palayakkarar or a petty chief. At the entrance of the hall the statue of Ariyanatha Mudaliar seated on a horse-back is present, which flanks one side of the entrance to the temple. The statue is periodically garlanded by worshippers. Each pillar in the hall is a carved monument of the Dravidian sculpture. The more prominent among the carved figures are those of Rati(wife of Kama), KarthikeyaGanesha, Shiva as a wandering mendicant and endless number of yalis(mythical figures of lions).  There is a Temple Art Museum in the hall where icons, photographs, drawings, and other exhibits of the 1200 years old history of the temple is displayed.  Just outside this hall, towards the west, are the Musical Pillars. Each pillar, when struck, produces a different musical note. 
A distinct feature of Meenakshi in terms of iconography is the presence of parrot in her right hand. The parrot is generally associated with the Vaishnavaazhwar saint Andal.  "Pancha Sabhai" refers to the five royal courts of Nataraja(dancing form of Shiva) where he performed cosmic dance.  The Tamil word velli means silver and ambalam means stage or altar. This massive Nataraja sculpture is enclosed in a huge silver altar and hence called "Velli Ambalam" (silver abode). This is a special figure of Natarja which usually differs from Chola bronzes; in the Chola images, Nataraja is shown dancing with his left leg raised, but this sculpture has the right leg raised. According to the Tiruvilayaadal Puranam (Shiva's sacred games), this is on the request of Rajasekara Pandya, who was a sincere devotee of Shiva. He requested the deity to change his position, as he felt that keeping the same foot raised would put enormous strain and got a graceful acquiescence from the divine master. 

There are close to 50 priests in the temple who perform the pooja(rituals) during festivals and on a daily basis. Like other Shiva temples of Tamil Nadu, the priests belong to Shivaite to the Adishaivas, a Brahmin sub-caste. The priests live in a closed area north of the temple.The temple has a six time pooja calendar everyday, each comprising four rituals namely abhisheka (sacred bath), alangaram (decoration), neivethanam (food offering) and deepa aradanai(waving of lamps) for both Meenakshi and Sundareswarar.  Thepuja(worship) ceremonies are held amidst music with nagaswaram (pipe instrument) and tavil (percussion instrument), religious instructions in the Vedas by priests and prostration by worshippers in front of the temple mast. The common practise is to worship Meenakshi before Sundareswarar. Margazhi (December–January) ritual is prominent one for winning a perfect, god-like husband - it is Meenakshi's ennai kappu festival.  Aligned with the cardinal points, the street plans forms a giant mandala (group) whose sacred properties are believed to be activated during the mass clockwise cicumambulations of the central temple.
The most important festival associated with the temple is the "Meenakshi Thirukalyanam" (The divine marriage of Meenakshi) that is celebrated in April every year. The marriage of the divine couple is regarded as a classic instance of south Indian female-dominated marriage, an arrangement referred as "Madurai marriage". The male dominated marriage is called "Chidambaram marriage", referring to Shiva's uncontested dominance, ritual and mythic, at the famous Shiva temple of Chidhambaram.  The marriage brings together rural and urban people, deities and mortals, Saivas (those who worship Shiva) and Vaishnavas (those who worship Vishnu) in order to celebrate Meenakshi as the royal monarch.  During the one month period, there are a number of events including the "Ther Thiruvizhah" (chariot festival) and "Theppa Thiruvizhah" (float festival). Major Hindu festivals like Navrathri and Shivrathri are celebrated in the temple. Like most Shakti temples in Tamil Nadu, the Fridays during the Tamil months of Aadi (July–August) and Thai (January - February) are celebrated in the temple by thousands of devotees. "Avani Moola Utsavam" is a 10-day festival mainly devoted to Sundareswarar describes his various Thiruvilayadal meaning Shiva's sacred games).
Down the centuries, the temple has been a centre of education of Tamil culture, literature, art, music and dance.  All three assemblies of Tamil language, the Tamil Sangam (about the 3rd century BCE to the 3rd century CE), were held at Madurai.  Tamil poets of different epochs participated in these assemblies and their composition is called Sangam literature.  During the third Tamil sangam, the comparative merit of the poets was decided by letting the works float in the lotus tank of the temple. It was believed that a divine force would cause the work of superior merit to float on the surface while the inferior literary work would sink. Tevaram, the 7th-8th century Tamil canonoical work on Shiva, are works by the three prominent Nayanars (Saivites) namely Appar, Sundarar and Thirugnanasambandar. The temple has been glorified by the hymns of Tevaram by all the three poets. Different hymns of Sambandar on the temple mention the queen of Pandya Nadu, his desire to defeat Jains in debate, the miracles performed by him curing the king's fever, the Jains' provocation of Sambandar by burning his house and challenging him to debate, and Sambandar's eventual victory over them. A poem from the Third Tirumurai by Sambandar is as under
maaninaervizhi maatharaayvazhu thikkumaaperu:n thaevikae'l
paanalvaayoru paalaneengkiva nen'ru:neepari veythidael
aanaimaamalai yaathiyaaya idangka'li'rpala allalsaer
eenarkadke'li yaenalaenthiru vaalavaayara ni'rkavae. 
"Lady who has eyes that are comparable to the startled eyes of the deer!
the great chief queen of the Vaḻuti! listen to what I say. Do not feel distressed that
 I am such a young boy from whose mouth milk is flowing. when the god in 
Tiruvālavāy stands by my side as help,I can not be easily defeated by the low 
people who inflict many sufferings on others and who live
 in hills beginning with great Āṉaimalai." 
There are few poets in Tamil history who sang about goddess Parvati. The notable among them is Kumaraguruparar, a 17th century Tamil poet, who composed Meenakshi Pillaitamil on Meenakshi of this temple.  King Tirumalai Nayak's patronage of Kumaraguruparar has an important place in the history of pillaitamil (a genre of Tamil literature). Kumaraguruparar visited a lot of temples and when he visited this temple, he composed Meenakshi pillaitamil on Meenakshi. Legend has it that goddess appeared in the dreams of Nayak directing him to arrange the recital of Kumaraguruparar before a learned assembly. The king made elobrate arrangements for the event. Meenakshi impersonated herself in the form of a small girl and enjoyed the recital. As Kumaraguruparar was explaining the 61st verse, the goddess appreciated by garlanding the poet with a string of pearls and disappeared.

Marco Polo


Marco Polo   September 15, 1254 – January 9, 1324)  was a Venetian merchant traveler  whose travels are recorded in Il Milione, a book which did much to introduce Europeans to Central Asia and China. He learned about trading whilst his father and uncle, Niccolò and Maffeo, travelled through Asia and apparently met Kublai Khan. In 1269, they returned to Venice to meet Marco for the first time. The three of them embarked on an epic journey to Asia, returning after 24 years to find Venice at war with Genoa; Marco was imprisoned, and dictated his stories to a cellmate. He was released in 1299, became a wealthy merchant, married and had three children. He died in 1324, and was buried in San Lorenzo.
His pioneering journey inspired Christopher Columbus  and others. Marco Polo's other legacies include Venice Marco Polo Airport, the Marco Polo sheep, and several books and films. He also had an influence on European cartography, leading to the introduction of the Fra Mauro map.
The exact time and place of Marco Polo's birth are unknown, and current theories are mostly conjectural. One possible place of birth is Venice's former contrada of San Giovanni Crisostomo, which is sometimes presented by historians as the birthplace, and it is generally accepted that Marco Polo was born in the Venetian Republic with most biographers pointing towards Veniceitself as Marco Polo's home town.  Some biographers suggest that Polo was born in the town of Korčula (Curzola), on the island of Korčula in today's Croatia,  however there is no proof to this claim. The most quoted specific date of Polo's birth is somewhere "around 1254".  His father Niccolò was a merchant who traded with the Middle East, becoming wealthy and achieving great prestige. Niccolò and his brother Maffeo set off on a trading voyage, before Marco was born. In 1260, Niccolò and Maffeo were residing in Constantinople when they foresaw a political change; they liquidated their assets into jewels and moved away. According to The Travels of Marco Polo, they passed through much of Asia, and met with the Kublai Khan. Meanwhile, Marco Polo's mother died, and he was raised by an aunt and uncle.  Polo was well educated, and learned merchant subjects including foreign currency, appraising, and the handling of cargo ships,  although he learned little or no Latin.

In 1269, Niccolò and Maffeo returned to Venice, meeting Marco for the first time. In 1271, during the dogado of Doge Lorenzo Tiepolo, Marco Polo (at seventeen years of age), his father, and his uncle set off for Asia on the series of adventures that were later documented in Marco's book. They returned to Venice in 1295, 24 years later, with many riches and treasures. They had traveled almost 15,000 miles (24,000 km). 
Upon the Polos' return to Italy, Venice was at war with Genoa. Genoese admiral Lamba D'Oria overwhelmed a Venetian fleet at the Battle of Curzolanear the island of Korčula, and Polo was taken prisoner.  He spent several months of his imprisonment dictating a detailed account of his travels to a fellow inmate, Rustichello da Pisa, who incorporated tales of his own as well as other collected anecdotes and current affairs from China. The book soon spread throughout Europe in manuscript form, and became known as The Travels of Marco Polo. It depicts the Polos' journeys throughout Asia, giving Europeans their first comprehensive look into the inner workings of the Far East, including China, India, and Japan. 
While Polo's book describes paper money and the burning of coal, it fails to mention the Great Wall of Chinachopsticks, and footbinding, making skeptics wonder if Marco Polo had really gone to China, or wrote his book based on hearsay.  Yet, if the purpose of Polo's tales was to impress others with tales of his high esteem and fond regard in an advanced civilization, then it is possible that Polo shrewdly would omit those details that would cause his listeners to scoff at the Chinese with a sense of European superiority. However, it is more likely that information does not apply to Polo. Foot binding was extremely rare during Polo's time and was only practiced by court dancers - and did not become common even among the upper class until centuries later. The Great Walls were built to keep out northern invaders, whereas the ruling dynasty during Marco Polo's visit were those very northern invaders. Researchers note that the Great Wall familiar to us today is a Ming structure, post-dating Marco Polo's travels by more than two centuries. TheYuan rulers whom Polo served, as well as the preceding Jin and Liao Empires controlled territories both north and south of today's wall, and would have no reasons to maintain any fortifications that may have remained there from the earlier dynasties.  Other Europeans who traveled to Khanbaliq during the Yuan Dynasty, such as Giovanni de' Marignolli and Odoric of Pordenone, said nothing about the wall either. Finally, the hearsay theory does not explain the absence of chop stick or foot binding reports. University of Tübingen researcher Hans Ulrich Vogel stated that Polo's description of paper money and salt production supported his presence in China. 
Polo was finally released from captivity in August 1299,  and returned home to Venice, where his father and uncle had purchased a large house in the central quarter named contrada San Giovanni Crisostomo. The company continued its activities and Marco soon became a wealthy merchant. Polo financed other expeditions, but never left Venice again. In 1300, he married Donata Badoer, the daughter of Vitale Badoer, a merchant. They had three daughters, Fantina, Bellela and Moreta.

In 1323, Polo was confined to bed, due to illness. On January 8, 1324, despite physicians' efforts to treat him, Polo was on his deathbed. To write and certify the will, his family requested Giovanni Giustiniani, a priest of San Procolo. His wife, Donata, and his three daughters were appointed by him asco-executrices. The church was entitled by law to a portion of his estate; he approved of this and ordered that a further sum be paid to the convent ofSan Lorenzo, the place where he wished to be buried. He also set free a "Tartar slave" who may have accompanied him from Asia. 
He divided up the rest of his assets, including several properties, between individuals, religious institutions, and every guild and fraternity to which he belonged. He also wrote-off multiple debts including 300 lire that his sister-in-law owed him, and others for the convent of San Giovanni, San Paolo of the Order of Preachers, and a cleric named Friar Benvenuto. He ordered 220 soldi be paid to Giovanni Giustiniani for his work as a notary and his prayers. The will, which was not signed by Polo, but was validated by then relevant "signum manus" rule, by which the testator only had to touch the document to make it abide to the rule of law,  was dated January 9, 1324. Due to the Venetian law stating that the day ends at sunset, the exact date of Marco Polo's death cannot be determined, but it was between the sunsets of January 8 and 9, 1324.
An authoritative version of Marco Polo's book does not exist, and the early manuscripts differ significantly. The published versions of his book either rely on single scripts, blend multiple versions together or add notes to clarify, for example in the English translation by Henry Yule. Another English translation by A.C. Moule and Paul Pelliot, published in 1938, is based on the Latin manuscript which was found in the library of the Cathedral of Toledo in 1932, and is 50% longer than other versions.  Approximately 150 variants in various languages are known to exist, and without the availability of a printing press many errors were made during copying and translation, resulting in many discrepancies. Polo related his memoirs toRustichello da Pisa while both were prisoners of the Genova Republic. Rustichello wrote The Devisament du Monde in Langues d'Oil, a lingua franca ofcrusaders and western merchants in the orient.  The idea probably was to create a handbook for merchants, essentially a text on weights, measures and distances.
The book starts with a preface about his father and uncle traveling to Bolghar where Prince Berke Khan lived. A year later, they went to Ukek  and continued to Bukhara. There, an envoy from Levant invited them to meet Kublai Khan, who had never met Europeans.  In 1266, they reached the seat of the Kublai Khan at Dadu, present day Beijing, China. Khan received the brothers with hospitality and asked them many questions regarding the European legal and political system.  He also inquired about the Pope and Church in Rome.  After the brothers answered the questions he tasked them with delivering a letter to the Pope, requesting 100 Christians acquainted with the Seven Arts (grammar, rhetoric, logic, geometry, arithmetic, music and astronomy). Kublai Khan requested that an envoy bring him back oil of the lamp in Jerusalem. The long sede vacante between the death of Pope Clement IV in 1268 and the election of his successor delayed the Polos in fulfilling Khan's request. They followed the suggestion of Theobald Visconti, then papal legate for the realm of Egypt, and returned to Venice in 1269 or 1270 to await the nomination of the new Pope, which allowed Marco to see his father for the first time, at the age of fifteen or sixteen.

In 1271, Niccolò, Maffeo and Marco Polo embarked on their voyage to fulfill Khan's request. They sailed toAcre, and then rode on camels to the Persian port of Hormuz. They wanted to sail to China, but the ships there were not seaworthy, so they continued overland until reaching Khan's summer palace in Shangdu, near present-day Zhangjiakou. Three and a half years after leaving Venice, when Marco was about 21 years old, Khan welcomed the Polos into his palace.  The exact date of their arrival is unknown, but scholars estimate it to be between 1271 and 1275.  On reaching the Yuan court, the Polos presented the sacred oil from Jerusalem and the papal letters to their patron. 
Marco knew four languages, and the family had accumulated a great deal of knowledge and experience that was useful to Khan. It is possible that he became a government official; he wrote about many imperial visits to China's southern and eastern provinces, the far south and Burma. 
Kublai Khan declined the Polos' requests to leave China. They became worried about returning home safely, believing that if Khan died, his enemies might turn against them because of their close involvement with the ruler. In 1292, Khan's great-nephew, then ruler of Persia, sent representatives to China in search of a potential wife, and they asked the Polos to accompany them, so they were permitted to return to Persia with the wedding party – which left that same year from Zaitun in southern China on a fleet of 14 junks. The party sailed to the port of Singapore, travelled north to Sumatra, sailed west to the Trincomalee port of Jaffnaunder Savakanmaindan and to Pandyan of Tamilakkam. Describing the Pandyan kingdom under Lord Emperor Jatavarman Sundara Pandyan I as the richest empire in existence, Polo arrived during the reign of Maravarman Kulasekara Pandyan I, son of Jatavarman Sundara Pandyan I and one of five brother kings on the continent.  Eventually Polo crossed the Arabian Sea to Hormuz. The two-year voyage was a perilous one – of the six hundred people (not including the crew) in the convoy only eighteen had survived (including all three Polos). The Polos left the wedding party after reaching Hormuz and travelled overland to the port of Trebizond on the Black Sea, the present day Trabzon.
Other lesser-known European explorers had already travelled to China, such as Giovanni da Pian del Carpine, but Polo's book meant that his journey was the first to be widely known. Christopher Columbus was inspired enough by Polo's description of the Far East to visit those lands for himself; a copy of the book was among his belongings, with handwritten annotations.  Bento de Góis, inspired by Polo's writings of a Christian kingdom in the east, travelled 4,000 miles (6,400 km) in three years across Central Asia. He never found the kingdom, but ended his travels at the Great Wall of Chinain 1605, proving that Cathay was what Matteo Ricci (1552–1610) called "China". 
The Marco Polo sheep, a subspecies of Ovis aries, is named after the explorer, who described it during his crossing of Pamir (ancient Mount Imeon) in 1271.  In 1851, a three-masted Clipper built in Saint John, New Brunswick also took his name; the Marco Polo was the first ship to sail around the world in under six months. The airport in Venice is named Venice Marco Polo Airport, and the frequent flyer program of Hong Kong flag carrierCathay Pacific is known as the "Marco Polo Club".  The travels of Marco Polo are fictionalised in Brian Oswald Donn-Byrne's Messer Marco Polo andGary Jennings' 1984 novel The Journeyer. Polo also appears as the pivotal character in Italo Calvino's novel Invisible Cities. The 1982 television miniseries, Marco Polo, directed by Giuliano Montaldo and depicting Polo's travels, won two Emmy Awards and was nominated for six more. Marco Polo also appears as a Great Explorer in the 2008 strategy video game Civilization Revolution. 
Marco Polo's travels may have had some influence on the development of European cartography, ultimately leading to the European voyages of exploration a century later.  The 1453 Fra Mauro map was said by Giovanni Battista Ramusio to have been partially based on the one brought fromCathay by Marco Polo:
That fine illuminated world map on parchment, which can still be seen in a large cabinet alongside the choir of their monastery (the Camaldolese monastery of San Michele di Murano) was by one of the brothers of the monastery, who took great delight in the study of cosmography, diligently drawn and copied from a most beautiful and very old nautical map and a world map that had been brought from Cathay by the most honourable Messer Marco Polo and his father.
Giovanni Battista Ramusio