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Bikaner,
one of the most interesting centres of later Indian art, lies deep in
the Thar Desert behind endless waves of sand dunes. This region, the
experts believe, was once the seat of a great civilization at the time
when the sacred river Saraswati watered its territory. The
civilisation now lies buried in sand. After the disintegration of the
Gupta empire, the territory was successively occupied by the Gurjar
Pratiharas, the Chauhans, the Bhati Rajputs and finally by the Rathors.
The former Bikaner State was founded by Rao Bikaji, the sixth son of
Rao Jodhaji of Jodhpur, a Rajput of the Rathor clan, in 1465. The
foundation of the present city was also laid by him in 1488.
Bikaner is directly connected by rail with Delhi 462 km. (287 miles),
Jaipur 378 km. (235 miles) and Jodhpur 275 km. (171 miles). It is
1,221 km. (759 miles) from Bombay and is reached via Ahmedabad and
Marwar Junction on the Western Railway.
The city, the fourth largest in Rajasthan, is surrounded by an
embattled stone wall, about 7 km. (4½ miles) in circuit, pierced by
five gateways built by Maharaja Gaj Singh (1746-87). A magnificent
fort dominates the city which has many other elegant buildings in red
and yellow sandstone.
The
Fort and the Palace
The
Bikaner fort built by Raja Rai Singh (1571-1611), one of Akbar’s
distinguished generals, during 1588-1593 is a most impressive
stronghold. Additions were subsequently made by rulers during the next
three centuries. The fort forms a quadrangle with a perimeter of 986
m. (1,078 yards). It has thirty-seven bastions, a strong curtain wall
and a 9-m. (30 ft.) wide moat. There are two entrances; the one on the
east side is protected by four gates, while the other on the west is
protected by a double gate. The palaces near the southern ramparts
were damaged during the siege of the fort by the Jodhpur army in 1739
and cannon balls fired by them still mark the southern facade of the
palace.
The entrance to the fort is through Suraj Parol or Sun Gate, a big
vaulted hall opening on two sides through high double arches. The
inscribed black stone slabs in one of its walls eulogise Rai Singh’s
attainments and give chronological record of the Rathors. Two
life-size statues of elephants flank the facade of the entrance. The
Karan, Daulat and Fateh Parols (gates) in the Mughul style, were added
by Maharaja Karan Singh (1631-1674). The Sur Sagar, which contributes
so much to the charm of the fort was excavated by Sur Singh and the
last additions to the fort – the Singh Pol, Deo Bilas Pavilion, and
Sheo Nivas Garden – were made in the time of Maharaja Dungar Singh
(1872-1887).
The palace
of Raja Rai Singh is the oldest building in the fort and it includes
the Suraj Parol, the Karkhana Kalan (great workshop), the Har Mandir,
the Chaubara and Hazuri Darwaza (royal entrance) and the Rai Nivas.
Most of these buildings on double vaults are executed in yellow
sandstone.
The Karan Mahal, a fine durbar hall in the classical Mughul style, was
erected by Maharaja Anup Singh in 1609 as a monument to the
restoration and elevation of Bikaner State, and named in memory of his
father who had struggled valiantly against the onslaughts of Aurangzeb.
Its ceiling rests on a broad cornice and a surrounding gallery behind
a row of cusped arches supported on small tapering columns. The
ceiling and arches have a lavish decoration of paintings in the
classical style of the seventeenth and eighteenth centuries. Floral
mouldings set off by red and gold borders, gilded leaf work and a
network of garlands, bouquets and vases are some of the motifs used in
its re-decoration in the time of Maharaja Gaj Singh.
The three
storeys of Anup Mahal, Rang Mahal and Anand Bijai Mahal, with their
slender columns, cusped arches and delicate screens, from an elegant
structure. Anup Mahal is separated from Rai Nivas and the zenana by a
broad court with panelled niches and engrailed arches along the two
sides. This hall, which served as the Diwan-i-Khas, has an exuberant
vermillion and gold gesso decoration spread over the original marble
and stucco. Some fine decorations in gilt reliefs, glass mosaica,
lace-like mirror and stucco work are contained in this palace.
There are
several other beautiful edifices inside the fort. The walls of Chandra
Mahal are covered with niches, mirrors and carved marble panels. Phul
Mahal is profusely decorated with glittering mirror work, carvings and
paintings. Exquisite stucco sculptures of Hindu deities adorn the
ante-room of Phul Mahal. The Sheesh Mahal of Gaj Mandir is opulent
with mirror and stucco work. The ceiling of the highly ornamented
Chhatar Mahal bears a ‘Ras Lila” frieze of considerable charm. Ganga
Nivas, the spacious durbar hall, is faced with richly carved red
sandstone.
Other
Palaces and Temples
Outside
the city is Lalgarh Palace, an imposing edifice of carved red
sandstone, which contains a remarkable collection of paintings.
Thirty-one kilometres (19 miles) to its south-west lies Gajner Palace
on the banks of a lake which is renowned as a place for imperial
sand-grouse shooting.
There are many Jain temples and monasteries in Bikaner. The Bhandsar
temple, with its shikhar and gilded flagstaff towering above the town,
is the most ambitious. Built by Oswal Bhand, a rich Jain merchant, in
honour of Parasnath, it was completed in the early 16th century. The
temple of Chintamani begun by Rao Bikaji and completed in 1505 is rich
in carvings. The temple of Adinath, almost an exact copy of the
Chintamani temple, is even richer in ornamentation. The most beautiful
temple, however, is that of Neminath near Rao Bikaji’s first fort. A
maturer decaration distinguishes it from other temples.
At
Deshnoke, 24 km. (16 miles) from Bikaner, is the well-known temple of
Karniji – the deified prophetess. Built in the reign of Maharaja Sur
Singh, this two-storey shrine is surmounted by a fluted central dome
and smaller domes on the sides. The golden umbrella in the temple was
donated by Maharaja Zorawar Singh, while the present entrance with its
marble carvings was added by Maharaja Ganga Singh.
Chhatris
At Devi
Kund, 8 km. (5 miles) to the east of Bikaner, are the chhatris
(cenotaphs) of the rulers of Bikaner. The oldest of these, built of
brick and Jaisalmer stone, is that of Rao Kalyan Mal (1539-1571). The
16-pillared chhatris of Raja Karan Singh and Maharaja Anup Singh are
the finest and biggest in the group. The former is an example of
classic simplicity, whereas the latter has a wealth of baroque
ornament. The ceiling of Anup Singh’s chhatri has reliefs showing
Krishna dancing with milkmaids in a cypress grove. The chhatri of
Maharaja Surat Singh, built entirely of white Makrana marble, contains
Rajput paintings on its ceiling.
The
Museum
The
Ganga Golden Jubilee Museum at Bikaner houses some very interesting
and rare art pieces. It has one of the finest collections of
terracottas belonging to the Gupta period. These were recovered in
1917 by Dr. L.P. Tessitori from some ancient sites in Bikaner
Division. The white marble image of Saraswati 1.5 m. (4 ft. 8 inches)
in height, is a peerless example of the sculptor’s art. The silk robe
presented by Emperor Jahangir to Raja Rai Singh, is another proud
acquisition of the museum. The robe has figures of a boy and a girl
surrounded with floral designs in the Persian style. The many Mughul
firmans issued to the rulers of Bikaner, paintings representing
various schools of Rajasthan art, excellent specimens of lacquer work
on camel hide, and wood and stone carvings are among the other
exhibits in the museum. |
