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City Palace and Museum, Udaipur, an impressive, sprawling complex of granite and marble, which graces over a kilometre of the eastern shore of Pichola Lake. Maharana Udai Singh II started building it in 1559; today, it is the most popular and important tourist attraction of Udaipur. Superficially, it appears to be a single residence towering above the lake, giving rise to the claim that it is the largest palace complex in Rajasthan. However, Udai Singh's original palace continued to be added to upon its northern side by as many as twenty-two later Maharanas: it is really four major and several minor palaces with a unique single façade. Although it is a blend of Rajput and Mughal styles, its architectural unity has been impeccably maintained. The exterior is adorned with octagonal towers surmounted by cupolas; the interior is full of numerous courtyards connected by steep narrow stairways (to prevent easy attack), carved pillars and marble pools. However, there are not nearly as many rooms inside as one would imagine, because the line of natural rock around which the palace is built thrusts up towards the centre so that what appears to be the top floor is in fact a ground floor with trees. Author, Chandradioji Sisodia, in the time of Maharana Fateh Singh, described the City Palace in these glowing terms:
... nor is there in the East a more striking structure. It stands upon the very crest of a ridge, running parallel to, but considerably elevated above the margin of the lake. The terrace [the exterior courtyard known as Bada Chowk], which is at the east, and chief front of the palace extends throughout its length, and is supported by a triple row of arches, from the declivity [slope] of the ridge. The height of this arcaded wall is full 50 feet [about 15 m.], and although all is hollow beneath, yet so admirably is it constructed than an entire range of stables is built on the extreme verge off the terrace, on which all the forces of the Maha Rana, elephants, cavalry and infantry are often assembled. From this terrace, [the] city and the valley lie before the spectator, whose vision is bounded only by the distant hills; while from the south of the palace nothing obstructs the view over lake and mountain.
The main part of the Palace is now a substantial museum of the Mewar Dynasty. Historically the residence of the Maharanas of Udaipur, its luxurious apartments and roof gardens could take a while to explore by yourself; however, an interesting and informative tour with a professional guide will take about two hours.
A Tour of the City Palace Museum (for more details about the attractions, see individual entries). Coming from the city heart at the northern end of the complex, you pass the magnificent JAGDISH TEMPLE (sadly, now rather hidden behind a mass of advertising hoardings). You navigate a narrow sloping street of colourful tourist shops, popularly known as JAGDISH BAZAAR, and enter the City Palace via BADI POL, which was built in 1600. Inside, on the left are eight carved arches (TORANAS) commemorating the Tuladans performed by Maharanas, when they were weighed in gold and silver pieces, which were then distributed amongst Brahmans who used this money to build their tanks and temples. Beneath the arches is the entrance to the MAHARANA MEWAR SECONDARY SCHOOL and the MAHARANA MEWAR SPECIAL LIBRARY. Continuing up a slight rise, you pass through the exquisitely carved, triple-arched TRIPOLIA GATE built in 1725. Immediately inside is a large courtyard, Bada (or Manak) Chowk. In the immediate northern section, elephants were tethered and, on occasion, elephant fights were held, mainly to exercise the pachyderms. The large, landscaped BADA CHOWK fronts the palace, and features symmetrical and well-kept lawns, gardens, and fountains, and is the venue for many official functions on balmy Mewar evenings.
Immediately south (left) of the main entrance stairway is an arched gateway, Toran Pol, which leads to a small vestibule, the ZANANA DYODHI, then into the ZANANA MAHAL, a towering medieval building built for the queens of Mewar by Maharana KARAN SINGH II ca 1620, and added to by his successors. Built like a fortress, it is almost windowless but astonishingly spacious within. From the lakeside, the towering buttresses are nearly 31 m. high. On the top levels, latticed windows give privacy, air and light. Its actual name is the Rawala, but is known as Zanana Mahal or Palace of the Queens. Within this building are the LAXMI CHOWK, OSARA, and the RANG BHAVAN. The Zanana Mahal was opened to the public in October 1974 as a museum. At the end of the 1990s, the present head of the Mewar Dynasty, ARVIND SINGH MEWAR, restored and redecorated the Zanana Mahal, and it is now a magnificent setting for private functions. The huge cupola on the western rostrum, designed by Arvind Singh, is a superb open-style ornament of delicate metal vines.
Returning to the outside courtyard, you then proceed to the main entrance stairway into the Palace. Most of the original building now houses the Museum of the Maharana Mewar Foundation, and is open to the public. Passing through the outer, tall entrance archway, above which is the Mewar coat of arms, you reach an open courtyard, the Ganesh Dyodhi (the Rajasthan Government Museum is off a courtyard at the rear to the right). From here, you ascend a stairway to the RANG ANGAN (Royal Courtyard) built in 1571. Here there is a small temple, the DHUNI MATA, the oldest part of the City Palace, and of Udaipur. It was built on the spot where Udai Singh II met the ascetic who suggested this site for Udaipur (see UDAIPUR). A wooden railing encircles the holy spot where the sage is said to have sat. Around the courtyard outside Dhuni Mata are pictures depicting episodes from the life of Udaipur's greatest hero, Maharana PRATAP SINGH I.
As you proceed, you will notice a large golden sun (the Mewar Dynasty traces its lineage to Surya the Sun God) with Rajput facial features; this is the insignia of the SISODIAS of Mewar, the acknowledged head of the thirty-six Rajput clans. An inner room houses Pratap's suit of chain-armour and weapons, together with the armour worn by his horse, CHETAK. As shown in many of the paintings, horses during battles often wore an artificial elephant's trunk. This not only offered a certain protection to the front legs of the animal but was also meant to induce fear into the enemy's horses that might mistake the horse for a young elephant. Up a nearby stairway is a simple marble throne on a raised platform. It was here that the Maharanas sat at the time of their coronation during a ceremony known as Lakhu Gokhra, which was last performed at this spot in the time of Maharana SANGRAM SINGH II (1710-34). The palaces beyond this are reached through a maze of courtyards, garden terraces, rooms (several of them replete with furniture and furnishings of the time), corridors and narrow passageways.
The most memorable area is the centrally located MOR CHOWK (Peacock Courtyard) built in the 17th century by Maharana KARAN SINGH II as a new durbar (meeting or reception) area. Inlaid glass mosaics of peacocks, depicting the seasons, festoon its walls. The peacocks, to which Mor Chowk owes its name, were added more than two hundred years later, during the late 19th century, by Maharana SAJJAN SINGH. Above Mor Chowk is the 19th century SURYA PRAKASH with inlaid glass work on its outer walls. Next is the memorial shrine of KRISHNA VILAS, filled with miniature paintings, and dedicated to KRISHNA KUMARI, the tragic little daughter of Maharana BHIM SINGH. Nearby, the MANAK MAHAL (Ruby Palace) displays a collection of fine porcelain figures and glassware. A little further on is the CHINI CHITRASHALI built in 1717 during the reign of Maharana SANGRAM SINGH II. It also houses exquisite Chinese porcelain and glass, and is renowned for its brilliant blue mosaics. Next is the MOTI MAHAL (Palace of Pearls), embellished with thousands of tiny mirrors. Possibly, it was named after Udai Singh's original palace of the same name, built upon a hill a couple of kilometres to the north before establishing Udaipur. On what seems to be the top floor of the City Palace is the BADI MAHAL (Amar Mahal or Garden Palace), added between 1699 and 1711, mainly during the reign of Maharana AMAR SINGH II. Actually it is on the ground, built upon a large, 27-m. high rock formation, giving the illusion that the ground floor rooms around the rock are elevated. From the latticed windows you are rewarded with magnificent views of the city to the east, and Pichola Lake and a top perspective of the Lake Palace on the western side. Being on the ground, although it seems so high, it features a beautiful central garden with flowering shrubs, trees, ponds, fountains and arched pavilions. Finally, one of the most interesting exhibits is the DIL KHUSHAL, which features a room with a mirrored glass floor. Nearby is the SUN WINDOW installed by Maharana BHIM SINGH (1778-1828). On some occasions, and in troubled times, the Maharanas were expected to "show themselves" to their people by way of encouragement and to shed light in place of the hidden sun.
Modern Additions. At the southern end of the City Palace is FATEH PRAKASH PALACE, now a luxury heritage hotel, and SHAMBHU NIWAS PALACE, built in the mid 19th century, now the residence and office of Maharana Arvind Singh. Behind that is SHIV NIWAS, built later by Maharana Fateh Singh, now an exclusive luxury hotel. South of the City Palace network, a pleasant landscaped garden spreads to the shore of the lake, where there are bathing and dhobi (laundry) ghats. The two islands in the lake are JAG MANDIR, on the left, and JAG NIWAS (Lake Palace).
City Palace Bazaar (Udaipur): see JAGDISH BAZAAR.
City Palace Museum Market (Udaipur): see JAGDISH BAZAAR.
City Railway Station, near Udiya Pol, Udaipur; the city's main railway station.
'City within a City, The', Arvind Singh Mewar's grand project of development and re-development. Arvind Singh: "Times have changed, but the challenge today is to be prepared for the future and to be integrated into the global village." After Independence in 1947 and the abrupt abolition of the Indian Princely States, tourism eventually became a way of life for many of the former Princes. Because the major percentage of tourists want to see "how it was" when they visit a place, this burgeoning business offered an opportunity to preserve and maintain, as in the past, the vital elements of a kingdom's ancient culture and heritage. The artefacts, the paintings, the festivals, the buildings, and the archives are of importance to tourists and scholars. In Udaipur, this interest proved a valuable asset in preventing, to a great extent, the exploitation of heritage and tradition in haphazard and uncontrolled development, sacrificing aging, though important landmarks in the name of progress. To Arvind Singh, such horrendous degeneration of Udaipur, though a reality of changing times was inconceivable. Therefore, he began to develop a magnificent plan that would allow continued sustainable development, at the same time preserving "how it was".
He called his project, 'The City within a City'. It will be a 21st century sector of Udaipur that would not impinge upon but fully complement, in design and ambiance, the existing heritage. In the 1500s, the city of Udaipur was carefully planned and created by his ancestor, Maharana Udai Singh II. In the 1870s, Maharana Sajjan Singh formed a Municipality in Udaipur, the second city in India to have its own local self government and community administration. With Independence, control of the city was transferred from the Mewar Dynasty to the State Government ... all of the city, that is, except the Mewar family's extensive land holdings that surround the shores of Pichola Lake, which, by law, cannot be taken from them. It is this 'city' that Arvind Singh is now developing within the City of Udaipur. His grand scheme encompasses worthy ideals for the benefit and well being of the community. The concept and the facets are extensive.
To name a few: Protection of ancient heritage, encouraging the continuity of religious functions and rituals, social and cultural festivals, and preservation of the traditional costumes, turbans, weapons, and so on. Continuity of architectural heritage, which covers such areas as landscaping and interiors of palaces and dwellings, preservation and conservation of historical buildings and monuments, and creating training courses for the traditional building crafts and technologies. Environment and ecology management includes protection of catchment areas and primary water supplies for Udaipur, strict control and management of sewerage and waste systems, recycling waste water, prevention and control of air, water and noise pollution, protection of fauna and flora, and promoting the use of passive energy systems. Centres of excellence will be established, such as museums and art galleries, libraries, research institutes and archives, public schools and vocational institutions, many of which are already up and running at the time of writing. There will be promotion of local and traditional Arts and Crafts with direct sales centres from authorised outlets thereby making the craftsmen a direct beneficiary, and the establishment of artisans and craftsmen training centres. Public facilities will be developed, including parks, country clubs, public toilets, and health and body care centres, etc. Safe tourism will be a major consideration.
The above aims, which in themselves are far-reaching, only scratch the surface of Arvind Singh's blueprint. Again quoting him: "Today we are a living palace complex. Tomorrow I can see this city within the City grow to become a model of self-sufficiency able to generate revenues and meet the expectations of not just the people of Udaipur but also tourists ... I am fully conscious that I may not be able to foresee its entire completion in my life time. I can, however, set an example that others may wish to follow in the future. A future that is so inextricably linked with preserving the legacy of the past ... In a word, we are here to continue to serve." Already there is much restoration work going on in this city within the City, providing employment for a great many people. For more information, the reader might care to read Dipti Khera's well-illustrated and comprehensive book, The City within a City; contact the Maharana Mewar Charitable Trust, City Palace, Udaipur, Rajasthan 313 011.)
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