Architecture in Rajasthan
(1200 – 1800 A.D.) |
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Architecture of Rajasthan (1200 – 1800 A.D.) |
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Architecture in Rajasthan
represents many different types of buildings, which may broadly be classed as
secular and religious. The secular buildings are of a miscellaneous order.
They include towns, villages, wells, gardens, houses arid palaces. All these
kinds of buildings were meant for public and civic purposes. The forts are
also included in secular buildings, though they were used for, defense and
military purposes. The buildings of religious nature consist of three kinds –
The Temples, The Mosques and the Tombs. Taking the secular structure first, it
should be noted that it comprises a large series of buildings so varied that
no specific description is possible, and they will therefore be dealt within
their individual capacity or in group as the case may be. |
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Villages |
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The villages in
Rajasthan were planned according to the natural topography of
different kinds. In hilly regions of villages clung to hill tops
or dispersed over the upland areas. In plains the villages grew
up near rivers or springs. In this category the villages like
Hurra, Malpura, Ropa etc. may be included. In desert areas of
Bikaner and Jaisalmer villages were planned in a scattered state
and laid far apart in small groups with water facilities. The
huts were made out of mud thatched with straw. They usually had
no windows. The entrance door was low and simple. The houses of
well-to-do farmers and artisans of large villages consisted of
one or one or two rooms with a verandah in front, roofed with
tiles, and having a wide courtyard with on big entrance door. |
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Town Planning |
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Though Rajasthan was
essentially rural, there were also towns, scattered here and
there. These towns were little more than large villages which
grew into townships by virtue of their dimension and increased
population. According to the tradition of town-planning they
were well-protected by strong walls and hills. They were also
divided into wards and the wards were connected by narrow
streets and lanes. The temples, wells, gardens and imposing
palaces also formed the parts of the towns. Again, according to
the principles of town-planning the main road of the towns
should have shops of dealers in cloths, armaments, Jewellery,
betel, fruits, flowers, garlands etc. on both side.
The town of Amber, which flourished about the 10 century A.D. to
the 17th century A.D., retains the glimpses of early mediaeval
towns of Rajasthan. The account of Jaisalmer preserved in the
Jaisal Gazal of the 18th century shows that there were shops of
stock and exchange in the central part of the town. Ajmer, which
was a flourishing town from the 17th century onward, had wide
streets, spacious temples, deep wells and lake. The major
improvement of Ajmer goes to Akbar’s time who enclosed the city
with strong ramparts and a moat. The contemporary accounts show
that by the close our period of study Jodhpur grew up into a
good township by the construction of several roads, bazaars,
temples, wells and reservoirs. Bikaner also developed as a big
town consisting of town wall, palaces, forts, bazaars, temples
etc. The town of Udaipur, according to the contemporary
writings, had long streets interconnected with lanes each
specializing in some trade and craft. It had also several lakes,
places and gardens within and outside the town. The city of
Jaipur is famous in the world for its wonderful town-planning. |
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Palaces |
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Manda, a
celebrated architect of Maharana Kumbha, advises the
construction of the palaces either in the center of the town or
on some high elevation. According to him an ideal palace should
consists of male and female apartments, assembly – hall, dancing
hall, treasury, store-house, kitchen, dinning-hall, a repository
of aims, etc. allocated at specific spots. The Amber palaces,
for example, have been so planned that it seems as if they
emerged from the valley. They are in a form extensive castle on
the hill with fortified palaces, swinging balconies and a long
line of walls and towers. The basic plan of these palaces, with
their successive courtyards, suites of two small rooms at both
ends, a central hall, the verandah, narrow passages and enclosed
open space in between, is typically Rajput. Moreover the
capitals and the doorways with sculptured peacock, elephants men
and animals are perfectly after Hindu style. The free and
profuse use of colors and mirrors on the walls of apartments and
on the ceilings reveal the Rajput love of bright color. The
palaces of Jaisalmer, modified by subsequent generations, were
surrounded by high turrets and battlements. Separate suites of
male ad female, together with numerous rooms for storing and
other purpose, are typically Rajput in character. “The groups of
residences, the balconies, the windows and the doorways have
been so exquisitely carved as to form by themselves a
treasure-house of Rajput art.” “The palace of Bundi, constructed
about 1342 A.D. and added and altered by generations of
builders, rises above the town in pinnacled terraces on the top
of a hill. Its ill-arrayed and scattered suites of rooms belong
to a special type of Rajput art of the early mediaeval period.”
“The Palace of Jodhpur", constructed between the 15th and 18th
centuries, crowns a rocky eminence guarded by bastions, ramparts
and parapets. The fort with its smaller and regular rows of
buildings, named as Moti Mahal, Fateh Mahal, Phul Mahal, Shish
Mahal etc. gives the look of compactness and solidity. The
guided cupolas, carved panels, intricate passage along with open
verandahs, called chopals, in series are striking examples of
mediaeval Rajput architecture.
“As regards the old palace of Bikaner”, discussed by us,
“founded about 1488, and built a new by Rai Singh, perched on
rocky eminence consists of a range of pavilions, towering over
massive gateway. The inner apartments of colored plaster are in
a way self-con-tamed suite, inter-connected with the courtyards
and with small and extensive narrow steps and dark passages.
Within the palace area there are gardens, temples, stables and
store-houses of mediaeval type, of course, the pleasure garden,
carved cornices, foliated arches and latticed openings have a
touch of the Mughal style.
“The palace of Udaipur, founded in 1559 A.D. by Rana Udai Singh
in the form of a small citadel stands on the verge of extensive
lake surrounded by hills of a great beauty. It’s fluted turrets
and projecting balconies, supported on carved brackets, are an
example of fine medieval masonry and unfold a memorable vision
of loveliness and charm so conspicuous in Hindu art. The
additions to it made by Amar Singh, Karan Singh and Raj Singh in
the forms of Amar Vilas and Bari Mahal with halls and fountains,
slender columns and garden, reflect the influence of the Mughal
style. But in essence the entire plan and the apart mental
adjustment together together with the dining-halls, picture
gallery, treasury, zoo, stables, storehouse of gain, arms,
musical instruments, grass and water, gives it the appearance of
compactness as suggested by Mandan.
Kota was beautified by the construction of a palace in the
southern extremity overlooking the river Chambal, over a high
elevation. The palace proper is an imposing pile of buildings.
The imposing gateway of the main palace, an open courtyard,
inner temple, narrow passages, the kitchen, and the Choupal
depict Rajput style: while high perforated parapets, the
pavilion, the Zenana palace, double pillars, the Diwan-I-Am, the
Topkhana and Darukanaare most nearly the reproduction of the
Mughal type. The outer buildings are after the traditional
fashion.”
The Amber palace is surrounded by a high embattled wall
containing within it male and female apartments and quarters for
courtiers, stables and the like. Chandra Mahal, Pritamnivas,
Shobhanivas, Sukhnivas, Sheesh Mahal, etc., has suites or
apartments interconnected with courtyards and corridors after
Rajput fashion. It is interesting to note that the carved
screens, balconies, arches and brackets are the delightful
examples of Hindu architecture. But the Diwan-I-khas and the
Diwan-I-Am with colored columns and walls are of the Mughal
style.
Like the palaces, the mansions of the nobles, dignitaries and
officers of the States had also a specific type of architecture
with lofty entrance gate, open courtyards (inner and outer),
enclosing walls, halls and adjoining rooms, balconies and small
windows. Jaimal and Pattas Mahals of Chittor and Thala – Haveli
of Kota are typical mansion of the period under review. Next to
the mansions come the houses of middle class and well-to-do
people. They also have a typical pattern with covered gate,
Choupals, open courtyard and terraces all over the buildings.
The quarters of artisans and craftsmen have simple types of
houses in which the front portions were reserved for work –
shops and back portions were used for living. Other class of
people of low status lived in houses, which were built of mud
and thatched with straw. Such houses had only one door and no
window. |
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Forts |
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The Forts occupy
important place in the study of civil and military architecture
of mediaeval Rajasthan as these forts were constructed for
residential purposes of the rulers and had all the features of a
walled town. Because they were also meant for defense of the
reign, they were protected by bastions, gates and guarding
towers. They were also provided with wells, tanks and pools.
They had also the provision for storehouses for arms, fuels and
grain. Agriculture land, palaces, mansions, temples, market
place and residential quarters for the subjects formed the parts
of the forts. These features of civic architecture can be seen
in the ruins of the forts of Chittor, Kumbhalgarh, Mandalgarh,
and Ranthambhor. Of course, the forts of Amber and Jodhpur,
Bikaner and Nagaur were constructed for the residential purposes
of the royal families.
Another purpose of constructing these forts was to hold the
conquered country and provide to the subjects the facilities of
protection and safety in times of need. The forts and castles
were either surrounded by a moat or were upheld by high cliffs,
“They not only occupied a strategic importance in the military
architecture of the period. The sites of Chitor, Gagron,
Ranthambhor, Kumbhalgarh, Achalgarh, Amber etc., were selected
on inaccessible precipices with a view to provide defense. Walls
were constructed in several rows from the entrance gates to the
upper level and were extended in other directions in angles to
lessen the chance of direct attack, and give all round defense.
Obstacles were set up beyond the wall in the form of thorny
bushes and trees or wide moats. The royal residences and the
walls of the forts were constructed with devices which allowed
narrow and secret passages for exit in the hour of discomfiture.
These passages were also useful for ages and ingress, in case
the entire encircled by the enemies.”
“These forts were well-provisioned with guns, cannons, gun
powder and adequate store of food material and other necessities
of living, such as salt, gur, grain, oil etc., so that they
could last out successfully against a long siege. Side by side
with these material needs the forts did not lack from the point
of view of supernatural defense by the presence of temples.
These at least gave mental satisfaction to those who resided in
the fort or to those who were fighting for the fort.” This kind
of religious constructions inspired confidence and strength. |
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Temples |
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The rulers and
devoted persons of Rajasthan constructed temples dedicated to
Vishnu, Shiva, Shakti, Mahavir, Hanuman, Ganesh during the
period of our study. We know from inscriptions that Bappa Rawal
constructed the temple of Ekiinga, which was repaired from time
by Maharana Mokal, Kumbha and Raimal. Several rulers of
Rajasthan endowed lands to this temple for the worship and
maintenance of it. Besides the kings and queens, the feudatory
chiefs and common people built temples to obtain spiritual merit
for themselves and their relations.
The chief features of the temple architecture comprise of
shikhara, mandapa, niches, inner chambers etc of the main
deities. The walls of the temples have recesses divided into
sections. Roofs are supported by columns with cross corbels. The
capitals have elaboration with pot-and-foliage and lotuses. The
Dwarapalas and other godlings, images of Kubera and other minor
gods and goddess form the part of carvings on doors, niches,
columns and outer body of the temples. Later on due to Mughal
influence the Mandapas began to construct with wider galleries
and porches surrounding them. They began to show tat the local
style of architecture was mixed with contemporary Mughal motifs
resulting in making a better impression. The Shikars also
displayed all the wealth of mediaeval art.
Among temples of earlier period of our study, temples of Vimla
and Luna Vasati built at Delwada in the 11th and 12 centuries
are of extraordinary beauty. They show the extent to which
marble could be finely chiseled. “In these temples human faces
do not radiate the spiritual bliss and divine glory of inner
consciousness but the loss is largely repaid by the richness and
beauty of decoration and fine caring.” The dome of the main hall
of the Delwada temple at Mt. Abu, “with an exquisitely wronged
huge lotus pendant hanging from it rests on eight stilted
pillars arranged in an octagon, and rises in concentric circles
of various decorative motifs.” Here sixteen brackets show
figures of sixteen Tantric goddesses called Mahavidyas of unique
iconographic value. “All available space in the ceilings, wall,
door-frames or pillars is utilized in presenting scenes from
Jaina mythology, different gods and goddesses or designs which
are veritable dreams of beauty.” The second shrine is equally
attractive. Another shrine called Chaumukha temple of the 15th
century contains on its outer walls the in iconography of all
the Vidyadevis Yakshinis and Digpalas. “These temples are
conspicuously noteworthy for the exuberances of ornamental
detail minutely wrought in a manner that remains unsurpassed
even in India which was justly for such kind of work.”
However, Shri S.K., Saraswati while appreciating the temple of
Abu, states, “In spite, however, of the splendid wealth of
intricate ornamentation expected with a perfection seldom
achieved by human endeavourer, architecturally none of the halls
can be declared to be free from flaw. The multiplicity of
plastic detail, repeated innumerable times, obscures to a large
extent the structural properties in respect of which, again, the
fundamental rules of architectural composition seem to have been
ignored. There is no doubt, a certain beauty, endless as it
seems, levels the visitor with a sense of tiresome surfeit, and
there are very few structural merits to compensate fro this
defect.”
Another notable shrine of the 15th century is the Chaumukha
temple of Ranakpur. It is situated in the highland of Mewar and
is dedicated to Rishabnath. It was built by Maharana Kumbha’s
favourite, Dharanaka in 1439 and was designed by the architect
Dipaka. It is a four storied structure supported by numerous
columns of forty feet height. The interior is inlaid with
mosaics of cornelian and agate. In the words of Mr. Ferguson “It
is the most complicated and extensive Jain temple, I have
myself ever had an opportunity of inspecting. Indeed, I know of
no other building in India of the same class that leaves so
pleasing an impression or affords so many hints for the graceful
arrangement of columns in an interior. In amount of labor and of
sculptural decorations it far surpasses any.”
Singar Chanvari is another shrine which is graceful and richly
carved at Chittor. It was built by Bhandari Velka or Vela, son
of Maharana Kumbha’s treasurer in 1448-49 A.D. The temple is
square in plan with four wings projecting from its four sides.
The central part of the building is covered by a circular Jain
dome built in horizontal layers richly ornamented. The exterior
walls are beautifully sculptured in horizontal bands containing
numerous figures and floral scrolls. It architecture is
admirable and the building, although small, is one of the most
attractive in Chitor. |
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Towers and Chatris |
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Kumbha’s
Kirtisthambha of Chittor is an important monument of his genius.
This celebrated Tower of Victory was erected to commemorate the
victory, which Maharana Kumbha had obtained over Sultan Mahmud
Khilji of Mandu in 1438 A.D. Describing it, Mr. Fergusson says
“A pillar of victory like that of Trajan at Rome, but in
infinitely better taste as an architectural object than the
Roman example” James Tod has also appreciated the Tower by
saying. “The only thing in India to compare with this is the
Kutab Minar at Delhi, but though much higher, it is a of a very
inferior character. This column is one hundred and twenty feet
in height. It has nine distinct storeys with openings at every
face of each storyes and all these doors have colonnaded
porticoes.” In the words of Sarda, “It is one mass of sculpture
of which a better idea cannot be conveyed than the remark of
those who dwell about it, that it contains every object known to
their mythology.”
Another beautiful specimen of the 17th century is the Nochauki
of Rajnagar of Mewar. The Nochauki is a group of Chattries
having the simple and most natural form. Of a rectangular
framework composed of pillars, beams, brackets, wide projecting
caves and design of triple cornice above. “Its entire appearance
marks it artistically beautiful by means of the sculptured art
over its body. No portion of the edifice is free from the
treatment of fine carving. There the objects of superb art are
the pillar, capitals of pillars, the architraves, the brackets
and ceilings themselves, use of vase and foliage, the relief of
bell, chain, elephant and nymph are the chief characteristic of
the art applied at pillars. The shaft of pillars are divided
into decorative zones and end in a bracket capital with inclined
struts or braces each carrying an image, usually a female figure
of a crocodile or elephant, or the design of folded leaf of
plantain carved in high relief. One of the ceiling and studs of
the middle part have been especially devoted to a dancing party.
The intense energy of the movement of the bodies has been
cleverly balanced by the upright pose of the head and the
horizontal and angular extension of the arms. Flowing lies of
garments and jeweled ornaments respond with subtle variations to
the rhythmic movements of the dance.”
Another attractive feature of the Nochauki is the panels carved
on three sides at the edge half the upper platforms which are
the parts of the dam of Rajasamudra lake. “These panels
represent a dynamic impulse of art which comes from a people’s
effort at self realization. The art which comes from a people’s
effort at self-realization. The art preserved in these panels is
influenced by the model of life, religious thought and
impressions derived by the artists from the environment of the
age. |
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Mosques and Tombs |
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With the coming of
the Arabs and Turks a new Indian style of architecture grew. In
the earlier period the temples were modified to appear and
assume the form of mosques. The task was not very difficult. The
open courtyard, chambers, verandahs ad colonnades of temples
were the features, which could be adjusted and adapted for
converting temples to mosques. The addition of domes and
minarets could easily transform temples into mosques for
faithful. This is what the Muslim rulers did in their early
phase of conquest and that also with a remarkable skill. The
celebrated mosque at Ajmer known as Adhai-din-ka Jhompra
represent one of the most instructive examples of such a case.
Qutab-ud-din had built this mosque about 1200 A.D. Iltutmish
subsequently beautified it with an arched façade in front of
prayer chamber. Here the craftsmen achieved success in
composition and created a prayer hall of solemn and impressive
beauty. The formation of the exquisite Mihrab and circular
bastions, add to the beauty of the entire design. The
proportions between the façade and the prayer chamber is more
pleasing: the engrailed arches represent a refreshing novelty:
the decorative patterns are admirable of their kind and their
work-man-ship is faultless. Yet, with all its merit the Ajmer
screen lacked the delicate and subtle beauty of Qutb-ud-din’s
screen at Delhi. Magnificent as it was, it is a perfect example
mathematical precision and technical skill; but there are many
features in it that sufficiently betray a certain limitation on
the part of designer in respect of imagination as well as well
as artistic vision; on no accounts, can it be regarded as an
artistic triumph.”
To our period of study may also be assigned certain other
structures, such as the Dargah of Ajmer, Atarkin-ka-Darwaza at
Nagaur, and masjids and tombs at Jalor and Chitor. From the
study of the architectural designs, compositions and pillars, it
is clear that these “structures are, more or less, a
re-assemblage of the spoils of the earlier buildings and
material. In their finished states they reveal an exquisite
sense of grouping and architectural composition. |
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Ghats and Dams |
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“Closely connected
with the religious structures of the Hindus are the Ghats, or
public bathing places, as ablutions form an essential part of
the social system as well as of the Hindu religious ritual. Most
representative of this type of building are the ghats and their
structural accessories, some of which display considerable
architectural character. On the ghats themselves an effect is
obtained by kiosks and small shrines being interposed along or
at the side of the fights of steps, but the more important
appearance is provided by the facades of the palaces which form
their background.” Of this type are the famous ghats of Pichola,
Udaipur and Dungarpur. Others may be seen at Bundi, Jodhpur,
Chittor etc. Of course every town in Rajasthan has tank in its
vicinity with a ghat and shrines at the side.
With the ghats may be classed the bunds or dams of the
artificial lakes which have been constructed by the rulers.
Walls masonry work, fights of steps, embankment, baradiris,
ornamental arches of white marble are the essential features of
the entire scheme. Such are the Rajsamand to the north of
Udaipur, Jaisamand to the south of Udaipur, Badi-ka-talab to the
west of Udaipur, Udaisagar to the east of Udaipur and the Ana
Sagar at Ajmer. Whatever may have been the purpose, utilitarian
or pleasure; these structures no doubt, represent the style of
the time and are the result of the artistic sensibility that
pervaded all classes at the period of their construction. |
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Gardens |
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The description of
the monuments may aptly be concluded with an account of the art
of planning and construction of gardens, which was one of the
greatest contribution of Rajastha’s art and architecture. From
the description of flowers and trees of the garden of Ajmer
preserved in the Taj-ul-Maasir, it seems that the Chauhans had a
developed sense of gardening in the 11th and 12th centuries. The
author of the work records, the garden of Ajmer are robed in
seven colors. Flowers so adorn the gardens and that the plains
as if a garden had been sent to the earth from Heaven itself.
The fountains of sweet water in Ajmer compete with Kasar (the
spring water of Paradise). The city and the suburbs are
exceedingly beautiful, owing to general brightness and light,
the beauty and plurality of its flowers, the purity of its air
and earth, and abundance of water and trees; it is a place of
inestimable enjoyment and luxury.
Mandan also refers to the gardens as a part of towns. He
recommends various kinds of fruit-bearing trees and
flower-baring plants and creepers as essentials for a good
garden. He further recommends that a garden should also have
raised seats (Vedika) pavilions (mandap), showers and tanks for
water pranks. The art of garden-building, which Babur brought
with him to India led to the adding of new characteristic to the
waterfalls along the path, raised beds and terraces on sloping
grounds, fountains, outer and inner walls, delightful flowers
etc., formed the parts of royal gardens. The Amar-bag of
Jaisalmer, Mandor garden of Jodhpur, Suhelion-li-bari of Udaipur
and pleasure garden of Jagmandir, with their fountation, baths,
flower-beds, artificial irrigation, pavilions etc. approximate
to Mughal style. |
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