GURU NANAK DEV

UNIVERSITY,AMRITSAR
D EPART MENT OF ARC HIT EC TURE
R EPOR T ON JAI VILAS PALAC E, G WALIOR
~ PR OJEC T OR IEN T ED S T U D Y T OU R 2024

SUBMITTED TO: SUBMITTEDBY:

DR .R AWA L SIN GH AU L AKH SIMRANJOTKAUR(907)
AR.S HAHE EN SOBTI AMRITB AANI KAUR(921)

ASHN OORSIN GH(9 12)

1. JAI VILAS PALACE,GWALIOR
Jai Vilas Mahal History timeline
THIS DAY IN HISTORY

1726 1787 1832 1874 1877 1964

Scindia family left Shah Alam II was designed and built Completed The palace was "Jiwajirao Scindia

its ancestral village restored to the by Lt. Col. Sir construction described by Sir Museum" which

throne by Mahadaji Michael Filose William Howard opened to the

Scindia Russell public

 INTRODUCTION
NESTLED IN THE HEART OF GWALIOR, A CITY STEEPED IN THE ANNALS OF HISTORY, STANDS
THE JAI VILAS PALACE – A MONUMENTAL TESTAMENT TO THE RICH CULTURAL HERITAGE
AND ARCHITECTURAL INGENUITY OF INDIA. THIS MAGNIFICENT PALACE, BUILT IN 1874 BY
MAHARAJA JAYAJI RAO SCINDIA, IS NOT JUST A MARVEL OF DESIGN BUT A SYMBOL OF THE
OPULENT LIFESTYLE OF THE INDIAN ROYALTY DURING THE BRITISH RAJ.

ARCHITECTURAL GRANDEUR
The Jai Vilas Palace is an exquisite blend of European architectural styles, primarily Tuscan, Italian-
Doric, and Corinthian. This fusion results in a breathtaking structure that is both grand and elegant.
Spread over an astounding 1.24 lakh square feet, the palace is a three-storied wonder, housing about
400 rooms.
The most striking feature of the palace is its Durbar Hall. Adorned with gilt and gold furnishings, it boasts
of a massive carpet and colossal chandeliers weighing several tons. Legend has it that eight elephants
were hoisted to the ceiling to ensure its strength before installing these chandeliers. The hall exemplifies
the grandeur and opulence that Indian royalty was famed for.
 A PEEK INTO HISTORY
The Jai Vilas Palace is not just an architectural marvel; it’s a repository of history. Now partially converted into a
museum, it houses an array of artifacts that offer a glimpse into the lavish lifestyle of the Scindias. The museum exhibits
include a collection of swords that date back to the times of Shah Jahan and Aurangzeb, a silver train with cut glass
wagons which served guests as it chugged around on miniature rails on the dining table, and a glass cradle from Italy
used for the christening of royal babies.

THE BLEND OF TRADITION AND MODERNITY- A LIVING

LEGACY
What sets Jai Vilas Palace apart is its seamless blend of traditional Indian art with modern amenities. The palace’s
rooms display a rich collection of Persian carpets, Belgian chandeliers, and French tapestries, alongside a trove of
rare paintings and antique furniture.

Today, the Jai Vilas Palace stands not just as a reminder of India’s royal past but also as a symbol of its ongoing
cultural and historical evolution. The palace, while a museum, continues to be the residence of the descendants of
the royal Scindia family, adding a living connection to its historical past.
 CONCLUSION
INSIDE THE PALACE: A TREASURE TROVE OF ART AND
ANTIQUITY

The interior of the Jai Vilas Palace is a veritable museum, showcasing a splendid collection of art and antiques that
speak volumes of its royal legacy. Each room within the palace is a testament to global artistry, harmoniously blending
elements from various parts of the world.

The floors are adorned with exquisite Persian carpets, each a masterpiece of intricate design and vibrant colors, laying
the foundation of elegance that permeates throughout the palace. Adding to the opulence are the Belgian chandeliers,
their crystal facets delicately catching and refracting light, casting a dance of luminance across the ornate ceilings.

The walls, meanwhile, are draped in luxurious French tapestries, displaying scenes and motifs that are both romantic
and historic, weaving a visual narrative of far-off lands and times. Amidst these international elements are rare paintings,
each capturing a moment in history or an artistic expression that transcends time and place.

The antique furniture scattered across the palace is not just functional; it is a collection of finely crafted pieces, each
telling a story of craftsmanship and legacy. This rich assemblage within the Jai Vilas Palace not only accentuates its
architectural beauty but also serves as a physical chronicle of the cultural and artistic exchanges that have shaped our
world.
 2. Bhojeshwar Temple
THE BHOJESHWAR TEMPLE (IAST: BHOJEŚVARA) IS AN INCOMPLETE
HINDU TEMPLE IN BHOJPUR VILLAGE OF MADHYA PRADESH, INDIA.
DEDICATED TO SHIVA, IT HOUSES A 7.5 -FOOT (2.3 M) HIGH LINGAM IN
ITS SANCTUM.

T HE T E MPLE 'S CONS T RUCTION IS BE LIE V E D T O HAV E S T ART E D IN T HE

11TH CENTURY, DURING THE REIGN OF THE PARAMARA KING BHOJA.
T HE C O NS T RU C T ION W AS ABANDO NE D FO R U NK NO W N RE AS O NS , W IT H
THE ARCHITECTURAL PLANS ENGRAVED ON THE SURROUNDING ROCKS.
THE UNFINISHED MATERIALS ABANDONED AT THE SITE, THE
ARCHITECTURAL DRAWINGS CARVED ON THE ROCKS, AND THE MASON'S
MARKS HAVE HELPED SCHOLARS UNDERSTAND THE TEMPLE
C O NS T RU C T ION T E C HNIQ U E S O F 1 1 T H-C E NT U RY INDIA. T HE T E M PLE
HAS BEEN DESIGNATED AS A MONUMENT OF NATIONAL IMPORTANCE
BY THE ARCHAEOLOGICAL SURVEY OF INDIA (ASI).
 Historical timeline
THIS DAY IN HISTORY

11 1010-11 1035 1055

1950 2006-07 2013-14
CENTURY CE CE CE

establishment Modasa copper sets of mason's Chintamani- the building Abandonment the site
of Bhojpur plates were marks with the Sarnika was had become of construction received the
issued by Bhoja Shiva temple, has composed by structurally National
an inscription his court poet weak because Tourism Award
Dasabala of the regular
rainwater
percolation
and removal of
the stone
veneers
Architectural plans of the Temple

SCALE 1:250

SCALE 1:500
Section(1:100)
 HISTORY
The Bhojpur temple is believed to have been constructed by the 11th-century Paramara king Bhoja. Tradition also
attributes to him the establishment of Bhojpur and the construction of now-breached dams in the area. Because the
temple was never completed, it lacks a dedicatory inscription. However, the name of the area ("Bhojpur") corroborates
its association with Bhoja.

This belief is further supported by the site's sculptures, which can be dated to the 11th century with certainty. A Jain
temple in Bhojpur, which shares the same sets of mason's marks with the Shiva temple, has an inscription explicitly
dated to 1035 CE. Besides several literary works, historical evidence confirms that Bhoja's reign included the year 1035
CE: the Modasa copper plates (1010-11 CE) were issued by Bhoja; and the Chintamani-Sarnika (1055 CE) was
composed by his court poet Dasabala. Moreover, the area around the temple once featured three dams and a reservoir.
The construction of such a large Shiva temple, dams and reservoir could have only been undertaken by a powerful
ruler. All this evidence appears to confirm the traditional belief that the temple was commissioned by Bhoja.
Archaeology professor Kirit Mankodi dates the temple to the later part of Bhoja's reign, around mid-11th century.
The Udaipur Prashasti inscription of the later Paramara rulers states that Bhoja "covered the earth with temples"
dedicated to the various aspects of Shiva, including Kedareshvara, Rameshwara, Somanatha, Kala, and Rudra.
Tradition also attributes the construction of a Saraswati temple to him (see Bhoj Shala). The Jain writer Merutunga, in
his Prabandha-Chintamani, states that Bhoja constructed 104 temples in his capital city of Dhara alone. However, the
Bhojpur temple is the only surviving shrine that can be attributed to Bhoja with some certainty.
 Abandonment of construction
It appears that the construction work stopped abruptly.[9] The reasons
are not known, but historians speculate that the abandonment may
have been triggered by a sudden natural disaster, a lack of resources,
or a war. Before its restoration during 2006–07, the building lacked a
roof. Based on this, archaeologist KK Muhammed theorizes that the
roof could have collapsed due to a mathematical error made while
calculating the load; subsequently, circumstances might have
prevented Bhoja from rebuilding it.
The evidence from the abandoned site has helped the scholars
understand the mechanics and organisation of 11th century temple
construction. To the north and the east of the temple, there are several
quarry sites, where unfinished architectural fragments in various stages
of carving were found. Also present are the remains of a large sloping
ramp erected for carrying the carved slabs from the quarries to the
temple site. Several carvings brought to the temple site from the
quarries had been left at the site. The ASI moved these carvings to a
warehouse in the 20th century.
 Conservation and Restoration
By 1950, the building had become structurally weak because of the regular rainwater
percolation and removal of the stone veneers.In 1951, the site was handed over to the
Archaeological Survey of India (ASI) for conservation, in accordance with the Ancient
Monuments Preservation Act 1904. During the early 1990s, the ASI repaired the
damaged steps of the platform and the sanctum, and also restored the missing ones.
It also restored the facade on the north-west corner of the temple.

During 2006–07, the ASI team supervised by KK Muhammed restored the monument.
The team added a missing pillar to the structure. The 12-tonne pillar was carved out of
a single stone by expert masons and sculptors in a style that matches the original. The
monolith was procured from the area near Agra after a nationwide search for material
matching the stone originally used in the temple. The team was unable to procure a
crane with a sufficiently long boom. So, they lifted the monolith 30 feet up with the help
of a system of pulleys and levers, which took 6 months to devise. KK Muhammed
noted that two other pillars in the temple weigh 33 tonnes, and are also carved out of a
single stone: it must have been very challenging for the original builders to erect these
pillars without modern technology and resources
 Architecture
The temple lies on a platform 115 feet (35 m) long, 82 feet (25 m) wide and 13 feet (4.0 m) high. On the platform
lies a sanctum containing a large lingam . The sanctum plan comprises a square; on the outside, each side
measures 65 feet (20 m); on the inside, each measures 42.5 feet (13.0 m).

The lingam is built using three superimposed limestone blocks. The lingam is 7.5 feet (2.3 m) high and 17.8 feet
(5.4 m) in circumference. It is set on a square platform, whose sides measure 21.5 feet (6.6 m).The total height
of the lingam, including the platform is over 40 feet (12 m).

The doorway to the sanctum is 33 feet (10 m) high. The wall at the entrance features sculptures of apsaras,
Ganas (attendants of Shiva) and river goddesses.

The temple walls are window-less and are made of large sandstone blocks. The pre-restoration walls did not
have any cementing material. The northern, southern and eastern walls feature three balconies, which rest on
massive brackets. These are faux balconies that are purely ornamental. They are not approachable from either
inside or outside of the temple, because they are located high up on the walls, and have no openings on the
interior walls. The northern wall features a makara-pranala, which provided a drainage outlet for the liquid
used to bathe the lingam. Other than the sculptures on the front wall, this makara sculpture is the only carving
on the external walls. 8 images of goddesses were originally placed high up on the four interior walls (two on
each wall); only one of these images now remains.
The four brackets supporting the cornerstones feature four different divine couples: Shiva-Parvati, Brahma-Shakti,
Rama-Sita, and Vishnu-Lakshmi. A single couple appears on all the three faces of each bracket.

While the superstructure remains incomplete, it is clear that the shikhara (dome tower) was not intended to be
curvilinear. According to Kirit Mankodi, the shikhara was intended to be a low pyramid-shaped samvarana roof,
usually featured in the mandapas. According to Adam Hardy, the shikhara probably intended to be of phamsana
(rectilinear in outline) style, although it is of bhumija (Latina or curvilinear in outline) style in its detailing.

The incomplete but richly carved dome is supported by four octagonal pillars, each 39.96 feet (12.18 m) high. Each
pillar is aligned with 3 pilasters. These 4 pillars and 12 pilasters are similar to the navaranga-mandapas of some
other medieval temples, in which 16 pillars were organized to make up 9 compartments.
 Conclusion
THE BHOJPUR TEMPLE IS A REMARKABLE EXAMPLE OF THE
PARAMARA DYNASTY ARTISTIC AND ENGINEERING SKILLS.IT IS
DEDICATED TO LORD SHIVA AND FEATURES A HUGE MONOLITHIC
LINGAM THAT IS CONSIDERED THE LARGEST IN THE WORLD.THE
TEMPLE WAS INITIATED BY RAJA BHOJ, A LEGENDARY RULER AND
P A T RO N O F A RT S A ND S C I E NC E S I N T HE 1 1 TH C E NT U RY .
HOWEVER, THE TEMPLE WAS NEVER COMPLETED.
THE TEMPLES’S ARCHITECTURE REFLECTS THE INFLUENCES OF
VARIOUS ARCHITECTURAL STYLES SUCH AS NAGARA, DRAVIDA AND
VESARA.THE TEMPLE ALSO SHOWCASE INTRICATE CARVINGS AND
DESIGNS SOMEOF WHICH ARE UNFINISHED.
THE BHOJPUR TEMPLE IS A TESTIMONY TO THE RICH CULTURAL
HERITAGE AND HISTORICAL LEGACY OF MADHYA PRADESH.