Blog

Part-1 Coping and Plinths

Plate -1 | Plate 2 |

Plate 3 : Coping from Madho-Bilas and Cenotaph of Maharaja Sawai Jaysingh at Jaipur

Coping from Madho-Bilas at jaipur

Jeypore, Jaipur, or Jayapur (City of Victory but so named from its founder-Jaysingh), the present capital of the Rajput State of the same name, is about 144 miles west from Agra, and was founded by Raja Sawai Jaysingh, about A.D. 1728. It was laid out by the great Raja on a regular plan of six great square blocks, in two rows of three cach, divided by main streets 110 feet wide, intersecting at right angles. One block, in the centre of one side, about half a mile in length, was reserved for the Palace buildings, Observatory, &c. The other blocks are intersected by secondary streets 55 feet wide, and the smaller square blocks thus formed are again divided by lanes 271 feet wide, also at right angles. It is surrounced by lofty crenellated masonry walls, and at the ends of the main streets are six gates-handsome, lofty masonry structures, exactly similar to one another. The population, exclusive of the suburbs is about 125,000. Madho-Bilas is part of the Palace in Jeypore erected by Maharaja Madhusingh, who ruled A.D. 1760-1778.

Home page of Jeypore portfolio of architecture details

Part-1 Coping and Plinths

Plate -1 | Plate 2 | Plate 3 | Plate 4 | Plate 5 | Plate 6 | Plate 7 | Plate 8 | Plate 9 | Plate 10 | Plate 11 | Plate 12

FAIR USE DECLARATION

This information is provided by the Front Desk Architects and Planners Forum (FDAPF) under Fair Use guidelines for educational and research purposes. To the best of our knowledge, it is in the public domain, and our goal is to make it more accessible for student of Architecture and Planning .

The materials used and displayed on the Sites, including text, photographs, graphics, illustrations and artwork, video, music and sound, and names, logos, IS Codes, are copyrighted items of respective owners. FDAPF is not responsible and liable for information shared above.

If you are the intellectual property owner and have concerns, please contact us, and we will address the matter promptly. Users are advised to verify legal use in their jurisdiction before accessing this material. For more details, visit our website.

Part-1 Coping and Plinths

Plate -1

Plate 2 : Coping from Jagatsarwan Mandir (Jagat Shiromani Ji temple) and Bhatji’s House at Amber

Coping From Jagatsarwan Mandir (Jagat Shiromani Ji temple) at Amber

The Jagat Shiromani Ji Temple is located in Amer, Rajasthan, behind the Amber Fort.  The temple was built between 1599 and 1608 AD by Queen Kanakwati and King Man Singh I in memory of their son, Jagat Singh.  The temple is dedicated to Lord Krishna and the devotee Meera Bai. It contains a statue of Lord Shri Krishna that is believed to be the same statue that Meera Bai worshipped in the State of Mewar

The buildings from which these details have been taken were probably erected in the 17th century.

The Jagat Shiromani Ji Temple is known for its architectural beauty and religious significance. It features intricate carvings and artwork that are characteristic of Rajasthani architecture. Devotees and tourists visit this temple to pay their respects and admire the craftsmanship of the temple.

Inside the temple complex, you can find various shrines and idols dedicated to different deities, including Lord Krishna and Meera Bai. The temple is an important religious and cultural site in the region and is often included in the itineraries of tourists exploring the Amer

Coping From Bhatji’s House at Amber.

These details are from a private dwelling known as the house of the Bhat or Court bard. See Plate 39

Home page of Jeypore portfolio of architecture details

Part-1 Coping and Plinths

Plate -1 | Plate 3 | Plate 4 | Plate 5 | Plate 6 | Plate 7 | Plate 8 | Plate 9 | Plate 10 | Plate 11 | Plate 12

FAIR USE DECLARATION

This information is provided by the Front Desk Architects and Planners Forum (FDAPF) under Fair Use guidelines for educational and research purposes. To the best of our knowledge, it is in the public domain, and our goal is to make it more accessible for student of Architecture and Planning .

The materials used and displayed on the Sites, including text, photographs, graphics, illustrations and artwork, video, music and sound, and names, logos, IS Codes, are copyrighted items of respective owners. FDAPF is not responsible and liable for information shared above.

If you are the intellectual property owner and have concerns, please contact us, and we will address the matter promptly. Users are advised to verify legal use in their jurisdiction before accessing this material. For more details, visit our website.

The porfolio was prepared under supeviosn of S. S. Jacob and issued under patronage of maharaja Swai Madhu singh in year 1890. The arrangement of the several portfolios is as follows :

Part-1 Coping and Plinths

Part-2 Pillars – Caps and Bases

Part-3 Carved Doors

Part-4 Brackets

Part-5 Arches

Part-6 Balustrades

The portfolio was to serve as a extensive record of the architectural heritage of the erstwhile Jeypore State of dhundhar region of Rajasthan

Part-1 Coping and Plinths :

Plate 1 : Coping from Zanana palace , Jas Mandir, Diwan Khana and Ganesh pol at Amber, Jaipur

Plate 2 : Coping from Jagatsarwan Mandir (Jagat Shiromani Ji temple) and Bhatji’s House at Amber

Plate 3 : Coping from Madho-Bilas and Cenotaph of Maharaja Sawai Jaysingh at Jaipur

Plate 4 : Coping from Jain Mandir at Jaipur walled city

Plate 5 : Coping from Jain Mandir at Jaipur walled city

Plate 6: Coping from Jain Mandir Sanghi Ji, Sanganer (Jaipur)

Plate 7: Plinth from the Tomb of Nizamuddin, Delhi.

Plate 8 : Coping from the Moti Masjid and Saman ( Musamman ) Burj at Agra

Plate 9 : Coping of Tomb of Nizamuddin , Delhi and Kashi Vishwanath Temple, Varanasi

Plate 10 : Coping from Mansur ka Madrasa , Tomb of Mirza Jahangir and Tomb of Shah Nizamuddin at Delhi

Plate 11 : Coping from the Tomb of Khan Dara Khan and Idgah of Shumsuddin Delhi.

Plate 12 : Coping from the Fatehpuri Masjid and Mansur’s Madrasa at Delhi

Plate 13 : Coping from the Diwan-i-Khas , Moti Masjid and Sawan-Bhadon Pavilions in the Red Fort, Delhi.

Plate-14 : Coping from the Saman Burj and Diwan-i-Khas in the Red Fort and Madrasa of Itimad-ud-daulah at Delhi

Plate 15 : Coping from the Jama Masjid at Agra, Machhi-Bhawan in the Fort at Delhi and Saman Burj, Agra Fort

Plate 16 : Coping From the Throne in the Diwan-i-Am Fort and Madrasa Ghaziuddin Khan at Delhi.

Plate 17 : Coping From the Diwan-i-Am, Nagina Masjid and Moti Masjid in the Fort at Agra.

Plate 18 : Coping From the Macchi Bhawan, Red fort and Throne in the Diwan-i-Khas in Agra Fort.

Plate 19 : Coping From the Tomb of Itimad-ud-Daulah (Chauburja), Nagina Masjid and Khas Mahal, Anguri Bagh Agra.

Plate 20 : Plinth from the Khas Mahal in Agra Fort

Plate 21 : Coping from Fatehpur Sikri near Agra.

Plate 22 : Plinth and Coping from Nand Bhawan, Deeg Palace at Deeg, Bharatpur

Plate 23 : Coping from harshnath temple, Harsh, Sikar

Plate-24 : Coping from the Suraj Pol at Udaipur and house at Chaksu, Jaipur

Plate -1 : Coping from Zanana palace , Jas Mandir, Diwan Khana and Ganesh pol at Amber, Jaipur

Plate 2 | Plate 3 | Plate 4 | Plate 5 | Plate 6 | Plate 7 | Plate 8 | Plate 9 | Plate 10 | Plate 11 | Plate 12

FAIR USE DECLARATION

This information is provided by the Front Desk Architects and Planners Forum (FDAPF) under Fair Use guidelines for educational and research purposes. To the best of our knowledge, it is in the public domain, and our goal is to make it more accessible for student of Architecture and Planning .

The materials used and displayed on the Sites, including text, photographs, graphics, illustrations and artwork, video, music and sound, and names, logos, IS Codes, are copyrighted items of respective owners. FDAPF is not responsible and liable for information shared above.

If you are the intellectual property owner and have concerns, please contact us, and we will address the matter promptly. Users are advised to verify legal use in their jurisdiction before accessing this material. For more details, visit our website.

Dhundhar architecture is a regional architectural style that originated in the Dhundhar region of Rajasthan, India. The Dhundhar region includes the state capital, Jaipur, and its surrounding areas. This architectural style is closely associated with the city of Jaipur, which is known as the “Pink City” due to the predominant use of pink sandstone in its architecture.

Jeypore portfolio of architecture details by col. S. S. Jacob have extensive documentation of Dhundhar architecture style. Widely regarded as one of the chief proponents of the revival of building crafts in the region, as well as a leading exponent of the ‘Indo-Saracenic’ style, Jacob strove to adapt the building tradition to suit ‘modern’ requirements. The Portfolio was intended as a ‘practical’ reference to the architect and artisan in the form of ‘working drawings’ of these elements

Amber was the former capital of the Dhundhar- now Jaipur Jayapur or Jeypore-State in Rajputana from about A.D. 1937 to A.D. 1798. It is 5 miles north of the present capital. It is almost entirely shut in by the surrounding hills, and is now nearly deserted. At the south end of the town is a small lake, and on its margin are the Royal Baths. From these a steep ascent leads up to the Fort or Castle, which contains the Old Palace. The Palace buildings were begun by Maharaja Mansingh about A.D. 1593, and were completed by Maharaja Sawai Jaysingh before the year A.D. 1728, when he removed the seat of Government to the modern capital. These buildings contain numerous courts and suites of apartments, some of them small and reached through intricate passages; others extremely beautiful, and “enjoying from their windows, balconies and terraces,” says Heber, one of the most striking prospects which can be conceived. For varied and pictureaque effect, for richness of carving, for wild beauty of situation, for the number and romantic singulanty of the apartments,” he adds, “I am able to compare nothing with Amber, and this, too, was the work of Jaysingh.” The Zanana Palace is part of the royal bundings in the Fort.

आमेर, जो करीब ई.स. 1798 तक ढूंढाड़ का पूर्व राजधानी था, अब जयपुर राज्य, राजपुताना का है। यह वर्तमान राजधानी से लगभग 5 मील उत्तर में है। यह कुछयत के पहाड़ों से लगभग पूरी तरह से घिरा हुआ है, और अब यह लगभग खाली हो गया है। नगर के दक्षिण अंश पर एक छोटा सा झील है, और इसके किनारे शाही स्नान घर हैं। इनसे एक ढीले चढ़ाई से किला या किला पर जाता है, जिसमें पुराना महल है। महल की निर्माण कार्य महाराजा मानसिंह ने करीब ई.स. 1593 को शुरू किया था, और इन्हें महाराजा सवाई जयसिंह ने ई.स. 1728 के बाद, जब उन्होंने सरकार की सीट को आधुनिक राजधानी में स्थानांतरित किया, पूरा किया। इन भवनों में कई आवास और अपार्टमेंट के सुइट हैं, जिनमें से कुछ छोटे हैं और जटिल पैसेज के माध्यम से पहुंचे जाते हैं; दूसरे बेहद सुंदर हैं, और “उनके खिड़कियों, बालकनियों और छतों से आनंद लेते हैं,” हीबर के अनुसार, “जो किसी भी प्राकृतिक दृश्य से भी अधिक प्रभावशाली है। विविध और चित्रण के लिए, नक्काशी की धनयता के लिए, स्थिति की जंगली सुंदरता के लिए, और आवासों की संख्या और रोमांचक अलगाव के लिए,” उनका यह कहना है, “मैं आमेर के साथ कुछ भी तुलना कर सकता हूँ, और यह भी, जयसिंह का काम था।” ज़नाना महल किले के शाही भवनों का हिस्सा है।

Dhundhar architecture is characterized by several distinctive features:

1. Pink Sandstone: One of the most defining features of Dhundhar architecture is the use of pink sandstone, which gives the buildings in the region their unique appearance. The use of this sandstone is especially prominent in the old city of Jaipur.
2. Symmetrical Layout: Dhundhar architecture often follows a symmetrical layout, with buildings and their components being balanced and harmonious in design. This symmetry is particularly evident in palaces and forts.
3. Chhatris (Pavilions): Chhatris are small, elevated, dome-shaped pavilions that are commonly found in Dhundhar architecture. They are often used as memorials for royalty or as decorative elements in gardens.
4. Jharokhas (Balconies): Jharokhas, or decorative enclosed balconies, are a common feature in Dhundhar architecture. They are adorned with intricate lattice work and often serve as vantage points to view processions or events.
5. Courtyards: Traditional Dhundhar homes and havelis are built around central courtyards, which may include gardens, fountains, or other water features. These courtyards provide natural ventilation and serve as private spaces for residents.
6. Frescoes and Murals: Some palaces and havelis in Dhundhar are adorned with colorful frescoes and murals that depict scenes from mythology, history, and daily life.
7. Geometric Patterns: Dhundhar architecture often incorporates geometric patterns in its designs, both in the facades of buildings and in interior decor.
8. Mughal Influence: While Dhundhar architecture has its own unique characteristics, it also shows the influence of Mughal architecture, especially in the use of arches, domes, and ornate decorative elements.
9. Use of Local Materials: Like other regional architectural styles, Dhundhar architecture makes use of locally available materials, including sandstone and marble.
10. Forts and Palaces: Dhundhar is home to several forts and palaces, with the Amber Fort being one of the most famous examples. These structures are known for their grandeur and architectural beauty.

Dhundhar architecture reflects the rich cultural heritage and historical significance of the region. It has contributed to the visual identity of Jaipur and remains a prominent attraction for tourists interested in exploring the architectural and cultural heritage of Rajasthan.

Culture zones of Rajasthan

Hadoti architecture is a regional architectural style that originated in the Hadoti region of Rajasthan, India. The Hadoti region is located in the southeastern part of Rajasthan and includes cities like Kota, Bundi, and Jhalawar. This architectural style is characterized by its unique blend of Rajput and Mughal architectural elements. Here are some key features of Hadoti architecture:

हाड़ौती स्थापत्य शैली एक प्रादेशिक वास्तुकला शैली है जो भारत के राजस्थान राज्य के हाड़ौती क्षेत्र में उत्पन्न हुई थी। हाड़ौती क्षेत्र राजस्थान के दक्षिण-पूर्वी भाग में स्थित है और इसमें कोटा, बूंदी और झालावड़ जैसे शहर शामिल हैं। इस वास्तुकला शैली की विशेष पहचान है जिसमें राजपूत और मुग़ल वास्तुकला तत्वों का अद्वितीय मेल होता है। निम्नलिखित कुछ मुख्य विशेषताएँ हाड़ौती स्थापत्य शैली की हैं:

1. Forts and Palaces: Hadoti architecture is often associated with the construction of forts and palaces. The forts in this region are known for their grandeur and defensive structures, with impressive gateways and bastions.
   • किले और महल: हाड़ौती स्थापत्य को अक्सर किलों और महलों के निर्माण के साथ जोड़ा जाता है। इस क्षेत्र के किले अपने भव्यता और सुरक्षा संरचनाओं के लिए प्रसिद्ध हैं, जिनमें प्रभावशाली प्रवेश द्वार और बैस्टियन होती हैं।
2. Stone Carving: Stone carving is a prominent feature of Hadoti architecture. Skilled artisans carve intricate designs and motifs on the stone facades of buildings, including temples, palaces, and havelis (traditional mansions).
   • पत्थर की कढ़ाई: पत्थर की कढ़ाई हाड़ौती स्थापत्य की प्रमुख विशेषता है। कुशल शिल्पकार परिसर के भवनों की पत्थरी भित्तियों पर जटिल डिज़ाइन और मोतीफ उकेरते हैं, जैसे कि मंदिर, महल, और हवेलियों की भवन की झिल्लीदार दीवारों पर।
3. Jharokhas (Balconies): Many buildings in the Hadoti style feature jharokhas, which are decorative enclosed balconies or windows. These jharokhas often have intricate lattice work and provide a beautiful architectural detail.
   • झरोखे (बालकनियाँ): हाड़ौती की भवनों में झरोखों का प्रमुख स्थान है, जो सजावट से भरपूर बालकनियाँ या खिड़कियों की तरह कार्य करती हैं। इन झरोखों पर अक्सर जटिल जाली काम होता है और यह भवन के वास्तुकला विवरण में खूबसूरती जोड़ता है।
4. Frescoes and Murals: Some palaces and havelis in the Hadoti region are adorned with frescoes and murals depicting scenes from mythology, nature, and daily life. These paintings are often colorful and add to the aesthetic appeal of the structures.
   • फ्रेस्को और मुरल: हाड़ौती क्षेत्र के कुछ महल और हवेलियों पर धार्मिक कथाओं, प्राकृतिक दृश्यों और दैनिक जीवन की दृश्यों को दिखाने वाले फ्रेस्को और मुरलों से सजाया गया है। ये चित्र अक्सर रंगीन होते हैं और भवनों की आकर्षण क्षमता में योगदान करते हैं।
5. Chhatris (Pavilions): Chhatris, or small domed pavilions, are a common architectural feature in Hadoti. They are used for various purposes, including as cenotaphs for the royal family members.
   • छतरियाँ (पविलियन्स): हाड़ौती में छतरियाँ, यानि छोटे गुंबद वाले पविलियन, आमतौर पर मृत्यु व्यक्ति के स्मारण के रूप में प्रयुक्त होते हैं।
6. Courtyards: Traditional Hadoti homes and havelis are built around central courtyards, which often feature gardens and water features. These courtyards provide natural ventilation and serve as private spaces for residents.
   • आंगन: हाड़ौती के पारंपरिक घरों और हवेलियों के मध्य में केंद्रीय आंगनों के चारों ओर बने होते हैं, जिनमें अक्सर बगीचे और जल संरचनाएँ होती हैं। ये आंगन प्राकृतिक हवा प्रवाह प्रदान करते हैं और निवासियों के लिए निजी स्थल का कार्य करते हैं।
7. Stepwells: The region also has a number of stepwells, such as the Chand Baori in Abhaneri, known for their intricate and symmetrical designs. Stepwells served as water reservoirs and cool retreats during hot summers.
   • स्टेपवेल्स: इस क्षेत्र में कई स्टेपवेल्स भी हैं, जैसे कि अब्हानेरी का चांद बावड़ी, जिनमें उनकी जटिल और सममित डिज़ाइन की जानी जाती है। स्टेपवेल्स पानी के भंडारण के रूप में कार्य करते थे और गर्मियों के दौरान शीतल आश्रय के रूप में उपयोग किया जाता था।
8. Architectural Symmetry: Hadoti architecture often places a strong emphasis on symmetry, with buildings and their components being balanced and harmonious in design.
   • वास्तुकला सममिति: हाड़ौती स्थापत्य अक्सर सममिति पर बल देता है, भवनों और उनके घटकों को डिज़ाइन में संतुलित और हारमोनियस बनाता है।
9. Use of Local Materials: Buildings in the Hadoti style are typically constructed using locally available materials, such as sandstone. The use of indigenous materials is both practical and sustainable.
   • स्थानीय सामग्री का उपयोग: हाड़ौती स्थापत्य के भवन आमतौर पर स्थानीय उपलब्ध सामग्री, जैसे कि बलुआ पत्थर, का उपयोग करके निर्मित होते हैं। स्थानीय सामग्री का उपयोग प्रागैतिहासिक और साथिक दृष्टिकोण से भी प्रामाणिक होता है।
10. Influence of Islamic and Rajput Styles: Hadoti architecture reflects a fusion of Islamic and Rajput architectural elements. This blend of influences creates a unique and visually striking architectural style.
    • इस्लामी और राजपूत शैली का प्रभाव: हाड़ौती स्थापत्य शैली में इस्लामी और राजपूत वास्तुकला तत्वों का मिश्रण है। इन प्रभावों का संघटन एक अद्वितीय और दृश्याकर्षक वास्तुकला शैली पैदा करता है।

The Hadoti region’s architecture is a testament to the rich cultural and historical heritage of Rajasthan, and it continues to be appreciated for its beauty and historical significance.

हाड़ौती क्षेत्र की वास्तुकला उसके राजस्थान की धरोहर और इतिहासिक महत्व की गवाही है, और इसकी सुंदरता और ऐतिहासिक महत्व को दर्शाने के लिए उपयोगी है।

The temples of Hadoti are built in the Pratihara style of architecture, which dates back to the tenth century A.D.. The Archaeological Survey of India is responsible for the conservation and protection of all nine temples.

The Baroli Temples Complex is located in Baroli village in Rawatbhata taluk in Kota district in Rajasthan, India. The complex is located close to the rocky bank of the Chambal River, 45 kilometres (28 mi) south east of Kota, on the outer limits of Rawatbhata town. Set around a natural fountain, they are positioned in two zones in the midst of a forest containing peepal, kadamba,mango, and jamun trees

The Ghateshwara Mahadeva temple  It’s the largest and best preserved of the nine temples in the complex.  The temple is 58 feet high and is adorned with figures of apsaras (nymphs), and the deities Ganga and Yamuna.  It also has a carved sculpture of Lord Shiva on the wall. 

The temple was built between the 10th and 11th centuries CE by the Gurjara-Pratihara dynasty. It’s governed by the Archaeological Survey of India. 

The temple has a rectangular sanctum with a projecting vestibule. The sanctum was probably topped by a Valabhi (wagon vault), which is now missing. The entrance to the sanctum does not have any decorations

The Ghateshwara Mahadeva temple is the most prominent and the largest in the complex. The main temple structure comprises the sanctum (garbhagriha) and the mukhamandapa, a front mandapa or hall. Dated to the early 10th century, it is an intact structure which has the god Shiva depicted in the form of five lingas. One linga appears like an inverted ghata or pot, and hence the name given to the temple of “Ghateshwara” (pot-Lord), while “Mahadeva” is a term for Shiva. The sanctum has a ceiling in the form of a large blossoming lotus. The temple has a finely carved shikara(pinnacle) above the sanctum. The superstructure has been described as a latina and the pinnacle is a phamsana. The entire superstructure is supported by six pillars and two pilasters. The pilasters, which are part of the sanctum wall, project from the wallby two thirds of its width, and have niches encased with sculptures.

The mukhamandapa serves as a pillared entrance that leads to the sanctum. Shiva’s mount Nandi (the bull) is installed between the mukhamandapa and the sanctum. The niches inside the temple are decorated with elegantly carved images of Andhakantaka (shiva slaying the demon Andhaka), Nataraja (Shiva as the Lord of dance) and the goddess Chamunda; similar images are also carved on the lintel above the entrance door. The mukhamandapa also has many carved images of semi-clad, dancing apsaras (heavenly nymphs). The ceiling is decorated with concentric forms with coiffured cusps.

The Sringar Chauri or rangamandapa (the hall of dance) is a later addition to the temple, situated just outside it. The large pillared hall is built over a raised platform called a pitha, which has decorative carvings. The transepts of the hall have co-axial entrances, both on the east and the west, ensconced in kakshasana balustrades. The four central pillars supporting the hall are very well ornamented. The images include the river goddesses Ganga and Yamuna as dwarapalas (door-keepers), the trinity images of Brahma-Vishnu-Shiva, and several depictions of Shiva in his different incarnations. Twenty pillars around the perimeter of the hall are simple in design.

There is a sacred tank next to the temple which has a tiered approach leading to the edge of the water.

Culture zones of Rajasthan