<p>Jaipur is an emblem of art and architecture. An enclave of colourful edifices. This is the magic which draws visitors to its fold. <br /><br />The city itself has been well-planned. Designed by Vidyadhar, it was built in the form of a rectangle divided into blocks, with roads and avenues running parallel to their sides. The layout of the streets was based on a mathematical grid of seven squares representing the ancient Hindu map of the universe with the sacred Mount Meru, home of Lord Shiva, occupying the central square.<br /><br />Thus, the palace rests in the central grid and the rest of the grids cut across neatly by wide lanes which divide the area into tidy, well laid out rectangles for commercial and residential use. A high crenellated wall runs round it as a form of defense and is pierced with seven gateways that serve as entry points. But today, the city has outgrown its walls and continues to grow.<br /><br />Vidyadhar was a strict planner and even the drawings for private residences and trading establishments had to be submitted to his stringent gaze and meet with his approval. This is the reason for the striking similarity in the facades of buildings in even the bazaars of the old city. <br /><br />Jaipur’s architectural planning may have been ancient, but its execution was definitely modern. Best represented by the City Palace complex, it brought together all that was excellent in Rajput and Mughal architecture, creating a new tradition that found wide currency over much of north India.<br /><br />The magnificent palace located in the heart of the city occupies one-seventh of the old city area. Built between 1729 and 1783 by Sawai Jai Singh, the complex is encompassed by a high wall and is divided into a series of courtyards, gardens and other buildings. It is a splendid fusion of Rajput and Mughal architecture.<br /><br />Visitors are ushered in through Atish Pol, and then to Chandi Chowk and Gainda ki Deorhi. Now, we come to the main buildings of the City Palace. The Chandra Mahal occupies the centre stage and is still the residence of erstwhile ruling family.<br />Royal wardrobe (Tosha Khana) consists of the dazzling white Mubarak Mahal which is an architectural beauty.<br /><br />It is made of sandstone with intricately carved arches. It is plain and simple in design, yet, very impressive. The suite of rooms in the first floor houses such treats as the special festival dress like odhnis (shawl), one of which has 8 kg of gold woven into it. The gallery also has Pratap Singh’s personal outfits.<br /><br />It also treasures the royal accoutrements of hookah bases, Jaipur pottery, Mughal glass, marble toys and an exceptional collection of musical instruments. But the remarkable one is the Atamsukh; a garment of Madho Singh I. As the story goes, its owner was seven feet tall and weighed 225 kg. <br /><br />Another delightful sight is the Maharani’s Palace, which is now a repository of finest collections of Indian weaponry. Noticeable is the steel mace in the shape of a lotus bud — when lodged firmly in the victim’s stomach, it would spring open into a fan of sharp spikes, killing him instantaneously.<br /><br />Singh Pol, a typically Hindu square gatehouse with delicate balconies supported by ornate bracket, has large bronze double doors. It leads into a pretty courtyard where frilly white arches on salmon pink walls are 18th century Rajput decorations. But the Diwan-I-Khas in the centre is strictly Mughal in style. It is situated on a raised platform which gives it an imposing effect. It is simple in design with a pink base and has white line decorations applied on it.<br /><br />The square pavilion of the Diwan-I-Khas has four small rooms on each corner and lampposts around it. The double columns are made of marble which form cusped arches. To the north-east of the pavilion is a staircase which leads to the baradari on the roof top where the rulers held private durbars. It is surrounded by high walls with jali work which served as a veil for women.<br /><br />One should not miss another important landmark, the silver urns in the mandap. Within its sculpted arches stand two huge sterling silver vessels in which the king carried holy Ganga water to Europe. They have a massive height of 160 cm each and have a capacity of 9,000 litres. Guinness Book of Records lists them as the largest silver vessel in the world.<br /><br />The art gallery in the erstwhile Diwan-I-Aam has a well preserved painted ceiling on which original semi-precious stones still retain their lustre. Suspended from the ceiling is a huge chandelier made of crystal. The exhibits also include miniature paintings of Rajasthani, Mughal and Persian schools featuring religious themes, mainly scenes from the Indian epics.<br /><br />One can also see the first carpets from Herat in Afghanistan and Lahore. The list is endless... On the whole, the palace itself is no less than an art gallery.<br /><br /></p>
<p>Jaipur is an emblem of art and architecture. An enclave of colourful edifices. This is the magic which draws visitors to its fold. <br /><br />The city itself has been well-planned. Designed by Vidyadhar, it was built in the form of a rectangle divided into blocks, with roads and avenues running parallel to their sides. The layout of the streets was based on a mathematical grid of seven squares representing the ancient Hindu map of the universe with the sacred Mount Meru, home of Lord Shiva, occupying the central square.<br /><br />Thus, the palace rests in the central grid and the rest of the grids cut across neatly by wide lanes which divide the area into tidy, well laid out rectangles for commercial and residential use. A high crenellated wall runs round it as a form of defense and is pierced with seven gateways that serve as entry points. But today, the city has outgrown its walls and continues to grow.<br /><br />Vidyadhar was a strict planner and even the drawings for private residences and trading establishments had to be submitted to his stringent gaze and meet with his approval. This is the reason for the striking similarity in the facades of buildings in even the bazaars of the old city. <br /><br />Jaipur’s architectural planning may have been ancient, but its execution was definitely modern. Best represented by the City Palace complex, it brought together all that was excellent in Rajput and Mughal architecture, creating a new tradition that found wide currency over much of north India.<br /><br />The magnificent palace located in the heart of the city occupies one-seventh of the old city area. Built between 1729 and 1783 by Sawai Jai Singh, the complex is encompassed by a high wall and is divided into a series of courtyards, gardens and other buildings. It is a splendid fusion of Rajput and Mughal architecture.<br /><br />Visitors are ushered in through Atish Pol, and then to Chandi Chowk and Gainda ki Deorhi. Now, we come to the main buildings of the City Palace. The Chandra Mahal occupies the centre stage and is still the residence of erstwhile ruling family.<br />Royal wardrobe (Tosha Khana) consists of the dazzling white Mubarak Mahal which is an architectural beauty.<br /><br />It is made of sandstone with intricately carved arches. It is plain and simple in design, yet, very impressive. The suite of rooms in the first floor houses such treats as the special festival dress like odhnis (shawl), one of which has 8 kg of gold woven into it. The gallery also has Pratap Singh’s personal outfits.<br /><br />It also treasures the royal accoutrements of hookah bases, Jaipur pottery, Mughal glass, marble toys and an exceptional collection of musical instruments. But the remarkable one is the Atamsukh; a garment of Madho Singh I. As the story goes, its owner was seven feet tall and weighed 225 kg. <br /><br />Another delightful sight is the Maharani’s Palace, which is now a repository of finest collections of Indian weaponry. Noticeable is the steel mace in the shape of a lotus bud — when lodged firmly in the victim’s stomach, it would spring open into a fan of sharp spikes, killing him instantaneously.<br /><br />Singh Pol, a typically Hindu square gatehouse with delicate balconies supported by ornate bracket, has large bronze double doors. It leads into a pretty courtyard where frilly white arches on salmon pink walls are 18th century Rajput decorations. But the Diwan-I-Khas in the centre is strictly Mughal in style. It is situated on a raised platform which gives it an imposing effect. It is simple in design with a pink base and has white line decorations applied on it.<br /><br />The square pavilion of the Diwan-I-Khas has four small rooms on each corner and lampposts around it. The double columns are made of marble which form cusped arches. To the north-east of the pavilion is a staircase which leads to the baradari on the roof top where the rulers held private durbars. It is surrounded by high walls with jali work which served as a veil for women.<br /><br />One should not miss another important landmark, the silver urns in the mandap. Within its sculpted arches stand two huge sterling silver vessels in which the king carried holy Ganga water to Europe. They have a massive height of 160 cm each and have a capacity of 9,000 litres. Guinness Book of Records lists them as the largest silver vessel in the world.<br /><br />The art gallery in the erstwhile Diwan-I-Aam has a well preserved painted ceiling on which original semi-precious stones still retain their lustre. Suspended from the ceiling is a huge chandelier made of crystal. The exhibits also include miniature paintings of Rajasthani, Mughal and Persian schools featuring religious themes, mainly scenes from the Indian epics.<br /><br />One can also see the first carpets from Herat in Afghanistan and Lahore. The list is endless... On the whole, the palace itself is no less than an art gallery.<br /><br /></p>
