Articulation of Honour & Status in Sisodian Chhatris

(Through Sculptural Investigations)

Gunjan Chaplot
School of Architecture
Mody University of Science and Technology
Email: gunjanc27@gmail.com
 Terminology
• Status: Social, political and/or religious position in
relation to others.

• Honour: Bond between a society and individual as a

result of social teaching and personal ethos.

• Sisodian: People, art and architecture belonging to

Sisodia dynasty.

• Chhatris
a) ‘chatra’ means umbrella
b) Auspicious symbol in Hinduism, Jainism,
Buddhism
c) Elevated dome-shapes pavilion
d) Used in palaces, forts, Rajput royal funerary sites
e) Depicts authority and power
f) Used by Brahmins during Kashi-yatra and other
religious ceremonies
 Introduction

Previous Studies Scope of Study

• Coffey (1889-1891): Chattris are • The earlier studies on these
monuments raised to commemorate the Chattris were confined to
dead and may or may not contain bodily appreciating its architectural
remains. details without emphasising on its
• Goetz (1950): origin of such monuments cultural context and individual
in Rajasthan is rooted in the tribal tradition identities.
of the Rajputana and Central India. • Studies confined to megaliths of
• Belli (2011): the Chattris formed a prehistoric and protohistoric
significant element of the architecture and periods or on the mortuary
beliefs of a society, which are not only practices of the contemporary
related to the rituals of death but also tribal group.
display the socio-political policies of the • The present work also intends to
contemporary times. create awareness among the people
• Mishra (2004) and Ghurey (1968): with regard to the cultural
combine and contrast all the Rajput significance of these Chhatris.
Chattris.
 Methods of Study

• To begin with, an extensive survey of the chhatri complex was carried out followed by
plotting of structures to understand the pattern of architecture within the cremation
ground.

• Typological classification is done based on the nature of death (natural/ battle/ murder/ self-
immolation), gender (male/ female), chronology and social status (king/ queen/ prince/
princess). Further attempts are made to find out whether there was a relation between the
achievements of the deceased, size of monument and number of queens and concubines
who committed sati.

• Epigraphical investigations & Iconographic features are recorded along with details of
frescos (wherever applicable). This is compared with the textual data composed by poets,
specially appointed to do the biographical sketches.
 Environmental & Cultural Background
Of Mewar
Environmental background Cultural Background

• Mountain range: Aravalli Range • Ancient name: Medapata

• Rivers: Ahar, Berach, Banas, Chambal, • Capital: Agatpur, Nagda, Chittorgarh,

Wakal, Som etc. Udaipur

• Lakes: Jaisamand, Rajsamand, Pichola, etc • Pre-Historic: V.N.Mishra, H.D. Sankhalia

• Climate: Semi arid • Proto-Historic: Ahar-Banas & Harappan

• Fauna: leopard, boar, deer, wild, peacock,
elephant, crocodile etc.
• Flora: mango, amla, babul, banyan, peepal,
gugal, jamun, ber, bel etc.
• Economy: mining, handicraft, agriculture,
fishing etc.
culture
• Early Historic: Ashokan rock edicts found
at Bairat and Rupinath
• Medieval: Guhilas (11c. CE), Treaty with
Mughals (1615), Treaty with East India
Company (1818), Accession to Independent
India (1949)
 Site Selection
Mahasatiyaji, Ahar
• Ahar was the capital of
Mewar uptil 11th c. CE

• Became royal cremation

ground when capital was
shifted to Udaipur

• To the east is the

archaeological mound of
Ahar

• Rana Amar Singh I: first

king to be cremated here

• 21 chhatris of king, 14
royal females

• Raw material: white

marble
Source: Internet
Image courtesy: City Palace, Udaipur
 Origin of Chhatri
View of Scholars
• Influenced by Hindu temple architecture
and Islamic mausoleum
• Sheds erected over memorial tablets by
Bhils, Menas (Goetz, 1950)

Source: Internet
Possible Antiquity
• Iron age megaliths: Topikals and
Kudaikals (1000BCE to 100 CE)
• Early historic rock art: Krishna and
Balrama from Tikula, MP (1st – 2nd c.
BCE)
• Buddha’s conversation with Ananda
about funerary rights and number of
canopies suggesting the social status
held by an individual (Gustav)

Source: Neumayer 1993

 Process of Erection of Chhatri
Fire as a link between gross and subtle,
matter and spirit

• Funerary procession (chakdol) followed

by commoners, wives, concubines etc.
(except eldest son*)

• Place of cremation is left for Chhatri and

near to it a bangla is created and stele is
installed

• Later on auspicious occasion Chhatri is

created
 Site Analysis
S.No. Place No. Name of the chattri Location with Periph Gard Water- Temples
of complex respect to ery en body Observations
roads (walled city wall
or fort)
• Majority of Chhatris are
1 Udaipur 4 Mahasatiyaji North East Yes No Yes Yes. Shiva
and
located on the NW (ishan
Ganesha kon)
2 Jaipur 4 Gaitore ki Chattri(Gaye ka North Yes Yes Yes Shiva
thor meaning resting place • Direction governed by
of departed souls)
Shiva
3 Jodhpur 3 Mandore gardens, North-East NA Yes Yes Shiva,
Bhairava
• Concept of life after
4 Jodhpur 2 Jaswant Thada North-East Yes Yes Yes No
5 Bikaner 4 Devikund sagar ki Chattri East Yes No Yes Dargah
death; elaborate Chhatris
for soul to rest in peace
6 Jaisalmer 2 Bada baugh North-West No No Yes NA
7 Bundi 3 Chaurasi Khambon ki South-East Yes NA No No • Adorned with water-
Chhatri body and gardens
8 Bundi NA Kesarbaugh NA NA NA NA NA

9 Alwar 1 Moosi Maharani ki chattri South-West Yes No Yes No • Located on cross road

10 Kota NA Ksher Baugh NA NA NA NA NA

• Enclosed in a precinct
 Sculptural Investigations
Shiva-linga and Stele

Chhatris of kings contain Shiva-linga followed by stele

• King(dwarfed) as diwan of Eklingji; the

family deity

• Similar internal organization is observed

in the dynastic temple, where the present
ruler is depicted in from of Eklingji

• Symbolically, the king maintains his

position as diwan in the eternal court at
Kailashvas

Absence of stele from Maharana Shamboo Singhji.

 Sculptural Investigations
Stele

FOUR PURUSHARTHA

• Dharma: moral values and

religious duties to sustain
social order.

• Artha: economical values

(wealth and career) to achieve
security and financial
prosperity

• Kama: psychological values

(desire, wish, passion, love
with or without sexual
connotations)

• Moksha: spiritual values,

liberation from the cycle of
birth and death
 Sculptural Investigations
Shiva-linga and Nandi

• Nandi as a symbol of Jiva and Shiva the Supreme Being

• Four legs symbolizes truth, righteousness, peace, love.

• Sequence of sculptures: Nandi followed by Shiva and commemorative stele, it is opposite in

the case of the Chhatri of Rana Sangram Singh II.
 Sculptural Investigations
Bhairava and Ganesha

• Depicted on 5 Chhatris at the entrance

niche

• Bhairava in Sambhanga pose with

attributes like drum, trident, skull and
noose

Symbolic values of protecting from

enemies i.e. greed, lustre and anger

• Ganesha in Lalitasana with attributes

like sweet, axe, elephant goad, rosary

Symbolic values of removal of

obstacles i.e. ignorance with the help
of intellect and wisdom
 Sculptural Investigations
Flowering Plant and Surahi

• Depicted at the entrance niche

• Vase symbolizes the primordial

water and foliage growing out
symbolizes life

• Such depictions are found on the

Chhatris of Maharani Saras (Sardar)
Kunwarji, Rana Raj Singh I, Rana
Jagat Singh II, Rana Pratap II,
Maharana Jawan Singh, Maharana
Shambhoo Singh, Maharana Sajjan
Singh and Maharana Bhagvat Singh.
 Sculptural Investigations
Gajendra Moksha

• It is one of the most famous exploits of

god Vishnu from the 8th Skanda of
Bhāgavata Purāna.

• Depicted at the entrance niche

• Elephant trampling upon a crocodile and

uprooting/holding and bending a tree.

• Symbolically depicts materialistic

desires, ignorance and sins as a crocodile
preying upon a helpless elephant i.e.
human beings stuck in birth and rebirth
cycle in the muddy pond i.e. world creating
endless chain of karma.
 Sculptural Investigations
Miscellaneous

Male mendicants
depicted on the
walls of Chhatri of
Rana Amar Singh I

Female dwāpālas at
the entrance of
Chhatri of Maharani
Saras Kunwarji.
Miscellaneous Depiction of
animals and birds
on the walls of
Chhatri of Rana
Sangram Singh II
 Sculptural Investigations

•Chhatri of Maharani Saras (Sardar)

Kunwarji, w/o Rana Ari Singh III

•Regent queen on behalf of son Hameer

Singh; elaborate Chhatri

•7 Out of 9 are Chhatris of chief queen; she

didn’t committed sati and held a high social
status in the society

•Daughter who died in their paternal home

before or after marriage as a suhagin, held
high social status and honor, thus were
provided with a Chhatri
 Conclusion
• Memory or memorization is a social and cultural
process.

• Size of the sculpture and chhatri depicts the honour

and status held by the deceased.

• The four purushartha (dharma, artha, kama, moksha)

are depicted symbolically on the stele in a clockwise
direction such that the one symbolizing moksha faces
the shiva-linga.

• Symbolic representation of the king’s role as a diwan

of Eklingji.

• The elaboration of chhatri through addition of

symbolic sculptures and minute details are the
evidence of the power and prestige one owns.

Present day condition

Chhatris are Certificates of Presence,
Making the Past as Certain as Present.