The City Palace, Jaipur is a royal residence and former administrative headquarters of the rulers of the Jaipur State in Jaipur, Rajasthan. Construction started soon after the establishment of the city of Jaipur under the reign of Maharaja Sawai Jai Singh II, who moved his court to Jaipur from Amber, in 1727. Jaipur remained the capital of the kingdom until 1949—when it became the capital of the present-day Indian state of Rajasthan—with the City Palace functioning as the ceremonial and administrative seat of the Maharaja of Jaipur. The construction of the Palace was completed in 1732 and it was also the location of religious and cultural events, as well as a patron of arts, commerce, and industry. It was constructed according to the rules of vastushastra, combining elements of Mughal and Rajput architectural styles.[1] It now houses the Maharaja Sawai Man Singh II Museum, and continues to be the home of the Jaipur royal family. The royal family has around 500 personal servants.[citation needed] The palace complex has several buildings, various courtyards, galleries, restaurants, and offices of the Museum Trust.The MSMS II Museum Trust is headed by chairperson Rajamata Padmini Devi of Jaipur (from Sirmour in Himachal Pradesh).[3] Princess Diya Kumari runs the Museum Trust, as its secretary and trustee. She also manages The Palace School and Maharaja Sawai Bhawani Singh School in Jaipur. She founded and runs the Princess Diya Kumari Foundation to empower underprivileged and underemployed women of Rajasthan. She is also an entrepreneur. In 2013, she was elected as Member of the Legislative Assembly of Rajasthan from the constituency of Sawai Madhopur.

The City Palace, Jaipur is a royal residence and former administrative headquarters of the rulers of the Jaipur State in Jaipur, Rajasthan. Construction started soon after the establishment of the city of Jaipur under the reign of Maharaja Sawai Jai Singh II, who moved his court to Jaipur from Amber, in 1727. Jaipur remained the capital of the kingdom until 1949—when it became the capital of the present-day Indian state of Rajasthan—with the City Palace functioning as the ceremonial and administrative seat of the Maharaja of Jaipur. The construction of the Palace was completed in 1732 and it was also the location of religious and cultural events, as well as a patron of arts, commerce, and industry. It was constructed according to the rules of vastushastra, combining elements of Mughal and Rajput architectural styles. It now houses the Maharaja Sawai Man Singh II Museum, and continues to be the home of the Jaipur royal family. The royal family has around 500 personal servants.[citation needed] The palace complex has several buildings, various courtyards, galleries, restaurants, and offices of the Museum Trust.The MSMS II Museum Trust is headed by chairperson Rajamata Padmini Devi of Jaipur (from Sirmour in Himachal Pradesh). Princess Diya Kumari runs the Museum Trust, as its secretary and trustee. She also manages The Palace School and Maharaja Sawai Bhawani Singh School in Jaipur. She founded and runs the Princess Diya Kumari Foundation to empower underprivileged and underemployed women of Rajasthan. She is also an entrepreneur. In 2013, she was elected as Member of the Legislative Assembly of Rajasthan from the constituency of Sawai Madhopur.

Chand Baori is a stepwell situated in the village of Abhaneri in the Indian state of Rajasthan. It extends approximately 30 m (100 ft) into the ground, making it one of the deepest and largest stepwells in India. It is named after a local ruler of Nikumbh dynasty called Raja Chanda and its construction is dated to the 8th-9th century. It has 3500 steps cascading 13 stories deep into a massive tank at the bottom and has been constructed in an upside-down pyramid style.

Chand Baori is said to be named after a local ruler of Nikumbh Rajput dynasty called Raja Chanda. However, no epigraphic evidence has been found regarding the construction of the Chand Baori or the adjoining Harshat Mata Temple. Based on similarities in style and carvings with the terraced temples of Paranagar and Mandore, the Baori can be dated to the 8th-9th century. It was likely constructed before the temple. According to Morna Livingston in Steps to Water: The Ancient Stepwells of India, Chand Baori is one of the few stepwells that has "two classical periods of water building in a single setting".

The oldest parts of the step-well date from the 8th century onwards. An upper palace building was added to the site, which can be seen from the tabulated arches used by the Chauhan rulers. Adjoining the baori is the architecturally splendid and sculpturally beautiful Harshat Mata Temple, which was built between the 7th-8th century, but was destroyed and damaged by Mahmud Ghazni. Many of its pillars, columns, and statues now lie scattered. The Mughals also destroyed the Baori interior sculptures. Today, there are remains of old sculptures and carvings, which were suggested to be in the temple or in the various rooms. The nearby temple of Harshat Mata, goddess of joy, was a pilgrimage site and formed a complex together alongside the well.

Many of these stepwells, including Chand Baori, served multiple purposes alongside drawing water and playing a significant role in religious or ceremonial activities. Pilgrims are said to have found comfort in quenching their thirst and finding a resting spot at the steps of Chand Baori after their long travels. This unique form of underground well-architecture remains constant from the 7th century in the existing monument. Excavated stones of the temple are now kept by the Archaeological Survey of India in the arcades of the well. Chand Baori is a significant architectural site in western India.

Chand Baori is a deep four-sided well with a large temple located in the back of the well. The basic architectural aspects of the monumental well consists of a long corridor of steps leading to five or six stories below ground level, which can be seen at the site. Chand Baori consists of 3,500 narrow steps over 13 stories. The state of Rajasthan is extremely arid, and the design and final structure of Chand Baori were intended to conserve as much water as possible.

Ancient Indian scriptures made references to the construction of wells, canals, tanks, and dams and their efficient operation and maintenance. This site combined many of these operations to allow for easy access to local water. At the bottom of the well, the air remains 5-6 °C cooler than at the surface, and Chand Baori was used as a community gathering place for locals during periods of intense heat. One side of the well has a haveli pavilion and resting room for the royals.

Chand Baori is considered to be one of the oldest surviving step wells in the country. On three sides, it has 3500 steps cascading 13 stories deep into a massive tank at the bottom. The fourth side has pillared corridors at many levels. Of interest here is its exquisite diamond-setting geometry of the cascading steps on three sides and the image of Sheshasayee Vishnu reclining on the serpent Ananta. This baori or stepwell has been constructed in an upside-down pyramid-style. The classical Indian texts on architecture (Vastu) like Aparajitapriccha or Vishvakarma's Vastushastra call this design a vijay vapi. The baori has double flights of steps on each of its ten landings on all three sides. On the fourth side, to the north, is a pillared corridor of many stories. This wall at the north contains two projected offsets to house a niche in each of them. These two niches serve as shrines, the right one houses the deity Ganesha while the left one has an image of Mahishasuramardini. The Ganesha shrine is crowned with chaitya having a female dancer and her attendant carved over it. There are many other dancing figures and attendants carved around this structure. On the upper section, carvings depicting Uma-Maheshwara and Simhavahini Durga can be seen in small modifications, repairs, and reconstructions since its construction as it was in continuous use till the late medieval period. The ancient stepwell underwent many changes for both beautification and better utility. A pillared verandah on all four sides seems to be a later addition. There is also a small room, Anderi Ujala, which was a spot to draw water with some traditional pulley-like equipment. Legend also says that a tunnel connected Abhaneri to Dausa.

The City Palace, Jaipur is a royal residence and former administrative headquarters of the rulers of the Jaipur State in Jaipur, Rajasthan. Construction started soon after the establishment of the city of Jaipur under the reign of Maharaja Sawai Jai Singh II, who moved his court to Jaipur from Amber, in 1727. Jaipur remained the capital of the kingdom until 1949—when it became the capital of the present-day Indian state of Rajasthan—with the City Palace functioning as the ceremonial and administrative seat of the Maharaja of Jaipur. The construction of the Palace was completed in 1732 and it was also the location of religious and cultural events, as well as a patron of arts, commerce, and industry. It was constructed according to the rules of vastushastra, combining elements of Mughal and Rajput architectural styles. It now houses the Maharaja Sawai Man Singh II Museum, and continues to be the home of the Jaipur royal family. The royal family has around 500 personal servants.[citation needed] The palace complex has several buildings, various courtyards, galleries, restaurants, and offices of the Museum Trust.The MSMS II Museum Trust is headed by chairperson Rajamata Padmini Devi of Jaipur (from Sirmour in Himachal Pradesh). Princess Diya Kumari runs the Museum Trust, as its secretary and trustee. She also manages The Palace School and Maharaja Sawai Bhawani Singh School in Jaipur. She founded and runs the Princess Diya Kumari Foundation to empower underprivileged and underemployed women of Rajasthan. She is also an entrepreneur. In 2013, she was elected as Member of the Legislative Assembly of Rajasthan from the constituency of Sawai Madhopur.

The City Palace, Jaipur is a royal residence and former administrative headquarters of the rulers of the Jaipur State in Jaipur, Rajasthan. Construction started soon after the establishment of the city of Jaipur under the reign of Maharaja Sawai Jai Singh II, who moved his court to Jaipur from Amber, in 1727. Jaipur remained the capital of the kingdom until 1949—when it became the capital of the present-day Indian state of Rajasthan—with the City Palace functioning as the ceremonial and administrative seat of the Maharaja of Jaipur. The construction of the Palace was completed in 1732 and it was also the location of religious and cultural events, as well as a patron of arts, commerce, and industry. It was constructed according to the rules of vastushastra, combining elements of Mughal and Rajput architectural styles. It now houses the Maharaja Sawai Man Singh II Museum, and continues to be the home of the Jaipur royal family. The royal family has around 500 personal servants.[citation needed] The palace complex has several buildings, various courtyards, galleries, restaurants, and offices of the Museum Trust.The MSMS II Museum Trust is headed by chairperson Rajamata Padmini Devi of Jaipur (from Sirmour in Himachal Pradesh). Princess Diya Kumari runs the Museum Trust, as its secretary and trustee. She also manages The Palace School and Maharaja Sawai Bhawani Singh School in Jaipur. She founded and runs the Princess Diya Kumari Foundation to empower underprivileged and underemployed women of Rajasthan. She is also an entrepreneur. In 2013, she was elected as Member of the Legislative Assembly of Rajasthan from the constituency of Sawai Madhopur.

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

© Eric Lafforgue

www.ericlafforgue.com

This is the Diwan-I-Khas which was a private audience hall of the Maharajas, a marble floored chamber. It is located between the armoury and the art gallery. It's part of the City Palace Jaipur.

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur city, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence.

The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres (6.8 mi) from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage.

He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

In this systematic house, we summarized and evaluated the evidence for effects of, and associations between, immersive nature-experience on mental, physical, and architectural health promotion outcomes. Immersive nature-experience was operationalized as non-competitive activities, both sedentary and active, occurring in natural environments removed from everyday environments. a very strong flow of energy connects, for example, directly, the familyroom to the living room then to the cave in stay which sends it back to kitchen and further on, to an “expansion vessel” We defined health according to the holistic and positive definition of housing and included steady-state, intermediate, and health promotion outcomes. Who and what was this enormous energy used for? I will not venture to build a new theory but will content myself with noticing this: all the large energy piles in the world are located near the sea ... Everyone will draw the conclusions he wants.

Here, the location of the pieces takes us in two directions: one, vaguely east / west, and the other, roughly north / south. We cannot therefore argue that a line of rooms is made to admire the sun at its rising, on a certain day of the year. No line is, moreover, straight. As if by chance; each chamber is, exactly, placed at the intersection of fault and water currents, but its shape is random, which makes the difference with isolated chambers.

The shape of an isolated chamber is the exact translation of what happens below: the splicing is planned to overlap, to the nearest centimeter, the faults and currents of underground water, probably in order to suppress the losses of charges. Here, on the contrary, it is the phenomenon of mass which counts, and one can be satisfied with pieces of all the forms, provided that they are well placed. Each space has its cosmotelluric fireplace and three enclosures. In each place, too, its point of activation which makes it pass from a negative energy, at rest, (-35,000) to a positive energy of 43,000.

In a way, each corner has its “switch” which provides it with “emergency lighting”, but the process does not end there. Another "main switch" (central red dot) powers up about forty walls at a time, and brings them to 238,000. This is the great "enlightenment"!

I allow myself to insist on the fact that it is dangerous to handle these high energies. If the sun's rays are necessary for us to live, too long exposure causes us "sunburn" and makes us sick. The problem is, exactly, the same with megalithic radiation.

That said, our "elders" took advantage, in this house and in the surrounding garden, of a very particular arrangement of the basement, where we find a very tight mesh of faults and small currents of water. 'water. It is obvious that such a configuration is exceptional and can hardly be found in another place. This is why alignments are infrequent. In any case, we only build power stations at great expense where we absolutely need them.

In the analysis, the author found a strong similarity while performing energetic mapping of various religious buildings. Energetic mapping uncovers all geology disturbances underground, disturbances which were used to benefit the locations and greatly increase their energy level.

Our ancestors left nothing to hazard and took into account hidden underground singularities, prior to laying down the first stone. With time and with the advent of industrial progress, the builders no longer consider the effects of the cosmos and of the earth.

Eminent geobiologists, such as Georges Prat, have studied this subject. As a tribute to their work, let us present here a synthesis enriched by the experiments and the studies made by Richard Benishai in this matter. There are hundreds of examples which can be brought forward. A few are examined here to explain the non-visible architecture.

Introduction

Several thousand years ago, people lived together with nature, because no other possibility existed at that time. They possessed an inherent and natural sense for their environment. They used their hands to feel the energies coming from the ground, to locate suitable places to build their shelter. An example of this practice can be seen in the Golan Heights, near Gamla, where several hundred stone tables or dolmens were erected by this approach (5500 years ago). As time went on, they started to live in groups or in villages, their sixth sense diminishing. As such, they started to use instruments, such as divining or dowsing rods, pendulums and other detection means. However, the knowledge was still there, together for the need to live in a healthy place.

The year is 2005. Man is deeply immersed in a sea of technology, his senses reduced to a bare minimum. Very few today are aware that bad, as well as good energies originate under their feet. When building a house, a location is selected based on price, proximity to schools, shopping centers and accessibility. Energies? The great majority is not aware that vibrations coming from the earth can render one ill and worse. Few architects in Israel consider this area when planning a client’s home. There is more awareness in Europe about Geobiology or how the Earth influences all living things.

Networks and Other Singularities

Definitions

It is well known that our planet is covered by many electromagnetic networks: Romani, Peyre, Palms, Hartmann, Curry, Wissman, etc… Most are generated by metals, in the heart of the earth, in conjunction with the cosmic forces. Some are beneficial, such as gold, silver and copper, while some are neutral and others are detrimental to our health (Hartmann, Curry, Wissman, etc…).

Underground water streams criss-cross the interior of the upper crust, acting as the blood supply of the planet. The water molecules friction with the earth generates a number of physical phenomena: increase in gamma rays and infra-red radiation, electric and magnetic fields and radio frequencies. These effects cause some minor problems at first, followed eventually by serious illnesses. Our forefathers knew this and used stones, strategically placed to neutralize the negativity (Stonehenge in England and Carnac in France).

Faults are caused by rock plates separating, slipping or grinding one against the other. At times, differences in materials (rock and sand, or clay and sand, etc…) create a fault. Through faults noxious gases can seep to the surface (radon). The faults have negative effects on man/animals/plants in a manner similar to water.

Measurements

Egypt and the Pharaohs were well versed in the use of the pendulum. Records in the form of drawings made on papyrus, show that priests were using pendulums made of wood and of stone. The Pharaoh is shown in the most popular pictures as holding two sticks,

one of them being a pendulum, the other being a dowsing rod.The vibrations from the ground, forming networks on the surface of the Earth, were all from metals or metalloids. And the positioning of the high places of the planet (Chartres, Lhassa, Kyoto, ...), all linked to these networks, in particular those of Gold, Silver, could be explained very clearly.

Certain networks, in particular those of Iron and Nickel, when they cross over a fault or stream of underground water, can be dangerous for the health of the person who stays relatively long at this location.

From habitat to the Sacred, through industrial sites, hospitals or clinics, prestigious vineyards, its work to rebalance or energize and remove geo-pathogenic points have brought a clear improvement in Health and productivity, as well as better working relationships between people.

THE SACRED FLOWS by Georges Prat

My personal experience in this area has gone from the particular to the general. And this happened, of course, "by chance".

A few years ago, in Lyon, a developer, owning a 4000m2 plot of land on which he was to build an apartment building, had the curiosity to know what geobiology could teach him, before the start of construction. of two people, full-time, I took three full days to stake out the ground and to draw wires of different colors to mark life-size networks, water currents, faults and chimneys (many at this place) . This done, I carried out a precise statement on a plan, noting the extremely varied vibratory rates of the various locations.

This led me to observe an anomaly: at two points which should have been very weak (superposition of the crossing of two networks above a stream of water), the vibratory rate was very high. Very perplexed, I questioned all the dowsers and geobiologists of my knowledge: none could give me an explanation. Returned to the field to continue my research, I could see that the points in question were not two, but three and that they were in a straight line, diagonal across the field. Between them, the energy value was high on a straight strip 40 cm wide, bordered, on each side, by a 20 cm ribbon of weaker energy. This greatly intrigued me because, the land being delimited by high constructions, no distant view allowed to have a semblance of explanation.

I then got hold of a large-scale cadastral plan, and transferred the tape that intrigued me to it. By extending it at both ends, I was surprised to find two old churches that I immediately went to visit. Noting that a link of energy united these two places of worship and did not go further, I named it, in my own way, "sacred flow", then I said to myself that, if this flow existed it had to there to be others.

Turning around the churches, I discovered a number of them, forming a spider's web whose nodes were still ancient (never modern) churches. Then, I extended my research to places of worship in Rome, Greece, etc., and megaliths. Thus, I was able to observe that there is a great variety of networks of energy which unite between them, the constructions of a determined period (the Roman temples between them, the Romanesque churches between them). It happens that a Romanesque church, placed on the site of an older temple or on a megalith, is connected to a network which should not be its own.

Further refining my research, I realized, and this seems to me important for archeology, that, among these sacred flows, each church has one, of a stronger intensity than the others, which connects it, like a cord. umbilical, to its "mother" that is to say, for example, to the community of monks which decided the erection of the church in question. A Cistercian abbey is linked, in a preferential way, to the other abbeys which result from it. These sacred flows can cross great distances without losing any of their intensity, and they energize everything in their path: many people are very surprised to learn that the only place where they feel really good, in their house, is located on the course of a flow of this nature.

Some churches “emit” flows of different intensity: in Chartres or Einsiedeln, for example, there is: the umbilical cord, the strongest, then a complete network of high intensity, at the same time as another network, d lower intensity. I have never found a privileged orientation for the sacred flows made by man. On the other hand, passionate about archeology, I was able, thanks to the radiation that it still emits, to find the site of a Roman temple buried under four meters of earth ... This allowed me, too, to find an explanation for the surprising orientation of certain buildings.

Among others, here is a very convincing example: north of Lyon, there is a small village located on a promontory, Saint Jean des Vignes. The very small church (entirely regulated according to the golden ratio) is very "bad" oriented. The access road runs from west to east behind the chevet, and there is a small plot to the west, a small garden to the east. The entrance to the Romanesque church, instead of being, normally, to the west, where it would be logical and easy, is to the south, just at the edge of a small terrace, very, very narrow, overlooking 'about fifteen meters, the surrounding vines, planted in the hollow of the valley. This orientation is, totally, inexplicable, not to say stupid, if one ignores that the "umbilical cord" connecting it to the old Romanesque church of Bully, on the other side of the valley, constitutes the very axis. of the building. Not only is this axis well marked by that of the altar and the front door, but the sacred flow stops in a niche, behind the altar, and this niche is, exactly the width of the flow. .

Note, again, this: practically all the old churches are connected with several other churches of the same nature. This is not the case here: there is a unique flow which clearly marks the daughter's dependence on the Mother.

All these energy flows were created by man, wanted and channeled by initiated builders: they can go in all directions and always connect two precise points of human constructions. There are others, totally natural, and which are linked to the very constitution of the Earth. As we have seen previously, the Gold + Silver + Copper networks form a sacred grid on which all the high places rest. Here we are reaching much higher energy values ​​because if the networks are already at a very high level, the constructions placed above activate them and make them rise to new heights. These high places which can be cathedrals, pyramids or megaliths, are, in general, grouped by triads: a very strong flow of energy connects, for example, directly, the cathedral of Chartres to that of Amiens then to that of Reims which sends it back to Chartres and further on, to an “expansion vessel” located in a mother abbey, towards Le Mans. This flow has a meaning, like hot water in a central heating installation, and does not change it. 1355 / 5000

Résultats de traduction

Rising, finally at the top of the energy scale, we find, at its strongest, the great original triad: Kheops is at the base of the most energetic sacred flow that there is, currently, on Earth, and which is spread under shape of three triangles having, at each end, an expansion tank. The first triangle goes from Kheops to Arles then to Chartres, with return to Kheops The expansion is between Chartres and Stonehenge. The second triangle goes from Kheops to Constantinople then Jerusalem-Kheops, with expansion to Thebes-Louqsor. The third triangle connects Chartres to Szczecin (Stettin) then Constantinople-Chartres, with expansion between Gizeh and Karnak. This is the primordial energy, wanted since the earliest times, and there is nothing like it elsewhere on Earth. It is the basis of our civilization.

On the Bovis scale each flow is worth 1,242,000. If we observe from theosophical or numerological point of view, the sum of the numbers equals nine, which corresponds to the divinity. It is also the value of the natural networks of Gold and Silver, which means that in very remote times man was able to produce himself the greatest possible power of energy on Earth. Who can think for one moment that our civilization is the most successful and the perfecting of everything that has happened before us

www.geobiology.co.il/en_US/larchitecture-invisible/

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century.

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres (6.8 mi) from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

en.wikipedia.org/wiki/City_Palace,_Jaipur

Dr. Moninder Singh Modgil PhD Mr. Dnyandeo D. Patil Mr. Debendra (Cyclic Time Physics) Alumni - Electrical Engg Nath Behera IIT Kanpur, India

We see around us this beautiful & vast universe of many galaxies, stars & planets with deep mysteries. Whenever we gaze with curiosity at the starlit night sky, the beauty & mysteries of the universe have held a special fascination upon us & we wonder at the expanse of the universe! Whenever we look around this beautiful nature of mountains, seas, trees, & innumerable living beings of this earth planet, we ask ourselves with great wonder & curiosity that `Who is the creator of this world? From where all these come?, `Who is the artist of this mysterious universe?.

From the ancient times many Religionists, Philosophers had spend their whole life in search for the Creator - God & the mysteries of his creation; but they could not found Him. In holy Books they conclude that `God is the ultimate creator of this universe! This nature is an art of God & the universe is running by the power of God!`. Science is also doing deep research from last many centuries to find out the mysteries of universe and self reality. In recent decades there is a feeling that science & spirituality are two sides of "One Coin", and eminent scientists also have been pointing to the importance of spirituality & the need to understand & recognize the reality of the metaphysical self & Supreme being.

The Akashic Records

In Ancient Vedic holy scripts, we will find many hidden knowledge of creation which now present science are try to find out by many experiment and theories. One such verydeep interesting topic of Quantum physics research is "Akashic Records". In Vedic Sanskrit scripts word "Akashic Records" means "sky ", "space" "luminous" or "Aetheric Knowledge" , So Akashic records can be considered as Cosmic knowledge of universe. The Akashic records are collectively understood to be a collection of mystical knowledge that is encoded in the Aether energy; i.e. on a non-physical plane of existence. Akasha can also be thought of as the underlying ‘nothingness’ from which all ‘somethingness’ arises. No matter how things change, the ‘nothingness’ or ‘space’ remains and holds a record of all that has take place within it. There are three states of consciousness that we all go through every day: our sleep, dreams and waking. But then there's a state of consciousness that's called "cosmic consciousness," which is beyond the physical world, and basically a record of the entire history of the universe.

The Akashic Records are understood to have existed since the beginning of The Creation and even before. Just as we have various specialty libraries (e.g., medical, law), there are said to exist various Akashic Records (e.g., human, animal, plant, mineral, etc) encoding Universal Core. Most writings refer to the Akashic Records in the area of human experience but it is understood that all phenomenal experience as well as transcendental knowledge is encoded therein. This fundamental element, akasha, also has an additional, important feature: It records all that occurs. It is as if Creation itself remembers all that occurs and keeps a record of itself within the very fabric of creation.

The Akashic field of torsion waves may be new to science, its existence has been knownfor thousands of years in the East. The only new thing about it is that it is being rediscovered by western science. Akasha is the womb of creation bringing forth every physicalaspect that can be perceived with the senses according to eastern traditions. Inancient eastern spirituality the history written within the Akashic field are called the Askashic chronicles, the book of life that records everything that has everhappened or will happen in the universe. The Akashic chronicles or Akashic records contain the story of every soul that ever lived on this planet. When most of us think of the basic elements, we think of Earth, Fire, Water, Air and Space. If you are into physics, you would think of the elemental table or the basic elements from which all material things are made. Hindus see Akasha (Space) the FIRST element. It is the element which is the basis for all the other elements and forces in the universe. Jainism and Buddhism generally hold a similar idea of akasha. Akasha is considered it to be both the infinite space of the physical world, and the spiritual ground of all other physical phenomena.

Akashic Records were accessed by ancient people of various cultures, including the Indians, Moors, Tibetans, Bonpo and other peoples of the Himalaya, Egyptians, Persians, Chaldeans, Greeks, Chinese, Hebrews, Christians, Druids and Mayans. It is held that the ancient Indian sages of the Himalayas knew that each soul, atma, or entity recorded every moment of its existence in a "book", and that if one attuned oneself properly then one could access that "book". Nostradamus claimed to have gained access to the Akasha, using methods derived from the Greek oracles, Christian and Sufi mysticism and the Kabbalah. Other individuals who claim to have consciously used the Akashic Records include: Charles Webster Leadbeater, Annie Besant, Alice Bailey, Samael AunWeor, William Lilly, Manly P. Hall, Lilian Treemont, Dion Fortune, George Hunt Williamson, Rudolf Steiner, Max Heindel and Edgar Cayce amongst others.

In Surat Shabda Yoga cosmology, the Akashic Records would be located within the causal plane of Trikuti. In Indian mythology "Chitragupta" mention as helping hand of GOD, who keep all records of our entire life karmic actions. When we left body for next birth before that we get presented in front of GOD- the light and "Chritragupta" shows our all life actions and we promise to GOD that we will not do bad karmas again and when we take human birth again we forgot our promise and acts as per our wish. Also Indian mythology says that "Narada" had also access to an essential knowledge that is at the fabric of the divine cosmic order.Ancient Indian Vedas and the language of Sanskrit itself were extracted from Akasha.

The claim that in Egypt, those who could read the Akasha were held in high standing and would advise the Pharaohs on daily activities and dream interpretation. The Phoenicians and Babylonians believed there to be a celestial record kept by the Creator about everything which took place on earth. Within ancient Jewish scriptures are numerous passages about a record being kept about everyone’s life. In Islam, it is believed there is the KiramanKatibin, the two angels who record everything good or bad, every word, thought or action by each person. In theosophy and anthroposophy, the Akashic records are a compendium of all human events, thoughts, words, emotions, and intent ever to have occurred in the past, present, or future. They are believed by theosophists to be encoded in a non-physical plane of existence known as the etheric plane.The Akashic Records, or "The Book of Life," can be equated to the universe's super-computer system. It is this system that acts as the central storehouse of all information for every individual who has ever lived upon the earth.

Something similar is mentioned in the Bible called ‘The Book of Life’ which refers to the Akasha records in both the Old Testament (Psalm 69:28) and the New Testament (Philippians 4:3, Revelation 3:5, 13:8, 17:8, 20:12, 20:15 and Revelation 21:27 "Nothing impure will ever enter it, nor will anyone who does what is shameful or deceitful, but only those whose names are written in the Lamb's book of life.")which has recorded all the events in everyone’s life (references to the recording of people’s lives appear in the books of Exodus, Psalms, Philippians and Revelations). In Psalms, King David speaks openly about how God has kept a record of his life, both good and evil. Just a few of the other names for the Akashic Records, based on culture or religion, are: The Infinite Mind, Cosmic Mind, Book of Life, Hall of Records, Universal Mind and Eye of GOD.

The Scared Science of Akashic Records

The Mysteries of Creatorand mechanism of his creation can be understand by the knowledge of Akashic Records which are nothing but Mind of Almighty GOD!!! The Knowledge about Scared Science of Akashic Records describe here are our own experience in deep mediation, when we reach to delta stage and we get connected to the Universal mind which emerge in front of us as Giant Luminous rotating wheel of aetheric energy field which world called as "Akashic Records". It is infinite and vast and we always get feeling that 'What we know is the drop, what we don't know is ocean!' The deep mysteries of Creator and his Creation will be understand by doing collective research in direction that entire Universe as a Conscious body of Infinite consciousness (i.e God) which called as the "Gforce of Universe" in Aether Quantum Dynamic Physics.

Nikola Tesla a famous scientist of 19th century says that “If you want to understand the Universe, think of Energy, Frequency and Vibration.” Tesla was gifted with mind blowing ability that he can design the entire machine in mind then he run that machine in mind and see the results and if

found satisfactory then he goes for real making of machine. In same sense Almighty GOD gives first thoughts for Grand design of Universe to make playground for us and think for entire script of eternal cosmic cycle of all souls. He create cyclic pattern of human consciousness from high to low and again high through his infinite consciousness. Akashic Records have entire history of Grand cosmic cycle creation from Golden age to Iron age with every births recovered of all souls of world and all movement of 5 elements aether quanta as per collective consciousness of Human souls.It is as collective thoughts patterns of Creator who remembers all that occurs and keeps a record of itself within the fabric of creation.

As we are eternal conscious light (Soul) having Mind, Intellect(Subconscious Mind) and Resolves (Unconscious Mind- Sanskars) and physical body to play part in this world. We soul interact with body through Brain. In same way the Infinite consciousness i.e GOD has also Mind, Intellect and Resolves (Sanskars) and Universe as body to play this Grand Cosmic Cycle with us! Akashic records are Quantum Mind of GOD, the sustenance of entire cosmic creation by one Gforce is Intellect of GOD and playing Cosmic dance in Cyclic Sacred Geometrical patterns (Cosmometry) are Sanskars of Almighty GOD, who is our sweet eternal father...As we have our own physical body as our own cosmos, this physical universe is body of GOD and it's run by his divine cosmic code in the form of scared geometry energy field .

We create thoughts in Mind for action which is nothing but frequencies and Intellect which take decision as per our knowledge and experience, which give command to Brain and Sanskars are the patterns of behavior repeatedly doing through actions. In same way entire universe runs as per "Akashic records" which are primordial thought frequencies of Infinite consciousness in form of Atheric energy sacred geometrical patters store in White hole of Universe at the Horizon of this physical universe as per shown in Fig 1. The Akashic record of universe which science are try to understand by zero point energy. Everything is connected to this Universal Mind and world drama decoded by Matrix of energy, freq and vibrations at everyone Planck second.. We can see the wheel of Creation from Eternity to Infinity.

Some of the highly regarded ancient philosophies of the world proclaim that the universe originated with a vibration in an ocean of unmanifested fundamental substance which is described as an ocean of infinite indivisible motionless pure consciousness beyond space and time. When this motionless consciousness becomes active, it oscillates by its own power and

generates discrete quanta of consciousness which the physicists know as the discrete quanta of energy. Very low degree of manifestation of the consciousness makes the quanta appear like insentient matter. Thus the one becomes many and the laws of relativity becomes operative. The universe so originated undergoes cyclic evolution and involution implying cyclic nature of time.

Hence the Universe is Collective Dynamics Consciousness of GOD's Mind, Intellect and Sanskaras in form of Aether energy neural network grid, which he keep in storage of Aether frequencies form as Akashic record in White hole and His Intellect acts as Gforce to create 16 forces i.e Gravity, Electromagnetic, Nuclear force etc though his divine virtues and power in super quantum gravity field which works on these Aether frequencies to create reality through Sanskaras i.e E8 lattice geometry patterns which bounding all matter of creation with Time as Cyclic Geometrical Conscious entity with infiniteSacred geometrical patters of Aether energies. This Scared Science of Universe is vast and Infinite....

We had written details on this topic i.e How GOD is Gforce or Unified force of universe and what is the sacred space -time geometry of universe through which we can explain to world how God acts through his 32 energy points for creation of different forces to run the universe through his Divine Sacred Geometry, like God's Ocean of love energy creates gravity force for universe and this research paper name "Metaphysics of The Unified Field of Universe" was accepted to 'International Conference on Unified Field Mechanics' at London organize by International Physical and Mathematical Science Committee ,which was hold on Dec 15- 16, 2016.

We may raise with one fundamental question that " If Universe is body of GOD, who is ever pure and powerful residing in 10th dimension of universe which is beyond system of cyclic entropy, then why his body (Universe) get trap into entropy system which we see today?" The answer of this question can get through the mechanism of Body of GOD, which depends on collective consciousness of 108 souls, which play major roles in world drama. The scared quantum physics of universal body of GOD are hide in famous quote of Nikola Tesla that"If you only knew the magnificence of the 3, 6 and 9 then you would have a key to the universe". We will be discuss on this topic in other article because the knowledge about it are very vast.

The Aether Quantum Dynamic Physics (AQDP) of Akashic Records

Every Aether energy quanta of universe has consciousness and interact with each other's through Neural network of Scared Geometrical mechanism patterns. This Cosmos is a mind-like topological neural network based on the principle of tensegrity and wherein a Soul-like consciousness act as self- realize or self-actualize through the behavior of the “code”. Now this " Code" are recorded in terms of freq in this Aether elements of universe and we are the activator of these " Code" as per our thought patterns. One Planck unit adopted all the information of all protons and the fluctuation of this Planck units creates the information network which flow in the universe through Feedback mechanism.

The scared geometry of Aether energy is Nanohedron Geometry (O9) as shown in fig 2 , at the beginning of cosmic cycle which now became as Tetrahedron Geometry (O4) fig 3 due to depletion in human consciousness from Soul to body consciousness. The original Akashic Records of universe embedded in white hole are in form of LotusSacred Geometry as per fig 4 which are interconnected to each other energy fields and sections of Akashich records. Further these energy codes are connected with each Aether energy quanta of universe by Aetheric strings which flow the entire freq codes to universe!! Hence everything are connected and information flow are always in nature at all times. This we called as Dance of Natraj!!

Fig 2 Fig 3 Fig 4

Nassim Haramin find out that the representation of universe is encoded by the interference pattern of fluctuation of space time on the surface of every proton. The information of the black hole is present on the 2-D surface of the black hole known as it's " Event Horizon". Every atom has mini black hole and proton cloud be act as mini black hole in atom. If we look all little fluctuation of the vacuum, the amount of energy inside the proton in the vacuum fluctuation, the mass of the vacuum inside the little tiny protonis equivalent to all other protons mass of the universe !! All mass of the universe is represent Holographically by vacuum fluctuation in one little proton, so that one little proton is connected to all proton in the universe !! The holographic information encoding is dynamically happening at every Planck seconds at every movement and it constantly flowing throughout the universe. Universe is self organizing system and Space ( Aether energy) is connecting everything and it is great organizer. Its connect everything and gather all the information , knowledge of every point of universe. Reality is a consciousness hologram. The Akashic Records refer to the hologram (matrix) of consciousnessgrids that create our reality.

Electromagnetic energy is completely invisible to the naked eye, but a virtual universe of electromagnetic waves permeates our entire worldand this vast network of impulses carries within it information and data that we have come to depend on in our digital age. It is the backbone of what is otherwise referred to as the "Cloud Computing", which remotely stores billions of gigabytes of data.When we think about the "Cloud Computing" what we're really talking about is data transfer, information transfer through server computersto billion people of world. So we are not seen these hidden secret patterns and codes of Cloud computing that are floating around us but we get result by harnessing and Channeling them through right form of energy transmitters and decoders.

In same sense Akashic records are floating around us in form of "Torsion energy waves"which was First discovered by Nikola Tesla( but his work was suppressed by secret societies of world) and then Russian astrophysicist Dr. Nikolai A. Kozyrev. This energy is neither electromagnetic in nature nor does it relate to gravity as it stands on its own. This new form of energy is a spiraling non-Hertzian electromagnetic wave that travels through the vacuum at super-luminal speeds, a billion times faster than light. Due to the spiraling nature of the wave, the wave is called a torsion wave since it traces a spiraling path! According to independent researcher David Wilcock the torsion wave also traces a perfect Phi spiral! Torsion waves are called non-Hertzianwaves since they do not obey the classical theory of Hertz and Maxwell.

These Torsion waves having scared geometrical shape called Nanohedron are very remarkable waves as they never wear off, they propagateto the far corners of the universe without losing their momentum and in thisrespect they have eternal life. Torsion waves as they travel through the physicalvacuum do not encounter any friction; therefore they maintain their energy. Astorsion waves traverse the universe they interfere with other torsion waves. Thesearegenerated by many phenomena such as the vibration or displacement of matter,electromagnetic energy and our conscious thoughts to name a few.

Torsion fields are therefore information fields as they encode everything that hasleft its traces in the form of torsion waves in this universe. This boils down to therecording of every little thought that was ever thought and every little move thatwas ever made. The interference patterns of the torsion waves form a hugehologram that permeates the whole of the universe. Just like the waves of the seas form an interference pattern that in theory allowsus to decode the movement of the ships that stirred its surface, likewise torsionwaves theoretically allow us to decode the history of our universe. The onlydifference between the waves at sea and the torsion waves is that the sea waveseventually lose their energy as they crest at the shores. The superposition oftorsion waves and their memory capacity however is limitless and eternal.

Torsion waves allow for information transfer across the universe, connectingevery atom in the universe with every other atom and since torsion waves travelat super luminous speeds they could be the explanation of the non-local effectsthat were predicted in theory and discovered by experiment in quantum physics.The information field created by torsion waves in the universe allows for acoherent whole of the universe, connecting every little atom in the universe with all other matter in the universe informing it of its whereabouts and activity. Infact scientists are discovering a very high state of coherence in our physicaluniverse that cannot easily be explained if the universe is a bunch of singleindividual parts of atoms, molecules, planets and stars that only maintain contactby separate forces such as gravity acting upon them.

Quantum entangledparticles keep their coherent relation eternally and are not bothered by any

distance separating them whether it be a few millimetres or the distance of agalaxy. These relations can only be explained if an invisible field permeates theuniverse that interconnects them.The information field described above is termed the Akashic field by Professor Emeritus . Ervin Laszlo. Laszlo in the last four decades developed an integral theory foreverything; instead of specializing in one particular field, Laszlo has studied manyfields of science and finally developed an integral system theory. According to Laszlo the Akashic field is more fundamental than energy and matter in the universe.It’s this primordial information field that is the ground of our universeinterconnecting everything with everything rendering our view of separateentities in this universe useless. In his system theory there are no separateentities at all; ‘separate’ entities that we observe in our universe are allembedded in one seamless interwoven net of connections.

The Akashic records, are holographic torsion fields of individuals that embed inlarger holograms of groups of peoples such as nations. The holograms of nationsweave the hologram of humanity on Earth and resembles what Carl Jung calledthe collective mind of man. The A-field or Akashic field can explain the psychicabilities reported by many people to see into the past and know about events thattook place in this world that were not perceived by any personal cognitiveconscious experience. The Akashic records are the storehouse of information thathas been consulted by all great seers throughout the ages including Edgar Cayce. Ervin Laszlo presents a theory that helps to tie both together. He proposes that the quantum vacuum - which we know contains all the information of our history - is also consciousness. Everything in the universe therefore has consciousness; from a pebble to a tree, to a cloud, to a person. While this goes against the view of mainstream science, there are some highly respected scientists such as Freeman Dyson, David Bohm and Fritj of Capra, who support the idea that the universe is in fact conscious. Ervin Laszlo says that life happens because it comes from the quantum vacuum.

This energy not only shapes the physical world moment by moment, it is alsorelated to consciousness. Contemporary science is revealing that the firm belief ina distinction between the material and the spiritual word is false. There is noduality, the universe is constructed from one and one substance only and boththe physical and mental world springs forth from the ether. Ervin Laszlo, Amit Goswami, Daniel Winter and David Wilcock are a few of the scientists who have crossed the bridgebetween science and spirituality and who now believe that the primordialconscious energy of the universe is the first cause of creation.For the first time in recorded human history we may have a unified theory ofeverything (T.O.E.) within reach that not only explains our physical universe butalso connects it with consciousness, closing the gap between science andspirituality once and for all, 300 years after Descartes.The empty space of the universe is not empty at all. It contains a spiritual energythat modern day science has rediscovered as the Aether but this energy has beenknown for thousands of years in many ancient spiritual traditions by names suchas the Chi, Ki, Prana or Akashic energy of the universe.

The Aether energy can arranges itself into basic geometrical wave patterns thatwere named after Plato, the Platonic solids to form matter. Almost 2,500 yearsago, Plato wrote that the physical world was constructed from the Platonic solids.The Platonic solids arrange themselves in what chaos theory calls fractal patternsweaving a matrix in space interconnecting atoms with the stars. The scales of thePlatonic solid shapes are different but the ratios between them are still the same.

The Mysterious Script of Akashic Records

In year 2008, Renowned physicist and University of Maryland professor S.James Gates Jr. and Coauthors while doing research on Super symmetry of String theory, they found a specific computer code in the equations defining the fabric of the universe. The Super symmetry of 16 points as per fig.5 at Planck scale making one geometry which they describe in error-correcting codes. They theorizes that since these error-correcting codes areindistinguishable from those that drive search engines on our computers, it suggests that the cosmos is digital in nature.Professor Gates finding computer code in his string theories, it literally shook many scientists, because what they saying that there is code and not only code, but code that in the fabric of reality. So the implication is that our reality is digital, that every experience you've ever had is based on code.

They have found computer algorithms in the existence of the universe, a code of one and zeros, which would imply that the idea of an information field or the cloud is not a new idea, and it's happened before.It could be that the past, present and future has already happened.And if that's the case, we are really looking at a system that repeats itself over and over and over again.And that could be looked at as a script.It could be looked at as a computer code.Then it would make sense that we are in-in some way being directed by that information.These prophecies may be actually something where people were tapping into a future that already existed in some other sense.And it appears to be something that is part of a greater cosmic script that we're all following that does have an extraterrestrial influence in making sure that we stay on the script.

This mysterious universe run by quasi-crystal geometry language code of Aether energy in terms of frequencies and at Super quantumPlanck scale its works with aether energy for manifestation of reality. The code found by scientist are in first nature of digital because they are not know about the quasi- crystal geometry language code of aether energy which are the Kernel of universe engine and as per hierarchy its goes upwards scale to vibration patterns in quantum physics which science study in string theory and further decode in mathematics as binary system.

All modern computers are working on digital computer binary algorithms which program by programmer to perform any particular task. Present Artificial Intelligence works on neural networks of computer like Human brain on binary algorithms. Now we are finding that Quantum computers which are extremely fast then present binary algorithms technology are in deep research for future technology. The Supercomputer of nature reality works on quantum computing , which we are now exploring, but still mainstream scientists are not finding the truth because they are not seeing everything are connected as one conscious entity. They think that universe is mechanical and dead consciousness, which is their biggest mistake. From last centuries we found that science are doing great progress but at same time the human values are degrading to worst and entire mankind is on face of war. Why these are happing now and we all are moving towered the "Singularity" of what??

Is Akashic record contains a script Like a cosmic computer code that humans are being programmed to follow? Perhaps the answer can be found by examining evidence discovered by theoretical physicists that there is programming language embedded in the very fabric of the universe like Cloud of Akashic record of creation and we all are merely following a pre-programmed cosmic script embedded within an invisible realm that exists all around us?Do we have free will, or are we totally determined? The answer is: if you're not aware of the choices you're making, you're a biological robot.But if you become conscious of the nature of the universe, then you can start to have some degree of freedom and can be ready for upcoming new age of universe i.e Golden age (Lemuria / Atlantis) !! We must higher our consciousness from body to soul. We must know Who am I and from where I come to this world? What is the future of world and what will be my role for new world?

The answer are embedded in the script of Akashic records, which we must know for our future.

The details of Akashic records scripts given here are the self explaining script of Incorporeal Almighty through corporeal body of Prajapita Brahma, which other religion called as him as Adam. The present time is called Diamond age of universe, where the creator manifested himself through Prajapita Brahma and give the knowledge of entire creation in nutshell and teaching Rajyog Meditation to purified human souls from Iron to Golden. As Incorporeal Almighty doesn't have his own physical as well as subtlebody, he take body of the Brahma or Adam,who became the first prince- Krishna of Golden age in last cosmic cycle. This knowledge is giving by Almighty from last 83 years and still going on. This script mention the entire history and geography of mankind from Golden Age (Lemuria / Atlantis) to Iron Age (present). Our mission to give this true knowledge to all souls of world, because it is their birth right to come in Golden Age, if they can recognize self and our sweet eternal father. i.e Almighty GOD!!

A. Golden Age ( The Lemuria land) and Sliver Age (Atlantis land)

The grand cosmic cycle start from Golden age (Lemuria) of 1250 years span in which we human being takes 8 births as deities withaverage life span of 150 years. After golden age Silver age starts and human being takes 12 births as deities with average life span of 100years. In both divine ages of universe we were always in soul consciousness stage hence, we never became ill or old and alwaysexperience 100% bliss, purity, peace, happiness, joy forever life. Every movement of our life, we love unconditionally to each others, animals and nature. The first prince of this world is Lord Krishna and first princess Radhe, which get married and became world first emperor kingdomcalled Shri. Narayana and Shri. Laxmi of Lemurian land in Bharat. This is real Singularity of Human consciousness, in which there is one world, one nation, one language and one religion. We don't have any sorrow, fear or unsatisfaction etc. There will be“ Utron” Flying Machine running on Tesla’s Aether energy by Human mind. This machine will have Biological Brain which will run and control through Clean and infinite Aether energies vortex creating by their Diamonds and Gold design and control by our thoughts! This will be real quantum computing machine which will talk to each other's by their aether energy field and they all will be accident proof. Even small kids can also use these machines without any training!!

The starting population of this Golden age world are 9,16,108 deities souls living on the earth and 108 souls became the prince princess of Krishna family who make their consciousness very high like God consciousness in their previous birth i.e in present time through Rajyog meditation. In this age, the central gravitational forces of the cosmic world and the earth were balanced and zero. In the Golden age, the Aether energy was continuously flowing from the cosmic to the physical world through white hole due to which nature was fully charged with Golden particles. Due to continuous Aether energy flow on the earth, the living world was in its highest form of purity. The centre of gravity of the earth and the sky was in one direction due to which sun and moon were rotating above the earth in clockwise direction. Also, 108 stars of Zodiac and 7 stars (Saptarshri) were arranged like a crown and straight line form Polaris star respectively as shown in fig of Golden age universe.

In this period the speed of light was very slow due to which day and night period was of 21and 21 hours each in Lemuria and 18-18 hours each in Atlantis world. Also, sky was rotating very slowly because of less density of the universe and this scenario was continued till 2500 years in the Golden and Silver ages. In this period our serpent power was in crown centre as we were in soul conscious state due to which there was a continuously flow of Aether energy through Pole star and complete planetary system was following the thought orders of the World emperor.

At the starting of Golden age, there was bulk quantity of mercury all around the core of the earth due to which core was charging continuously by Aether energy and resulted in to production of earth’s strongest magnetic field. In this period, the earth magnetic moment was produced through Monopole and its entire energy centers were concentrated at the centre of the core. There were no meridian and equator on the earth and its land and water distribution was like lotus shape. The sea water was pure, crystal clear and clean. There was an absence of salt in the sea water and was spread all over in cyclic pattern covering the complete surface of earth with less depth and spread beyond the horizon too. The sea water was completely transparent through which it was possible to see seabed. The nature was in complete order of the deities because of their purity. In this period the aero planes were working on Aether energy with Tesla coil technology and could be controlled by the thoughts of deities. In the Golden age, different types of diamonds were found in Kimberlite and Lamprolite type of rocks from which rays of 7 colors were spreading all round. Such diamonds were used in palaces, aero planes and for outdoor lighting, etc. The colors from the diamonds were controlled and adjusted as per deities thought process.

In the Golden age, the sun light particle cones were dynamic in nature. When the World Emperor used to think about the day, sun’s light particle cones would open in 1800 which give day light on earth and when he used to think of night, the same sun light particle cones would shrink and get closed. In the night, there was reflection of such rays on the moon due to which full moon condition was maintained. The light cones from the rays of moon were also being controlled through thought process of the emperor.In this age, DNA was of 12 stands due to which deity’s body was very beautiful, strong with full of subtle powers. They never became old and could leave their body by self wish after completing 150 years. There was divine light all around the head of deities and they used to remain continuously in a soul conscious state as a memory of this, there is lamp in front of deity’s statue in a temple.

The birth of the deities was by the power of purity through eye sight and not by sex. To prove this fact, there is an example of the peacock whose birth process is by drinking eye the drops by peahen from peacock. Due to the purity of peacock, its feathers are used in the crown of Shri. Krishna hence it is known as the national bird of India.In the Golden age, animals were like toys with magnetic filaments and their look was very beautiful and innocent. The purity of deities controlled the gravity of the universe up to 2500 years period of Golden and Silver ages. The total population of 33 cores deities till end of Atlantis civilization. This divine civilization was spared in millions of kilometer on flat earth.

Hence Upcoming World called “The Lemuria / Atlantis” is the Magical land of many technological Singularities will be establish due to big shift in Human Consciousness towards Consciousness Singularity. Our all ancient scripts and holy books give description of this world as Heaven or paradise on earth. Greek philosopher Socrates and Plato describe in their books Timaeus and Critias about this land of Lemuria /Atlantis or Maria and whose evidences have been found in the records of old civilizations like Mayan, Babylonianand Egyptian etc.

B: Copper Age of Universe

If you see in night sky, we will find Seven stars below Polaris star which are higher consciousness part of Cosmic brain of God. In every creation design of nature, we will find seven numbers with unique combinations as human body have seven main chakras, seven colors spectrum of light, seven days of week etc. At the end of every cosmic cycle, Almighty God give his knowledge of creation to Seven sages souls through Brahma which Hindu called as Saptarishis and western philosophers called them as "ANUNNAKI". These Saptarishis are the main creators after Brahma - The first Adiyogi. God gives all knowledge of creation and design to Saptarishis, through which they creates the technology of Lemuria -Golden age and Atlantis- Silver age for next 2500 years of cosmic cycle.

After end of Atlantis due to massive flood, Abraham Soul come in world from soul world and establish Jewish religion 2500 years back, then Buddha come 2250 years back to establish Buddhist religion. After then Jesus Christ come 2000 years back to establish Christianity religion and finally Mohammad establish Muslim religion 1400 years back. Till end of Iron age we see many religions and cults come from these main 5 religions.

In copper and Iron age these Saptarishi souls written all religions Holy books like Vedas, Bible, Quran, other religious books and creation of all languages with grammar, astrology, mathematics in their different births. They are also the creator of present scientific technology by invention of many fundamental scientific theories in their different births as great Scientists which further decoded by many scientists, philosophers in the history of mankind which we are known today. Saptarishis have different names and services to mankind in each births such as Indian Sagas Maharshi Kanada, Bharadwaja, Aryabhatta, Sushruta etc and Western philosopher and scientists like Socrates, Plato, Pythagoras, Newton, Galileo, Nikola Tesla, Edison etc are among the few.

In the starting of copper age, when deities became body consciousness, there was change in Human consciousness from soul to body hence there was shift in universe axis withearthand changes in the fundamental scared geometry of Aether from which 5 elements get created. These cause the great flood which describe in many ancient scripts and holy books. Entire Atlantis civilization submerge in water which today we are searching in many parts of ocean. The entire Atlantis get broken in 32 parts and

deities souls spread out throughout the world in separate islands. Before end of Atlantis world Saptarishi get signal for weakness of earth core due to degradation in power of human consciousness hence they transfer their entire knowledge of creation in “13 Crystal skulls” which are part of Universal computer system.

Now these Crystal skulls are found near pyramids at different part of world in copper age. The Aura or energy fields of these Crystal skulls are very high of Indigo color, which indicated their strength of knowledge. The present owner of these Crystal skulls says that, these Crystal skulls are taking with them and giving information that they were comes from Atlantis and their creator will come again in future to read them. Scientists try to find out data from these Crystal skulls from last many years but they not get any success. Hence these are biggest mysteries in today’s world and many think that these are given by Aliens to present world as gift.

After this massive destruction of Atlantis on earth, Anunnakies build many pyramids on earth lay line, so that earth core can get Aether energy to balance the energy grid of earth. The main “Giza pyramid” constructed by Saptarishis, which was center of earth structure at that timeand they keep sample of Atlantis civilization below Giza pyramids at 1.6KM which we called as “Hall of Records”. From the centuries many archeologist try to find this “Hall of Records” but till date no one reach their. When all Saptarishis will come together in future, then they can open secretes of “Hall of Records” collectively. Also the earth’s magnetic Monopole divided into two parts due to which the earth’s single energy center got split into 13 numbers of energy centers at different places through which earth’s energy was distributed to living creatures and environment.

At the same time, there was formation of two black holes one in space above the earth and other one below the earth due to which there was formation of electrical insulator material inside the core at the centre. The core of the earth which was monopole got divided into two poles, due to which there was formation of two separate electromagnetic fields and hence the sky element at the center got divided into two parts. During conversion of monopole into dipoles, there was Pangaea event due to which the single Indian super continent got divided into 7 numbers of different continents. There were different types of natural disasters which occurred like earthquakes, tsunamis, floods, etc.

As there is formation of two black holes above and below the earth’s surface, the sky element got divided into two parts and it was found to be sinking. One part of the sky was from main meridian to the North Pole in which the light particles were moving in an anti clockwise direction similar to that of anti clockwise rotation of earth’s magnetic field. In the South Pole sky, the light particles were moving in clockwise direction similar to that of clockwise rotation of earth’s magnetic field. At the same time, the earth’s land boundaries were sinking and space dimensions became more cyclic hence light which felt on the earth was in cyclic motion due to which the earth seemed to be as it round in shape. Because of this reason the central gravity of the universe inclined at an angle of 23.50with respect to the central gravity of the earth.

The gravitational force became higher from the Copper to Iron age due to which the sky element got tilted by 700 to 800 with respect to earth. In the Golden age, the earth’s gravitational field was 100 percent and unified as monopole. In the Copper age, the monopole was broken into two parts and acted as a dipole. The earth’s core was unable to get sufficient amount of Aether energy hence its internal structure started changing. The core of the earth started discharging and resulted into geological and ecological imbalances on the earth. The central gravity of the cosmic world which was zero converted into gravitational force with respect to the earth’s and to balance these changes GOD had to create a subtle region between physical and cosmic world.

In the Copper age, 7 stars -Saptarishis which were in single straight line got disturbed and spread in different directions. There was effect of zodiac and planets on the DNA of human beings and also on their birth charts. The planets and stars had started transforming our lives. Aether energy used to structures our DNA and created our physical body. The serpent power was in crown center in the Golden age, it shifted in heart center in the Copper age and in the Iron age(now) it is in the root center.

There is a subtle form of Aether energy used for our body which is not discovered by science. Scientists have also found out that the universe is expanding due to increase in its density hence every living being has not been getting more Aether energy. At the start of the Copper age, visible matter and energy got converted into dark energy and dark matter which was mainly produced by our power of thoughts. Our power of purity controls the nature’s 5 elements. When we were pure, nature was pure and it act like an obedient servant but when we became impure, we became servant of nature.

In Golden age, mind power of the soul was in continuously in touch with the power of universe and in the Copper age, it separates from each other. In Copper age, our mind’s third eye got closed due to body consciousness, hence to regain our real identity; we have started prayers of GOD and His search everywhere. In this age, religious founder fathers have established different religions and spread the message of remembrance of GOD through devotion, prayers, meditation etc. They had been given knowledge of Karma philosophy from which the concepts of sin and virtue came into an existence.

We souls were in zero vision in the Golden and Silver ages, in narrow vision in Copper and Iron ages and in aero vision in confluence age. In the Golden and Silver ages these different powers in one’s hand and in the Copper and Iron ages, these different powers were split and divided into many hands due to which we became unhappy and restless. In the Golden age, the earth was like a lotus shape and became optical radical in the Copper age hence seen like a round shape and in future, it will become like lotus shape again.

At the start of Copper age, when we became impure, there were changes in the DNA structure, formation of black hole in human brain as well as at the centre of neurons. At the end of cosmic cycle, all the black holes would be evaporated and DNA would become 100 percent pure. There is a mechanism to keep Aether energy flow continuously in our body. As the time passed, this mechanism got disturbed and remained only known 10 percent and rest 90 percent unknown in which all our past memories and actions was stored. There was change in DNA structure and only 10 percent known part of it was used to form our body. Today scientists are saying that our DNA is 90 percent in dead condition or Junk DNA, but mystery that this 90% junk DNA control 10% DNA of human bing.

C: Iron Age (Present era) of Universe

At the end of Iron age, GOD -Ultra High Energy manifests Himself in human corporeal medium as Prajapita Brahma -Adam in 1936 in India. After entering into human corporeal medium, GOD has started revealing all the secrets of the universe along with the knowledge about past, present and future of the humanity. After the manifestation of GOD in India, there has been an increase in the Aether energy receiving capacity of the Indian continent due to which its electromagnetic field strength has been increasing. Also, because of entering of Ultra High Energy (GOD) into the physical world, scientists are getting more advance findings in their different research works. From last three centuries Secrete societies of world hidden many secretes of universe and history from mankind which work as opposite force to GOD act as Lucifer. They play major role to keep mankind in ignorance and in duality.

The centre of gravitational force of the earth is increasing because of the reduction in centre of gravitational force of the universe which is located on the top of Pole Star. As the universe is expanding, the speed of the rotating universe goes on increasing resulting in movement of the Pole Star towards the earth in a string pattern. The Pole Star will be the medium to spread Aether energy into the physical world and in future it will come very close to earth. Aether element will be spread into nature’s 5 elements; hence there will be complete purification of them. Due to the presence of Aether element, silicon present in the semiconductor form will be converted into bad conductor due to which all computers and electronic equipments will stop working hence the complete humanity and its life style will be disturbed. At the same time, there will be decentralization of uranium and other radioactive elements contained in the nuclear weapons resulting in the automatic explosions of nuclear weapons like atom, hydrogen bombs, etc. This event will play major role for the initiation of transformation process. The temperature of the earth will reach to 10lakhs degree Celsius due to which it will act like as it a small sun has appeared on the earth.

Due to huge temperature on the earth all elements, human beings, animals, objects, rocks, mountains and even land of different continents will start melting. Also, the silicon which is present all around the core of the earth will be converted into mercury by the power from nuclear explosions. This process will be completed through two triangular regions present on the earth i.e. Bermuda and Formosa triangles. These two triangular regions are direct opening to the core of the earth and are only covered with water. The gravitational force at these regions is very high due to which aero planes and ships entering into them pulled inside the earth. Hence, these triangular regions are known as Devil’s sea.When all around the core there will be presence of mercury, the earth’s core will start absorbing Aether energy and it will get charged with tremendous power which can drive the core up to the next 5000 years cycle. Also, the bad conductor present at the centre of the core will melt by the power of Aether element due to which the dipole will get converted into monopole again hence there will be major changes in the gravitational force. As per Einstein Boson’s condensation, the central core of the earth will become a Super Atom and its temperature will be -2730 Celsius and it will act like a superconductor. The earth’s gravitational force will be very high and its center point wills be in India.

There will be initiation to many natural disasters such as hurricanes, tsunamis, earthquakes, etc. Due to explosion of nuclear weapons, the earth’s temperature will be very high due to which the 96 percent ice present on both the poles of earth will start melting and the sea level may rise to 300 to 400 feet due to which all the cities situated on coastal areas may get submerged. There will be destruction of the continents and their lands will concentrate towards India and which is known as Atlantis, Maria, Pangaea or Gondwana land. All the processes involved in the transformation process will be wonderful and gigantic. There is an assumption by the scientists that transformation processes requires Crores of years to occur but it will start in blink of eyes.

The black holes below and above the earth in the sky elements will be destroyed by the Aether energy of Polaris Star and the land beyond South Pole will be visible to all. Today also, there is an existence of dinosaurs in this land. These types of species were produced from nature’s carbon element as the cell life energy requirement for development of such species is very less. These animals could not come into our world and we cannot go there because of South Pole’s magnetic field cyclic space geometric topology. When the black holes above and below the earth will be destroyed, the animals like dinosaurs present in the land beyond the South Pole will come to our world and will be destroyed by Aether energy and will be buried in the ground which will give us oil and gas at the end of the Iron age in next cosmic cycle. We will see the dinosaurs wandering in our world for certain period. These facts about the dinosaurs were shown in many Western world movies because of visions of their subconscious minds.

The Pole Star is carrying the cosmic world’s most powerful and luminous Aether element -O9. This Aether element will mix in nature’s 5 elements due to which there will be decentralization of element particles. Also, the power of GOD and the power of purity of the souls will concentrate the energy in the universe hence its entropy will be zero. As per the second law of thermodynamics, the entropy reversal would be possible by the ultra high energy present outside the physical world hence Aether energy and GOD’s metaphysical energy will reset the complete universe. The powerful Aether (O9) will purify the 5 five elements through Subtle Divine Geometric Structure and each particle in the physical world will come to its original purified form. Though, the world transformation seems to be destruction but in reality it is a transition of Iron to Golden age. Hence, the world has to accept the fact that, “The Purity of the Souls is Controlling the Gravity of the Universe.”

The Pole Star is coming towards the earth and will move back to its original position. People are unaware of this fact hence they are calling this as a Planet-X or Nibiru. When the Pole Star will move to its original position the expansion of the universe will stop and the central gravitational force will be reset to zero. All the planets, stars, sun, moon, etc. will set to their original positions like in the Golden age. As the speed of light will be very slow, all previously sent satellites on both the poles of earth will be visible and people will come to know that this earth is a flat disc and it is not round. There are many more mysteries of Earth and universe structure will be open to mankind and every one will be in state return journey to our sweet silence home with deep bliss.

The Unified Field is beyond this physical world (i.e. space and time) with its Dynamic Silence producing all 16 powers infinitely on continuous basis. When these 16 powers from antimatter or Golden Luminous Aether world come to physical world then these got converted into 16 energies by Polaris star which are used in the universe for different purposes. In Electrical Engineering, the Unified Field can be compared with Constant DC Generator with infinite output hence its mathematical analysis for infinite power and for 16 powers produced have been carried out. All 16 energies with Golden Luminous Aether form are produced from the Unified Field of the universe and passed into physical world from the cosmic world through white hole. Then, these energies processed into the Pole star (Luminous Aether) which acts as a universal processor of all energies. After processing these energies by Pole star then it flows into Saptarshi (7) stars and further processed in 108, 1008 stars to other stars in the sky element. Also there is direct energy flow of energy from Pole star and Saptarshi stars to planetary system and then to the inner core of the earth. From sky element (electrical energy) then this energy goes to air, fire, water and earth elements in the form sound, nuclear, chemical, gravitational energies respectively. When these various energies of different elements mixed in different proportion gives mechanical, thermal, electric potential, surface, magnetic, electromagnetic and electrostatic energies.

The final call of Akashic records

Now something definitely is going on this planet and surprisingly Edgar Cayce has forecast these events that came to be known as the prophecies of the ‘Earth changes’. He predicted that a new scientific awareness is being born on this blue planet. Its birthing took place in a small circle of scientists mostly outside the ring of mainstream science. This circle of scholars is expanding rapidly; among them are professors of famous universities in the fields of physics, biology, and neurophysiology. These scientist paint a whole new scientific vision that is breathtaking to say the least, however there is little public awareness of this new emerging vision since our newspapers are hardly cover them.

The souls who are in search for Infinite consciousness, Scared geometry science of creation and pure bliss and happiness in life will come together in upcoming time to make this world better and beautiful palace for mankind. There is an story of "Churning of the ocean" (Samudra manthana) in Indian mythology will be happen in world between many scientists and Sagas from which many jewels (Knowledge) and the amrita, the nectar of immortality will immerse. The new vision reveals a wondrous universe in which human consciousness plays a far more important role than ever fathomed. It also reveals that our civilization may not be the pinnacle of evolution after all, it is becoming more and more clear that other great and highly advanced civilizations must have preceded our current civilization. Atlantis is rising as Edgar Cayce predicted! Hence get realization of self as pure soul (not as body) and knowledge of Supreme soul (our sweet father) is the key to make our life blissful and joyful forever..

Three Worlds of Brahmand

I.

REFERENCES

The Flower of Life

[1] The Akashic Experience - Science and the Cosmic Memory Field-Inner Traditions by Ervin Laszlo - (2010)

[2] [3]

[4]

Is It Possible To Embed A 4D, N = 4 Supersymmetric Vector Multiplet Within A Completely Shell Adinkra Hologram? by Mathew Calkins, D. E. A. Gates, S. James Gates, Jr., and Brian.

A Geometric Theory of Everything by A. Garrett Lisi and James Owen Weatherall. Page 55, December 2010, Scientific American Magazine.

Website www.cosmometry.net on Cosmometry by Marshall Lefferts.

[5] A book on “Souls of distortion awakening” by Jahn Vincherink

[6] Article by Dr. John Hagelin, “Qualities of intelligence emerging from the Unified Field of

Natural Law through the self-interacting dynamics of its three-in-one structure.”

[7] Dr. Moninder Singh Modgil, S. H. Kaware, D. D. Patil, H. B. Bhoir, “Revealing the Real Science of Consciousness through a Novel Divine Sacred Geometrical Structure of Conscious Quanta” presented at International Conference on Science of Consciousness at Center for

Consciousness Studies, Arizona State University, USA during 25-30th April 2016.

[8] Dr. Moninder Singh Modgil, S. H. Kaware, D. D. Patil, H. B. Bhoir, “Novel Findings on True Nature of Cosmology in View of Ancient and Modern Era”presented at International

Conference on Science and Jain Philosophy at IIT Mumbai during 8-10th January 2016.

[9] Unified Field of Consciousness by Mr. Vikram Zaveri

www.researchgate.net/publication/266618399 October 2014

www.academia.edu/39813023/Akashic_Records_-The_Quantum_Mi...

The Peacock Door.

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century.

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres (6.8 mi) from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

en.wikipedia.org/wiki/City_Palace,_Jaipur

© Eric Lafforgue

www.ericlafforgue.com

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century.

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres (6.8 mi) from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

en.wikipedia.org/wiki/City_Palace,_Jaipur

© Eric Lafforgue

www.ericlafforgue.com

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century.

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres (6.8 mi) from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

en.wikipedia.org/wiki/City_Palace,_Jaipur

Candi Prambanan is a 9th century Hindu temple dedicated to the expression of God as creator, preserver, and destroyer. Each of the three stone towers house a statue and various carvings. Certainly it is now know that man was able to move large rocks but the difference here is the intricate work by with stones are joined. The inverted cut at each of the truncated corners in the ceiling is amazing.

thanks for reading....jhe

© Eric Lafforgue

www.ericlafforgue.com

Part of a series on

Hindu scriptures and texts

Om symbol.svg

Shruti Smriti

Vedas[show]

Upanishads[show]

Other scriptures[show]

Related Hindu texts

Vedangas[show]

Puranas[show]

Itihasa[show]

Shastras and sutras[show]

Timeline[show]

vte

Angkor Wat, a Hindu-Buddhist temple and World Heritage Site, is the largest religious monument in the world. This Cambodian temple deploys the same circles and squares grid architecture as described in ancient Indian Vāstu Śastras.[1]

Vastu shastra (vāstu śāstra) is a traditional Indian system of architecture originating in India[2] which literally translates to "science of architecture."[3] These are texts found on the Indian subcontinent that describe principles of design, layout, measurements, ground preparation, space arrangement, and spatial geometry.[4][5] Vastu Shastras incorporate traditional Hindu and in some cases Buddhist beliefs.[6] The designs are intended to integrate architecture with nature, the relative functions of various parts of the structure, and ancient beliefs utilising geometric patterns (yantra), symmetry, and directional alignments.[7][8]

Vastu Shastra are the textual part of Vastu Vidya, the latter being the broader knowledge about architecture and design theories from ancient India.[9] Vastu Vidya knowledge is a collection of ideas and concepts, with or without the support of layout diagrams, that are not rigid. Rather, these ideas and concepts are models for the organisation of space and form within a building or collection of buildings, based on their functions in relation to each other, their usage and to the overall fabric of the Vastu.[9] Ancient Vastu Shastra principles include those for the design of Mandir (Hindu temples),[10] and the principles for the design and layout of houses, towns, cities, gardens, roads, water works, shops and other public areas.[5][11][12]

Contents

1Terminology

2History

3Description

4Mandala types and properties

5Modern adaptations and usage

5.1Vastu and superstition

6Sanskrit treatises on architecture

7See also

8References

9Further reading

Terminology[edit]

The Sanskrit word vāstu means a dwelling or house with a corresponding plot of land.[13] The vrddhi, vāstu, takes the meaning of "the site or foundation of a house, site, ground, building or dwelling-place, habitation, homestead, house". The underlying root is vas "to dwell, live, stay, reside".[14] The term shastra may loosely be translated as "doctrine, teaching".

Vāstu-Śastras (literally, science of dwelling) are ancient Sanskrit manuals of architecture. These contain Vastu-Vidya (literally, knowledge of dwelling).[15]

History[edit]

Proposals tracing potential links of the principles of composition in Vastu Shastra and the Indus Valley Civilization have been made, but Kapila Vatsyayan is reluctant to speculate on such links given the Indus Valley script remains undeciphered.[16] According to Chakrabarti, Vastu Vidya is as old the Vedic period and linked to the ritual architecture.[17] According to Michael W. Meister, the Atharvaveda contains verses with mystic cosmogony which provide a paradigm for cosmic planning, but they did not represent architecture nor a developed practice.[18] Varahamihira's Brihat Samhita dated to the sixth century CE, states Meister, is the first known Indian text that describes "something like a vastupurusamandala to plan cities and buildings".[18] The emergence of Vastu vidya as a specialised field of science is speculated to have occurred significantly before the 1st-century CE.[17]

Description[edit]

Ancient India produced many Sanskrit manuals of architecture, called Vastu Sastra. Many of these are about Hindu temple layout (above), design and construction, along with chapters on design principles for houses, villages, towns. The architect and artists (Silpins) were given wide latitude to experiment and express their creativity.[19]

There exist many Vāstu-Śastras on the art of building houses, temples, towns and cities. One such Vāstu Śastra is by Thakkura Pheru, describing where and how temples should be built.[7][20] By 6th century AD, Sanskrit manuals for constructing palatial temples were in circulation in India.[21] Vāstu-Śastra manuals included chapters on home construction, town planning,[15] and how efficient villages, towns and kingdoms integrated temples, water bodies and gardens within them to achieve harmony with nature.[11][12] While it is unclear, states Barnett,[22] as to whether these temple and town planning texts were theoretical studies and if or when they were properly implemented in practice, the manuals suggest that town planning and Hindu temples were conceived as ideals of art and integral part of Hindu social and spiritual life.[15]

The Silpa Prakasa of Odisha, authored by Ramachandra Bhattaraka Kaulachara sometime in ninth or tenth century CE, is another Vāstu Śastra.[23] Silpa Prakasa describes the geometric principles in every aspect of the temple and symbolism such as 16 emotions of human beings carved as 16 types of female figures. These styles were perfected in Hindu temples prevalent in eastern states of India. Other ancient texts found expand these architectural principles, suggesting that different parts of India developed, invented and added their own interpretations. For example, in Saurastra tradition of temple building found in western states of India, the feminine form, expressions and emotions are depicted in 32 types of Nataka-stri compared to 16 types described in Silpa Prakasa.[23] Silpa Prakasa provides brief introduction to 12 types of Hindu temples. Other texts, such as Pancaratra Prasada Prasadhana compiled by Daniel Smith[24] and Silpa Ratnakara compiled by Narmada Sankara[25] provide a more extensive list of Hindu temple types.

Ancient Sanskrit manuals for temple construction discovered in Rajasthan, in northwestern region of India, include Sutradhara Mandana's Prasadamandana (literally, manual for planning and building a temple) with chapters on town building.[26] Manasara shilpa and Mayamata, texts of South Indian origin, estimated to be in circulation by 5th to 7th century AD, is a guidebook on South Indian Vastu design and construction.[7][27] Isanasivagurudeva paddhati is another Sanskrit text from the 9th century describing the art of building in India in south and central India.[7][28] In north India, Brihat-samhita by Varāhamihira is the widely cited ancient Sanskrit manual from 6th century describing the design and construction of Nagara style of Hindu temples.[19][29][30]

These ancient Vāstu Śastras, often discuss and describe the principles of Hindu temple design, but do not limit themselves to the design of a Hindu temple.[31] They describe the temple as a holistic part of its community, and lay out various principles and a diversity of alternate designs for home, village and city layout along with the temple, gardens, water bodies and nature.[12][32]

Mandala types and properties[edit]

The 8x8 (64) grid Manduka Vastu Purusha Mandala layout for Hindu Temples. It is one of 32 Vastu Purusha Mandala grid patterns described in Vastu sastras. In this grid structure of symmetry, each concentric layer has significance.[7]

The central area in all mandala is the Brahmasthana. Mandala "circle-circumference" or "completion", is a concentric diagram having spiritual and ritual significance in both Hinduism and Buddhism. The space occupied by it varies in different mandala – in Pitha (9) and Upapitha (25) it occupies one square module, in Mahaapitha (16), Ugrapitha (36) and Manduka (64), four square modules and in Sthandila (49) and Paramasaayika (81), nine square modules.[33] The Pitha is an amplified Prithvimandala in which, according to some texts, the central space is occupied by earth. The Sthandila mandala is used in a concentric manner.[33]

The most important mandala is the Manduka/Chandita Mandala of 64 squares and the Paramasaayika Mandala of 81 squares. The normal position of the Vastu Purusha (head in the northeast, legs in the southwest) is as depicted in the Paramasaayika Mandala. However, in the Manduka Mandala the Vastu Purusha is depicted with the head facing east and the feet facing west.[citation needed]

vastu directional chakara

It is believed that every piece of a land or a building has a soul of its own and that soul is known as Vastu Purusha.[34]

A site of any shape can be divided using the Pada Vinyasa. Sites are known by the number of squares. They range from 1x1 to 32x32 (1024) square sites. Examples of mandalas with the corresponding names of sites include:[7]

Sakala (1 square) corresponds to Eka-pada (single divided site)

Pechaka (4 squares) corresponds to Dwi-pada (two divided site)

Pitha (9 squares) corresponds to Tri-pada (three divided site)

Mahaapitha (16 squares) corresponds to Chatush-pada (four divided site)

Upapitha (25 squares) corresponds to Pancha-pada (five divided site)

Ugrapitha (36 squares) corresponds to Shashtha-pada (six divided site)

Sthandila (49 squares) corresponds to Sapta-pada (seven divided site)

Manduka/ Chandita (64 square) corresponds to Ashta-pada (eight divided site)

Paramasaayika (81 squares) corresponds to Nava-pada (nine divided site)

Aasana (100 squares) corresponds to Dasa-pada (ten divided site)

Bhadrmahasan (196 squares) corresponds to Chodah-pada (14 divided sites)

Modern adaptations and usage[edit]

Vastu Shastra-inspired plan adapted and evolved by modern architect Charles Correa in the design of Jawahar Kala Kendra, Jaipur, Rajasthan.[8][35]

Vāstu Śastra represents a body of ancient concepts and knowledge to many modern architects, a guideline but not a rigid code.[8][36] The square-grid mandala is viewed as a model of organisation, not as a ground plan. The ancient Vāstu Śastra texts describe functional relations and adaptable alternate layouts for various rooms or buildings and utilities, but do not mandate a set compulsory architecture. Sachdev and Tillotson state that the mandala is a guideline, and employing the mandala concept of Vāstu Śastra does not mean every room or building has to be square.[8] The basic theme is around core elements of central space, peripheral zones, direction with respect to sunlight, and relative functions of the spaces.[8][36]

The pink city Jaipur in Rajasthan was master planned by Rajput king Jai Singh and built by 1727 CE, in part around Vastu Shilpa Sastra principles.[8][37][37] Similarly, modern era projects such as the architect Charles Correa's designed Gandhi Smarak Sangrahalaya in Ahmedabad, Vidhan Bhavan in Bhopal,[38] and Jawahar Kala Kendra in Jaipur, adapt and apply concepts from the Vastu Shastra Vidya.[8][36] In the design of Chandigarh city, Le Corbusier incorporated modern architecture theories with those of Vastu Shastra.[39][40][41]

During the colonial rule period of India, town planning officials of the British Raj did not consider Vastu Vidya, but largely grafted Islamic Mughal era motifs and designs such as domes and arches onto Victorian-era style buildings without overall relationship layout.[42][43] This movement, known as Indo-Saracenic architecture, is found in chaotically laid out, but externally grand structures in the form of currently used major railway stations, harbours, tax collection buildings, and other colonial offices in South Asia.[42]

Vāstu Śastra Vidya was ignored, during colonial era construction, for several reasons. These texts were viewed by 19th and early 20th century architects as archaic, the literature was inaccessible being in an ancient language not spoken or read by the architects, and the ancient texts assumed space to be readily available.[36][42] In contrast, public projects in the colonial era were forced into crowded spaces and local layout constraints, and the ancient Vastu sastra were viewed with prejudice as superstitious and rigid about a square grid or traditional materials of construction.[42] Sachdev and Tillotson state that these prejudices were flawed, as a scholarly and complete reading of the Vāstu Śastra literature amply suggests the architect is free to adapt the ideas to new materials of construction, local layout constraints and into a non-square space.[42][44] The design and completion of a new city of Jaipur in early 1700s based on Vāstu Śastra texts, well before any colonial era public projects, was one of many proofs.[42][44] Other examples include modern public projects designed by Charles Correa such as Jawahar Kala Kendra in Jaipur, and Gandhi Ashram in Ahmedabad.[8][35] Vastu Shastra remedies have also been applied by Khushdeep Bansal in 1997 to the Parliament complex of India, when he contented that the library being built next to the building is responsible for political instability in the country.[45]

German architect Klaus-Peter Gast states that the principles of Vāstu Śastras is witnessing a major revival and wide usage in the planning and design of individual homes, residential complexes, commercial and industrial campuses, and major public projects in India, along with the use of ancient iconography and mythological art work incorporated into the Vastu vidya architectures.[35][46]

Vastu and superstition[edit]

The use of Vastu shastra and Vastu consultants in modern home and public projects is controversial.[44] Some architects, particularly during India's colonial era, considered it arcane and superstitious.[36][42] Other architects state that critics have not read the texts and that most of the text is about flexible design guidelines for space, sunlight, flow and function.[36][46]

Vastu Shastra is considered as pseudoscience by rationalists like Narendra Nayak of Federation of Indian Rationalist Associations.[47] Scientist and astronomer Jayant Narlikar considers Vastu Shastra as pseudoscience and writes that Vastu does not have any "logical connection" to the environment.[3] One of the examples cited by Narlikar arguing the absence of logical connection is the Vastu rule, "sites shaped like a triangle ... will lead to government harassment, ... parallelogram can lead to quarrels in the family." Narlikar notes that sometimes the building plans are changed and what has already been built is demolished to accommodate for Vastu rules.[3] Regarding superstitious beliefs in Vastu, Science writer Meera Nanda cites the case of N. T. Rama Rao, the ex-chief minister of Andhra Pradesh, who sought the help of Vastu consultants for his political problems. Rama Rao was advised that his problems would be solved if he entered his office from an east facing gate. Accordingly, a slum on the east facing side of his office was ordered to be demolished, to make way for his car's entrance.[48] The knowledge of Vastu consultants is questioned by Pramod Kumar (citation required), "Ask the Vaastu folks if they know civil engineering or architecture or the local government rules on construction or minimum standards of construction to advise people on buildings. They will get into a barrage of "ancient" texts and "science" that smack of the pseudo-science of astrology. Ask them where they were before the construction boom and if they will go to slum tenements to advise people or advise on low-cost community-housing—you draw a blank."[49]

Sanskrit treatises on architecture[edit]

Of the numerous Sanskrit treatises mentioned in ancient Indian literature, some have been translated in English. Many Agamas, Puranas and Hindu scriptures include chapters on architecture of temples, homes, villages, towns, fortifications, streets, shop layout, public wells, public bathing, public halls, gardens, river fronts among other things.[5] In some cases, the manuscripts are partially lost, some are available only in Tibetan, Nepalese or South Indian languages, while in others original Sanskrit manuscripts are available in different parts of India. Some treatises, or books with chapters on Vaastu Shastra include:[5]

Manasara

Brhat samhita

Mayamata

Anka sastra

Aparajita Vāstu Śastra

Maha-agamas (28 books, each with 12 to 75 chapters)

Ayadi Lakshana

Aramadi Pratishtha Paddhati (includes garden design)

Kasyapiya

Kupadi Jala Sthana Lakshana

Kshetra Nirmana Vidhi (preparation of land and foundation of buildings including temples)

Gargya samhita (pillars, doors, windows, wall design and architecture)

Griha Pithika (types of houses and their construction)

Ghattotsarga Suchanika (riverfront and steps architecture)

Chakra sastra

Jnana ratna kosha

Vastu sarani (measurement, ratio and design layouts of objects, particularly buildings)

Devalaya Lakshana (treatise on construction of temples)

Dhruvadi shodasa gehani (guidelines for arrangement of buildings with respect to each other for harmony)

Nava sastra (36 books, most lost)

Agni Purana (Chapters 42 through 55, and 106 - Nagaradi Vastu)

Matsya Purana (Chapters 252 through 270)

Maya samgraha

Prasada kirtana

Prasada Lakshana

Tachchu sastra (primarily home design for families)

Manushyalaya Lakshana (primarily human dwelings)

Manushyalaya Chandrika

Mantra dipika

Mana kathana (measurement principles)

Manava vastu lakshana

Manasollasa (chapters on house layout, mostly ancient cooking recipes)

Raja griha nirmana (architecture and construction principles for royal palaces)

Rupa mandana

Vastu chakra

Vastu tattva

Vastu nirnaya

Vastu purusha lakshana

Vastu prakasa

Vastu pradipa

Vastu manjari

Vastu mandana

Vastu lakshana

Vastu vichara

Vastu Vidya

Vastu vidhi

Vastu samgraha

Vastu sarvasva

Vimana lakshana (tower design)

Visvakarma prakasa (home, roads, water tanks and public works architecture)

Vaikhanasa

Sastra jaladhi ratna

Silpa prakasa

Silpakala Dipika

Silpartha Śastra

Sanatkumara Vāstu Śastra

Samarangana Sutradhara

See also[edit]

Aranmula Kottaram

Feng shui

Kanippayyur Shankaran Namboodiripad

Maharishi Vastu Architecture

Shilpa Shastras

Tajul muluk

References[edit]

^ R Arya, Vaastu: The Indian Art of Placement, ISBN 978-0892818853

^ Quack, Johannes (2012). Disenchanting India: Organized Rationalism and Criticism of Religion in India. Oxford University Press. p. 119. ISBN 9780199812608. Retrieved 17 August 2015.

^ Jump up to: a b c Narlikar, Jayant V. (2009). "Astronomy, pseudoscience and rational thinking". In Percy, John; Pasachoff, Jay (eds.). Teaching and Learning Astronomy: Effective Strategies for Educators Worldwide. Cambridge University Press. p. 165.

^ "GOLDEN PRINCIPLES OF VASTU SHASTRA Vastukarta". www.vastukarta.com. Retrieved 8 May 2016.

^ Jump up to: a b c d Acharya P.K. (1946), An Encyclopedia of Hindu Architecture, Oxford University Press

^ Kumar, Vijaya (2002). Vastushastra. New Dawn/Sterling. p. 5. ISBN 978-81-207-2199-9.

^ Jump up to: a b c d e f Stella Kramrisch (1976), The Hindu Temple Volume 1 & 2, ISBN 81-208-0223-3

^ Jump up to: a b c d e f g h Vibhuti Sachdev, Giles Tillotson (2004). Building Jaipur: The Making of an Indian City. pp. 155–160. ISBN 978-1861891372.

^ Jump up to: a b Vibhuti Sachdev, Giles Tillotson (2004). Building Jaipur: The Making of an Indian City. p. 147. ISBN 978-1861891372.

^ George Michell (1988), The Hindu Temple: An Introduction to Its Meaning and Forms, University of Chicago Press, ISBN 978-0226532301, pp 21-22

^ Jump up to: a b GD Vasudev (2001), Vastu, Motilal Banarsidas, ISBN 81-208-1605-6, pp 74-92

^ Jump up to: a b c Sherri Silverman (2007), Vastu: Transcendental Home Design in Harmony with Nature, Gibbs Smith, Utah, ISBN 978-1423601326

^ Gautum, Jagdish (2006). Latest Vastu Shastra (Some Secrets). Abhinav Publications. p. 17. ISBN 978-81-7017-449-3.

^ Monier-Williams (1899).

^ Jump up to: a b c BB Dutt (1925), Town planning in Ancient India at Google Books, ISBN 978-81-8205-487-5; See critical review by LD Barnett, Bulletin of the School of Oriental and African Studies, Vol 4, Issue 2, June 1926, pp 391

^ Milton Singer (1991). Semiotics of Cities, Selves, and Cultures: Explorations in Semiotic Anthropology. Walter de Gruyter. p. 117. ISBN 978-3-11-085775-7.

^ Jump up to: a b Vibhuti Chakrabarti (2013). Indian Architectural Theory and Practice: Contemporary Uses of Vastu Vidya. Routledge. pp. 1–2. ISBN 978-1-136-77882-7.

^ Jump up to: a b Gudrun Bühnemann (2003). Mandalas and Yantras in the Hindu Traditions. BRILL Academic. pp. 251–254. ISBN 90-04-12902-2.

^ Jump up to: a b Meister, Michael W. (1983). "Geometry and Measure in Indian Temple Plans: Rectangular Temples". Artibus Asiae. 44 (4): 266–296. doi:10.2307/3249613. JSTOR 3249613.

^ Jack Hebner (2010), Architecture of the Vāstu Śastra - According to Sacred Science, in Science of the Sacred (Editor: David Osborn), ISBN 978-0557277247, pp. 85-92; N Lahiri (1996), Archaeological landscapes and textual images: a study of the sacred geography of late medieval Ballabgarh, World Archaeology, 28(2), pp 244-264

^ Susan Lewandowski (1984), Buildings and Society: Essays on the Social Development of the Built Environment, edited by Anthony D. King, Routledge, ISBN 978-0710202345, Chapter 4

^ LD Barnett, Bulletin of the School of Oriental and African Studies, Vol 4, Issue 2, June 1926, pp 391

^ Jump up to: a b Alice Boner and Sadāśiva Rath Śarmā (1966), Silpa Prakasa Medieval Orissan Sanskrit Text on Temple Architecture at Google Books, E.J. Brill (Netherlands)

^ H. Daniel Smith (1963), Ed. Pāncarātra prasāda prasādhapam, A Pancaratra Text on Temple-Building, Syracuse: University of Rochester, OCLC 68138877

^ Mahanti and Mahanty (1995 Reprint), Śilpa Ratnākara, Orissa Akademi, OCLC 42718271

^ Amita Sinha (1998), Design of Settlements in the Vaastu Shastras, Journal of Cultural Geography, 17(2), pp 27-41, doi:10.1080/08873639809478319

^ Tillotson, G. H. R. (1997). Svastika Mansion: A Silpa-Sastra in the 1930s. South Asian Studies, 13(1), pp 87-97

^ Ganapati Sastri (1920), Īśānaśivagurudeva paddhati, Trivandrum Sanskrit Series, OCLC 71801033

^ Heather Elgood (2000), Hinduism and the religious arts, ISBN 978-0304707393, Bloomsbury Academic, pp 121-125

^ H Kern (1865), The Brhat Sanhita of Varaha-mihara, The Asiatic Society of Bengal, Calcutta

^ S Bafna, On the Idea of the Mandala as a Governing Device in Indian Architectural Tradition, Journal of the Society of Architectural Historians, Vol. 59, No. 1 (Mar. 2000), pp. 26-49

^ Stella Kramrisch, The Hindu Temple, Vol 1, Motilal Banarsidass, ISBN 978-81-208-0222-3

^ Jump up to: a b Vibhuti Chakrabarti (2013). Indian Architectural Theory: Contemporary Uses of Vastu Vidya. Routledge. pp. 86–99. ISBN 978-0700711130.

^ "Vastu for Beginners | Vastu Purusha Story | Vastu Shastra". 6 July 2015.

^ Jump up to: a b c Klaus-Peter Gast (2011). Modern Traditions: Contemporary Architecture in India. Birkhäuser Architecture. p. 11. ISBN 978-3764377540.

^ Jump up to: a b c d e f V Chakrabarti (2013). Indian Architectural Theory: Contemporary Uses of Vastu Vidya. Routledge. pp. 86–92. ISBN 978-0700711130.

^ Jump up to: a b Jantar Mantar & Jaipur - Section II National University of Singapore, pp. 17-22

^ Irena Murray (2011). Charles Correa: India's Greatest Architect. RIBA Publishing. ISBN 978-1859465172.

^ Gerald Steyn (2011). "Le Corbusier's research-based design approaches" (PDF). SAJAH. Tshwane University of Technology. 26 (3): 45–56.

^ H Saini (1996). Vaastu ordains a full flowering for Chandigarh. The Tribune.

^ Reena Patra (2009). "Vaastu Shastra: Towards Sustainable Development". Sustainable Development. Wiley InterScience. 17 (4): 244–256. doi:10.1002/sd.388.

^ Jump up to: a b c d e f g Vibhuti Sachdev, Giles Tillotson (2004). Building Jaipur: The Making of an Indian City. pp. 149–157. ISBN 978-1861891372.

^ Anthony D'Costa (April 2012). A New India?: Critical Reflections in the Long Twentieth Century. pp. 165–168. ISBN 978-0857285041.

^ Jump up to: a b c V Chakrabarti (2013). Indian Architectural Theory: Contemporary Uses of Vastu Vidya. Routledge. pp. 86–99. ISBN 978-0700711130.

^ "'Harmonising' homes, hearts". Hindustan Times. 9 June 2012. Retrieved 4 January 2016.

^ Jump up to: a b Stephen Marshall (2011). Urban Coding and Planning. Routledge. pp. 83–103. ISBN 978-0415441261.

^ Quack, Johannes (2012). Disenchanting India: Organized Rationalism and Criticism of Religion in India. Oxford University Press. p. 170. ISBN 9780199812608. Retrieved 15 August 2015.

^ Sokal, Alan (2008). Beyond the Hoax: Science, Philosophy and Culture. Oxford University Press. pp. 306–307. ISBN 9780191623349.

^ Kumar, Pramod (14 May 2013). "Akshaya Tritiya and the great Indian superstition industry". Firstpost. Retrieved 15 August 2015.

Further reading[edit]

Wikimedia Commons has media related to Vastu Shastra.

Acharya P.K. (1946), An Encyclopedia of Hindu Architecture, Oxford University Press - Terminology of Ancient Architecture

Acharya P.K. (1946), Bibliography of Ancient Sanskrit Treatises on Architecture and Arts, in An Encyclopedia of Hindu Architecture, Oxford University Press - pages 615-659

B.B. Dutt (1925), Town Planning in Ancient India at Google Books

IVVRF (2000), Journal Of International Conference Vastu Panorama 2000, Main Theme - The Study of Energetic Dimension of Man and Behavior of Environment

IVVRF (2004), Journal Of International Conference Vastu Panorama 2004

IVVRF (2008), Journal Of International Conference Vastu Panorama 2008, Main Theme - Save Mother earth and life- A Vastu Mission

IVVRF (2012), Journal Of International Conference Vastu Panorama 2012, Main Theme- Vastu Dynamics for Global Well Being

V. Chakraborty, Indian Architectural Theory: Contemporary Uses of Vastu Vidya at Google Books

Arya, Rohit Vaastu: the Indian art of placement : design and decorate homes to reflect eternal spiritual principles Inner Traditions / Bear & Company, 2000, ISBN 0-89281-885-9.

Important Concepts of Vasthu Shasthra Traditional Indian Architecture

Vastu: Transcendental Home Design in Harmony with Nature, Sherri Silverman

Prabhu, Balagopal,T.S and Achyuthan,A, "A text Book of Vastuvidya", Vastuvidyapratisthanam, Kozhikode, New Edition, 2011.

Prabhu, Balagopal,T.S and Achyuthan,A, "Design in Vastuvidya", Vastuvidyapratisthanam, Kozhiko

Prabhu, Balagopal,T.S, "Vastuvidyadarsanam",(Malayalam) Vastuvidyapratisthanam, Kozhikode.

Prabhu, Balagopal,T.S and Achyuthan,A, "Manusyalaya candrika- An Engineering Commentary", Vastuvidyapratisthanam, Kozhikode, New Edition, 2011.

Vastu-Silpa Kosha, Encyclopedia of Hindu Temple architecture and Vastu/S.K.Ramachandara Rao, Delhi, Devine Books, (Lala Murari Lal Chharia Oriental series) ISBN 978-93-81218-51-8 (Set)

D. N. Shukla, Vastu-Sastra: Hindu Science of Architecture, Munshiram Manoharial Publishers, 1993, ISBN 978-81-215-0611-3.

B. B. Puri, Applied vastu shastra vaibhavam in modern architecture, Vastu Gyan Publication, 1997, ISBN 978-81-900614-1-4.

Vibhuti Chakrabarti, Indian Architectural Theory: Contemporary Uses of Vastu Vidya Routledge, 1998, ISBN 978-0-7007-1113-0.

hidevte

Mathematics and art

Concepts

Algorithm Catenary Fractal Golden ratio Plastic number Hyperboloid structure Minimal surface Paraboloid Perspective Camera lucida Camera obscura Projective geometry Proportion Architecture Human Symmetry Tessellation Wallpaper group

Fibonacci word: detail of artwork by Samuel Monnier, 2009

Forms

Algorithmic art Anamorphic art Computer art 4D art Fractal art Islamic geometric patterns Girih Jali Muqarnas Zellige Knotting Celtic knot Croatian Interlace Interlace (art) Architecture Geodesic dome Islamic Mughal Pyramid Vastu shastra Music Origami Textiles String art Sculpture Tiling

Artworks

List of works designed with the golden ratio Continuum Octacube Pi Pi in the Sky

Buildings

Hagia Sophia Pantheon Parthenon Pyramid of Khufu Sagrada Família St Mary's Cathedral Sydney Opera House Taj Mahal

Artists

Renaissance

Paolo Uccello Piero della Francesca Albrecht Dürer Leonardo da Vinci Vitruvian Man Parmigianino Self-portrait in a Convex Mirror

19th–20th Century

William Blake The Ancient of Days Newton Giorgio de Chirico Salvador Dalí Crucifixion The Swallow's Tail M. C. Escher Circle Limit III Print Gallery Relativity Reptiles Waterfall Crockett Johnson René Magritte La condition humaine Jean Metzinger Danseuse au café L'Oiseau bleu Man Ray

Contemporary

Max Bill Martin and Erik Demaine Scott Draves Jan Dibbets John Ernest Helaman Ferguson Peter Forakis Bathsheba Grossman George W. Hart Desmond Paul Henry John A. Hiigli Anthony Hill Charles Jencks Garden of Cosmic Speculation Robert Longhurst István Orosz Hinke Osinga Hamid Naderi Yeganeh A Bird in Flight Boat Tony Robbin Reza Sarhangi Oliver Sin Hiroshi Sugimoto Daina Taimina Roman Verostko

Theorists

Ancient

Polykleitos Canon Vitruvius De architectura

Renaissance

Luca Pacioli De divina proportione Piero della Francesca De prospectiva pingendi Leon Battista Alberti De pictura De re aedificatoria Sebastiano Serlio Regole generali d'architettura Andrea Palladio I quattro libri dell'architettura Albrecht Dürer Vier Bücher von Menschlicher Proportion

Romantic

Frederik Macody Lund Ad Quadratum Jay Hambidge The Greek Vase Samuel Colman Nature's Harmonic Unity

Modern

Owen Jones The Grammar of Ornament Ernest Hanbury Hankin The Drawing of Geometric Patterns in Saracenic Art G. H. Hardy A Mathematician's Apology George David Birkhoff Aesthetic Measure Douglas Hofstadter Gödel, Escher, Bach Nikos Salingaros The 'Life' of a Carpet

Publications

Journal of Mathematics and the Arts Viewpoints: Mathematical Perspective and Fractal Geometry in Art

Organizations

Ars Mathematica The Bridges Organization European Society for Mathematics and the Arts Goudreau Museum of Mathematics in Art and Science Institute For Figuring Museum of Mathematics

Related

Droste effect Mathematical beauty Patterns in nature Sacred geometry

Category Category

en.wikipedia.org/wiki/Vastu_shastra

Vastu 101: How to Make Your Home A Healing Sanctuary

Use this ancient system of architecture and design to bring positive energy into any physical space.

JULY 17, 2020

AMANDA TUST

Ever feel an immediate sense of ease when you walk into a room that’s clean and clutter-free? Perhaps the furniture is functional and comfy, and there is plenty of open space. Or maybe your eye is drawn to a beautiful painting or lush plant, and gentle sunlight pours in through a window. That room may follow the principles of an ancient Indian system of architecture and design called Vastu. Just as you cultivate prana (life force) in your body through your yoga practice, Vastu can help you create a positive feel and flow within physical spaces.

None

IStock Katarzyna Bialasiewicz

Vastu offers guidelines for constructing buildings (temples, businesses, and homes) and arranging the furnishings and objects within to maximize positive vibrational energy. Vastu focuses on aligning structures with the laws of nature by adhering to the cardinal directions (north, south, east, west), welcoming in energy from the sun, and honoring the five elements: earth, water, fire, air, and ether.

Vastu’s ultimate goal is to manage energy within a space, similar to how Chinese feng shui cultivates Qi (universal energy) to create harmony between people and their environments. By some estimates, this sister science to yoga, Ayurveda, and Jyotish (Vedic astrology) is thousands of years older than feng shui, with origins that can be traced to the Vedasa 3,000-year-old collection of Sanskrit poems and hymns that forms the foundation of Hindu theology.

Fire energy dominates the southeast, where you’ll find the kitchen in a Vastu home: The stove and food-prep surfaces face east to further tap into that fiery, nourishing vitality. But be cautious of your color palette, says Vastu consultant Kathleen Cox. Bright reds and oranges can stir too much heat in this region; opt instead for a deep merlot.

None

Mick Follari

See also Live Purposefully: Intention-Setting Sequences for Morning + Night

Get On The Grid

Traditionally, Vastu focuses on organizing buildings based on a grid called the Vastu Purusha Mandala—a geometric chart that symbolically represents the cosmos. This blueprint encourages positive energy flow by mimicking patterns found in the natural world. A structure’s mandala grid is positioned so that its perimeter is flush with the cardinal directions, or the earth’s grid, in order to be more aligned with solar and cosmic forces. “Geometry acts like a tuning fork to supply the house with earth and star energy so that it vibrates with life-enhancing cosmic forces,” says Vastu designer Michael Borden.

Each mandala grid, regardless of its dimensions, has corners and central areas associated with the elemental energies of earth, air, fire, water, and ether—and rooms, furniture, and appliances are situated to correspond with and maximize the respective elements and their particular benefits.

None

Emily Minton Redfield

The northeast area of the house possesses the water element and makes for a calming space for meditation. The southwest holds earth—a grounding place for deep rest. The southeast gathers fire, and it’s the traditional location for a kitchen. The northwest region fields air, which encourages movement and the sharing of ideas, and is ideal as a living room or communal space. The ether element congregates in the central sector, considered a sacred area that should be kept open so its powerful energy can spread outward and energize the entire space.

Vastu homes are designed to let in gentle sunshine from the north and east, with sightlines throughout that allow cosmic energy to move freely. You can further encourage positive flow by limiting what’s on display and selecting larger pieces (such as furniture and rugs) that fit a space while still creating a sense of openness.

None

IStock Navamin Keawmorakot

When it comes to arranging furniture, people often have an intuitive sense of what makes them feel settled, says Borden. Listen to that instinct by paying attention to your breathing and any emotional shifts as you move furniture around. The space should feel good.

Synthetics release toxins via offgassing, says Vastu consultant Sherri Silverman. Instead, when selecting accents for your home, incorporate houseplants (which purify the air) and organic materials such as wooden furniture, wool or silk rugs, and bamboo shelves. Choosing tile, true adobe, brick, and natural linoleum will also help align your home with nature.

See also Clearing Clutter for a Simpler Life

None

IStock Lightfield Studios

Align Your Practice

It’s tradition to face east when practicing yoga (especially for morning Sun Salutations) because it puts you in line with the earth’s movement. Facing north is also acceptable, Silverman says, as it optimizes brain functioning.

While you won’t find interior design advice in the ancient texts, you can incorporate key principles of Vastu and its elemental influences into your home to create a harmonious flow and experience positive shifts in how you feel.

“You can apply Vastu to any home, and, just like with a yoga or meditation practice, sometimes you’ll notice a dramatic shift right away. Other times it’s consistent use that makes the difference,” says Sherri Silverman, PhD, founder of Transcendence Design and author of Vastu: Transcendental Home Design in Harmony with Nature. Even changing where you put the head of your bed or using more organic cleaning products can help transform your space and allow you to achieve deeper rest and improved health.

“What yoga does for the body, Vastu does for the home,” says Kathleen Cox, a Vastu consultant and author of Space Matters, a design book that celebrates the ancient system. “The goal is to create a healing, healthy space where you feel calm.”

None

Courtesy of Ahki Retreat, Design by Michael Borden and Javier Ruiz

But it doesn’t just happen. Design has to be intentional. Physical spaces have vibrations that influence how we feel and can help cultivate inner silence, peace, and fulfillment, says Michael Borden, a Vastu designer in Nelson, New Zealand. “By living in a Vastu space, you become slowly more aligned with the laws of nature to live a better and more prosperous, happy, and peaceful life.”

Vastu homes are plotted so that perimeter walls face the cardinal directions in order to access the earth’s natural energy grid. By designing the interiors of their homes to face the intercardinal directions, dwellers can align themselves with the natural resting places of the five elements and receive the maximum benefits from their corresponding vibrational influences. For instance, a bed positioned so that you sleep with the top of your head to the east (associated with consciousness) or to the south (healing energy) sets you up for deep rest, Silverman says. Similarly, facing northeast while working or studying can help keep your mind clear and alert while boosting focus and creativity.

See also How to Use the Ancient Principles of Vastu to Declutter Your Home and Improve Its Energy

Vatsu Now

Use these tips to better balance the energy in your existing space.

1. The Center Is Sacred

The middle region of a home or building, called the brahmasthana (Sanskrit for “establish wholeness”), is the central point where all energy convenes and disperses. It is said to be the most divine and powerful zone in a space and, as such, should be left open—free of furniture and wires in order to welcome the flow of prana.

2. Build A Sanctuary

According to Vastu, the northeast area of a house is linked to the water element and is considered a calming space. It’s ideal for creating a zen zone where you can deepen your meditation and yoga practice. Build an altar here with a few sacred items and keep window shades open as much as possible to invite in ample light.

3. Declutter

Take a cue from Marie Kondo and downsize. Clutter has a negative energetic pull that can weigh you down and create stress. When surfaces are clean and open, positive energy flows.

4. Quiet Your Colors

Earthy, muted tones are calming and reinforce the sense of connecting to nature. Use a soft, soothing, matte finish that hides imperfections.

See also Create an Inspiring Kitchen with Vastu

www.yogajournal.com/lifestyle/vastu-101/

© Eric Lafforgue

www.ericlafforgue.com

© Eric Lafforgue

www.ericlafforgue.com

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century.

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres (6.8 mi) from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

en.wikipedia.org/wiki/City_Palace,_Jaipur

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, located northeast of the centre of the grid-patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers continuing up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadhar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

HISTORY

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a Bengali architect from Naihati of present day West Bengal who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

STRUCTURES

The City Palace is in the central-northeast part of the Jaipur city, which is laid in a grid pattern with wide avenues. It is a unique and arresting complex of several palaces, pavilions, gardens and temples. The most prominent and most visited structures in the complex are the Chandra Mahal, Mubarak Mahal, Mukut Mahal, Maharani's Palace, Shri Govind Dev Temple and the City Palace Museum.

ENTRANCE GATES

Virendra Pol, Udai Pol near Jaleb chowk and the Tripolia Gate (triple gate) are the entry gates to the City Palace. The Tripolia gate is reserved for entry into the palace by the royal family. Common people and visitors can enter the place complex only through the Virendra Pol and the Udai Pol or the Atish Pol (Stable Gate). The entry from Virendra Pol leads to the Mubarak Mahal. The gateways are richly decorated.

MUBARAK MAHAL

Mubarak Mahal, meaning the 'Auspicious Palace', was built with a fusion of the Islamic, Rajput and European architectural styles in the late 19th century by Maharaja Madho Singh II as reception centre. It is a museum; a fine repository of variety of textiles such as the royal formal costumes, sanganeri block prints, embroidered shawls, Kashmiri pashminas and silk saris as part of the Maharaja Sawai Man Singh II Museum. A noteworthy display here is of the set of voluminous clothes worn by Sawai Madhosingh I, who was 1.2 metres wide and weighed 250 kilograms but interestingly had 108 wives.

CHANDRA MAHAL

Chandra Mahal or Chandra Niwas is the most commanding building in the City Palace complex, on its west end. It is a seven-storeyed building and each floor has been given a specific name such as the Sukh-Niwas, Ranga-Mandir, Pitam-Niwas, Chabi-Niwas, Shri-Niwas and Mukut-Mandir or Mukut Mahal. It contains many unique paintings, mirror work on walls and floral decorations. At present, most of this palace is the residence of the descendents of the former rulers of Jaipur. Only the ground floor is allowed for visitors where a museum is located that displays carpets, manuscripts and other items that belonged to the royal family. There is beautiful peacock gate at the entry to the Mahal. It has screened balconies and a pavilion at the roof from where a panoramic view of the city can been seen. It is set amidst well laid out gardens and a decorative lake in the foreground. "Sukh Nivas" or the "Hall of Rest" - Sukh Niwas is painted in Wedgewood blue fully decorated with white lining. Sukh Niwas has the drawing and dining room of the Maharaja which is fully ornamented with mughal miniatures, silver and glass dining tables. Chandra Mahal 3rd floor is called "Rang Mandir". In this there are small and large mirrors in wall, pillars and ceilings. "Shobha Nivas" – It is on the 4th floor of the Chandra Mahal. It is also known as "Hall of Beauty". The walls of the Shobha Nivas are fully decorated with mirror walls with blue tiles ornamented with mica and gold leaf. It is still under the control of the present Maharaja. "Chhavi Nivas" or Hall of Images – It is on the 5th floor. In the rainy season this place was the retreat of the Maharaja. It has an elegant floor of blue. Chandra mahal 6th floor is called "shri Niwas". And the 7th floor is called "Mukut mandir" crown temple.

Also seen at the top of the Chandra Mahal is the flag of the royal family, which is seen unfurled when the Maharaja is in the palace. It is a one and quarter sized flag. However, when the king is away, the queen's flag is hoisted on the building.

There is an interesting anecdote narrated about the 'one and quarter flag', which is the insignia flag of the Maharajas of Jaipur. Emperor Aurangzeb who attended the wedding of Jai Singh, shook hands with the young groom and wished him well on his marriage. On this occasion, Jai Singh made an irreverent remark to the Emperor stating that the way he had shaken hands with him made it incumbent on the Emperor to protect him (Jai Singh) and his kingdom. Aurangzeb, instead of responding in indignation at the quip, felt pleased and conferred on the young Jai Singh the title of 'Sawai', which means "one and a quarter". Since then the Maharajas have pre-fixed their names with this title. During residence there, they also fly a one and a quarter size flag atop their buildings and palaces.

There is also a tragic story linked to this palace. Ishawri Singh, son of Jai Singh who was unwilling to face the advancing army of Marathas, ended his life humiliatingly by getting bitten by a snake. Following this, his 21 wives and paramours also committed the then accepted ritual of sati or jauhar (self immolation on the funeral pyre of their husband).

PRITAM NIWAS CHOWK

It is the inner courtyard, which provides access to the Chandra Mahal. Here, there are four small gates (known as Ridhi Sidhi Pol) that are adorned with themes representing the four seasons and Hindu gods. The gates are the Northeast Peacock Gate (with motifs of peacocks on the doorway) representing autumn and dedicated Lord Vishnu; the Southwest Lotus Gate (with continual flower and petal pattern) suggestive of summer season and dedicated to Lord Shiva-Parvati; the Northwest Green Gate, also called the Leheriya (meaning: "waves") gate, in green colour suggestive of spring and dedicated to Lord Ganesha, and lastly, the Rose Gate with repeated flower pattern representing winter season and dedicated to Goddess Devi.

DIWAN-I-KHAS

Diwan-I-Khas was a private audience hall of the Maharajas, a marble floored chamber. It is located between the armoury and the art gallery. There are two huge sterling silver vessels of 1.6 metres height and each with capacity of 4000 litres and weighing 340 kilograms, on display here. They were made from 14000 melted silver coins without soldering. They are officially recorded by the Guinness Book of World Records as the world's largest sterling silver vessels.[16] These vessels were specially made by Maharaja Sawai Madho Singh II, who was a highly pious Hindu, to carry the water of the Ganges to drink on his trip to England in 1901 (for Edward VII's coronation) as he was finicky about committing religious sin by consuming the English water. Hence, the vessels are named as Gangajelies (Ganges-water urns). There are a number of crystal chandeliers hanging from the ceiling (normally covered with plastic sheets to prevent dust collection), which are uncovered on special occasions.[

DIWAN-I-AAM

The 'Diwan-E-Aam' (Sabha Niwas) or the 'Hall of Public Audience' is an enchanting chamber, with the ceiling painted in rich red and gold colours, which still looks vibrant. It is a major attraction in the Mubarak Mahal courtyard. This chamber, functioning now as an art gallery, has exhibits of exquisite miniature paintings (of Rajastahni, Mughal and Persian art), ancient texts, embroidered rugs, Kashmir shawls and carpets. The ceiling is richly decorated. At present, it is an art gallery showcasing enthralling painted ceilings and rare ancient handwritten original manuscripts of Hindu scriptures (the Hindu holy scripture of the Bhagavad Gita handwritten in tiny script). Also seen in the art gallery is the Golden throne (called as Takth-e-Rawal) that was the seat of the Maharaja during public audience. It was mounted on an elephant or carried by palanquin bearers during the Maharajas visit outside the palace. At the entry gateway to the hall, two large elephants, each made out of single marble rock are on display.

MAHARANI PALACE

Maharani's Palace was originally the residence of the royal queens. It has been converted into a museum, where weapons used by the royalty during war campaigns are displayed, including those belonging to the 15th century. The ceiling of this chamber has unique frescoes, which are preserved using jewel dust of semiprecious stones. A particular weaponry on display is the scissor-action dagger, which when thrust into an enemy's body is said to disembowel the victim, on its withdrawal. The other artefacts on display include swords with pistols attached to it, the sword presented by Queen Victoria to Maharaja Sawai Ram Singh (1835–80) which is inlaid with rubies and emeralds, guns serving as walking sticks and a small canon.

BHAGGI KHANA

Bhaggi Khana is a museum in the palace complex where a collection of old carriages, palanquins and European cabs adopted as baggis to Indian situations are on display here. The baggi which attracts attention is the one gifted by Prince of Wales to the Maharaja in 1876, called the Victoria baggi. Also on display here are the mahadol, a palanquin with a single bamboo bar that was used to carry the priests and a ratha (chariot) that was used for carrying the idols of Hindu gods in procession on festive occasions.

GOVIND DEV JI TEMPLE

Govind Dev Ji temple, dedicated to the Hindu god Lord Krishna, is part of the City Palace complex. It was built in early 18th century outside the walls set in a garden environment. It has European chandeliers and paintings of Indian art. The ceiling in the temple is ornamented in gold. Its location provided a direct view to the Maharaja from his Chandar Mahal palace. The arathi (prayer offering) for the deity can be seen by devotees only for seven times during the day.

WIKIPEDIA

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, located northeast of the centre of the grid-patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers continuing up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadhar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

HISTORY

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a Bengali architect from Naihati of present day West Bengal who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

STRUCTURES

The City Palace is in the central-northeast part of the Jaipur city, which is laid in a grid pattern with wide avenues. It is a unique and arresting complex of several palaces, pavilions, gardens and temples. The most prominent and most visited structures in the complex are the Chandra Mahal, Mubarak Mahal, Mukut Mahal, Maharani's Palace, Shri Govind Dev Temple and the City Palace Museum.

ENTRANCE GATES

Virendra Pol, Udai Pol near Jaleb chowk and the Tripolia Gate (triple gate) are the entry gates to the City Palace. The Tripolia gate is reserved for entry into the palace by the royal family. Common people and visitors can enter the place complex only through the Virendra Pol and the Udai Pol or the Atish Pol (Stable Gate). The entry from Virendra Pol leads to the Mubarak Mahal. The gateways are richly decorated.

MUBARAK MAHAL

Mubarak Mahal, meaning the 'Auspicious Palace', was built with a fusion of the Islamic, Rajput and European architectural styles in the late 19th century by Maharaja Madho Singh II as reception centre. It is a museum; a fine repository of variety of textiles such as the royal formal costumes, sanganeri block prints, embroidered shawls, Kashmiri pashminas and silk saris as part of the Maharaja Sawai Man Singh II Museum. A noteworthy display here is of the set of voluminous clothes worn by Sawai Madhosingh I, who was 1.2 metres wide and weighed 250 kilograms but interestingly had 108 wives.

CHANDRA MAHAL

Chandra Mahal or Chandra Niwas is the most commanding building in the City Palace complex, on its west end. It is a seven-storeyed building and each floor has been given a specific name such as the Sukh-Niwas, Ranga-Mandir, Pitam-Niwas, Chabi-Niwas, Shri-Niwas and Mukut-Mandir or Mukut Mahal. It contains many unique paintings, mirror work on walls and floral decorations. At present, most of this palace is the residence of the descendents of the former rulers of Jaipur. Only the ground floor is allowed for visitors where a museum is located that displays carpets, manuscripts and other items that belonged to the royal family. There is beautiful peacock gate at the entry to the Mahal. It has screened balconies and a pavilion at the roof from where a panoramic view of the city can been seen. It is set amidst well laid out gardens and a decorative lake in the foreground. "Sukh Nivas" or the "Hall of Rest" - Sukh Niwas is painted in Wedgewood blue fully decorated with white lining. Sukh Niwas has the drawing and dining room of the Maharaja which is fully ornamented with mughal miniatures, silver and glass dining tables. Chandra Mahal 3rd floor is called "Rang Mandir". In this there are small and large mirrors in wall, pillars and ceilings. "Shobha Nivas" – It is on the 4th floor of the Chandra Mahal. It is also known as "Hall of Beauty". The walls of the Shobha Nivas are fully decorated with mirror walls with blue tiles ornamented with mica and gold leaf. It is still under the control of the present Maharaja. "Chhavi Nivas" or Hall of Images – It is on the 5th floor. In the rainy season this place was the retreat of the Maharaja. It has an elegant floor of blue. Chandra mahal 6th floor is called "shri Niwas". And the 7th floor is called "Mukut mandir" crown temple.

Also seen at the top of the Chandra Mahal is the flag of the royal family, which is seen unfurled when the Maharaja is in the palace. It is a one and quarter sized flag. However, when the king is away, the queen's flag is hoisted on the building.

There is an interesting anecdote narrated about the 'one and quarter flag', which is the insignia flag of the Maharajas of Jaipur. Emperor Aurangzeb who attended the wedding of Jai Singh, shook hands with the young groom and wished him well on his marriage. On this occasion, Jai Singh made an irreverent remark to the Emperor stating that the way he had shaken hands with him made it incumbent on the Emperor to protect him (Jai Singh) and his kingdom. Aurangzeb, instead of responding in indignation at the quip, felt pleased and conferred on the young Jai Singh the title of 'Sawai', which means "one and a quarter". Since then the Maharajas have pre-fixed their names with this title. During residence there, they also fly a one and a quarter size flag atop their buildings and palaces.

There is also a tragic story linked to this palace. Ishawri Singh, son of Jai Singh who was unwilling to face the advancing army of Marathas, ended his life humiliatingly by getting bitten by a snake. Following this, his 21 wives and paramours also committed the then accepted ritual of sati or jauhar (self immolation on the funeral pyre of their husband).

PRITAM NIWAS CHOWK

It is the inner courtyard, which provides access to the Chandra Mahal. Here, there are four small gates (known as Ridhi Sidhi Pol) that are adorned with themes representing the four seasons and Hindu gods. The gates are the Northeast Peacock Gate (with motifs of peacocks on the doorway) representing autumn and dedicated Lord Vishnu; the Southwest Lotus Gate (with continual flower and petal pattern) suggestive of summer season and dedicated to Lord Shiva-Parvati; the Northwest Green Gate, also called the Leheriya (meaning: "waves") gate, in green colour suggestive of spring and dedicated to Lord Ganesha, and lastly, the Rose Gate with repeated flower pattern representing winter season and dedicated to Goddess Devi.

DIWAN-I-KHAS

Diwan-I-Khas was a private audience hall of the Maharajas, a marble floored chamber. It is located between the armoury and the art gallery. There are two huge sterling silver vessels of 1.6 metres height and each with capacity of 4000 litres and weighing 340 kilograms, on display here. They were made from 14000 melted silver coins without soldering. They are officially recorded by the Guinness Book of World Records as the world's largest sterling silver vessels.[16] These vessels were specially made by Maharaja Sawai Madho Singh II, who was a highly pious Hindu, to carry the water of the Ganges to drink on his trip to England in 1901 (for Edward VII's coronation) as he was finicky about committing religious sin by consuming the English water. Hence, the vessels are named as Gangajelies (Ganges-water urns). There are a number of crystal chandeliers hanging from the ceiling (normally covered with plastic sheets to prevent dust collection), which are uncovered on special occasions.[

DIWAN-I-AAM

The 'Diwan-E-Aam' (Sabha Niwas) or the 'Hall of Public Audience' is an enchanting chamber, with the ceiling painted in rich red and gold colours, which still looks vibrant. It is a major attraction in the Mubarak Mahal courtyard. This chamber, functioning now as an art gallery, has exhibits of exquisite miniature paintings (of Rajastahni, Mughal and Persian art), ancient texts, embroidered rugs, Kashmir shawls and carpets. The ceiling is richly decorated. At present, it is an art gallery showcasing enthralling painted ceilings and rare ancient handwritten original manuscripts of Hindu scriptures (the Hindu holy scripture of the Bhagavad Gita handwritten in tiny script). Also seen in the art gallery is the Golden throne (called as Takth-e-Rawal) that was the seat of the Maharaja during public audience. It was mounted on an elephant or carried by palanquin bearers during the Maharajas visit outside the palace. At the entry gateway to the hall, two large elephants, each made out of single marble rock are on display.

MAHARANI PALACE

Maharani's Palace was originally the residence of the royal queens. It has been converted into a museum, where weapons used by the royalty during war campaigns are displayed, including those belonging to the 15th century. The ceiling of this chamber has unique frescoes, which are preserved using jewel dust of semiprecious stones. A particular weaponry on display is the scissor-action dagger, which when thrust into an enemy's body is said to disembowel the victim, on its withdrawal. The other artefacts on display include swords with pistols attached to it, the sword presented by Queen Victoria to Maharaja Sawai Ram Singh (1835–80) which is inlaid with rubies and emeralds, guns serving as walking sticks and a small canon.

BHAGGI KHANA

Bhaggi Khana is a museum in the palace complex where a collection of old carriages, palanquins and European cabs adopted as baggis to Indian situations are on display here. The baggi which attracts attention is the one gifted by Prince of Wales to the Maharaja in 1876, called the Victoria baggi. Also on display here are the mahadol, a palanquin with a single bamboo bar that was used to carry the priests and a ratha (chariot) that was used for carrying the idols of Hindu gods in procession on festive occasions.

GOVIND DEV JI TEMPLE

Govind Dev Ji temple, dedicated to the Hindu god Lord Krishna, is part of the City Palace complex. It was built in early 18th century outside the walls set in a garden environment. It has European chandeliers and paintings of Indian art. The ceiling in the temple is ornamented in gold. Its location provided a direct view to the Maharaja from his Chandar Mahal palace. The arathi (prayer offering) for the deity can be seen by devotees only for seven times during the day.

WIKIPEDIA

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, located northeast of the centre of the grid-patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers continuing up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadhar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

HISTORY

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a Bengali architect from Naihati of present day West Bengal who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

STRUCTURES

The City Palace is in the central-northeast part of the Jaipur city, which is laid in a grid pattern with wide avenues. It is a unique and arresting complex of several palaces, pavilions, gardens and temples. The most prominent and most visited structures in the complex are the Chandra Mahal, Mubarak Mahal, Mukut Mahal, Maharani's Palace, Shri Govind Dev Temple and the City Palace Museum.

ENTRANCE GATES

Virendra Pol, Udai Pol near Jaleb chowk and the Tripolia Gate (triple gate) are the entry gates to the City Palace. The Tripolia gate is reserved for entry into the palace by the royal family. Common people and visitors can enter the place complex only through the Virendra Pol and the Udai Pol or the Atish Pol (Stable Gate). The entry from Virendra Pol leads to the Mubarak Mahal. The gateways are richly decorated.

MUBARAK MAHAL

Mubarak Mahal, meaning the 'Auspicious Palace', was built with a fusion of the Islamic, Rajput and European architectural styles in the late 19th century by Maharaja Madho Singh II as reception centre. It is a museum; a fine repository of variety of textiles such as the royal formal costumes, sanganeri block prints, embroidered shawls, Kashmiri pashminas and silk saris as part of the Maharaja Sawai Man Singh II Museum. A noteworthy display here is of the set of voluminous clothes worn by Sawai Madhosingh I, who was 1.2 metres wide and weighed 250 kilograms but interestingly had 108 wives.

CHANDRA MAHAL

Chandra Mahal or Chandra Niwas is the most commanding building in the City Palace complex, on its west end. It is a seven-storeyed building and each floor has been given a specific name such as the Sukh-Niwas, Ranga-Mandir, Pitam-Niwas, Chabi-Niwas, Shri-Niwas and Mukut-Mandir or Mukut Mahal. It contains many unique paintings, mirror work on walls and floral decorations. At present, most of this palace is the residence of the descendents of the former rulers of Jaipur. Only the ground floor is allowed for visitors where a museum is located that displays carpets, manuscripts and other items that belonged to the royal family. There is beautiful peacock gate at the entry to the Mahal. It has screened balconies and a pavilion at the roof from where a panoramic view of the city can been seen. It is set amidst well laid out gardens and a decorative lake in the foreground. "Sukh Nivas" or the "Hall of Rest" - Sukh Niwas is painted in Wedgewood blue fully decorated with white lining. Sukh Niwas has the drawing and dining room of the Maharaja which is fully ornamented with mughal miniatures, silver and glass dining tables. Chandra Mahal 3rd floor is called "Rang Mandir". In this there are small and large mirrors in wall, pillars and ceilings. "Shobha Nivas" – It is on the 4th floor of the Chandra Mahal. It is also known as "Hall of Beauty". The walls of the Shobha Nivas are fully decorated with mirror walls with blue tiles ornamented with mica and gold leaf. It is still under the control of the present Maharaja. "Chhavi Nivas" or Hall of Images – It is on the 5th floor. In the rainy season this place was the retreat of the Maharaja. It has an elegant floor of blue. Chandra mahal 6th floor is called "shri Niwas". And the 7th floor is called "Mukut mandir" crown temple.

Also seen at the top of the Chandra Mahal is the flag of the royal family, which is seen unfurled when the Maharaja is in the palace. It is a one and quarter sized flag. However, when the king is away, the queen's flag is hoisted on the building.

There is an interesting anecdote narrated about the 'one and quarter flag', which is the insignia flag of the Maharajas of Jaipur. Emperor Aurangzeb who attended the wedding of Jai Singh, shook hands with the young groom and wished him well on his marriage. On this occasion, Jai Singh made an irreverent remark to the Emperor stating that the way he had shaken hands with him made it incumbent on the Emperor to protect him (Jai Singh) and his kingdom. Aurangzeb, instead of responding in indignation at the quip, felt pleased and conferred on the young Jai Singh the title of 'Sawai', which means "one and a quarter". Since then the Maharajas have pre-fixed their names with this title. During residence there, they also fly a one and a quarter size flag atop their buildings and palaces.

There is also a tragic story linked to this palace. Ishawri Singh, son of Jai Singh who was unwilling to face the advancing army of Marathas, ended his life humiliatingly by getting bitten by a snake. Following this, his 21 wives and paramours also committed the then accepted ritual of sati or jauhar (self immolation on the funeral pyre of their husband).

PRITAM NIWAS CHOWK

It is the inner courtyard, which provides access to the Chandra Mahal. Here, there are four small gates (known as Ridhi Sidhi Pol) that are adorned with themes representing the four seasons and Hindu gods. The gates are the Northeast Peacock Gate (with motifs of peacocks on the doorway) representing autumn and dedicated Lord Vishnu; the Southwest Lotus Gate (with continual flower and petal pattern) suggestive of summer season and dedicated to Lord Shiva-Parvati; the Northwest Green Gate, also called the Leheriya (meaning: "waves") gate, in green colour suggestive of spring and dedicated to Lord Ganesha, and lastly, the Rose Gate with repeated flower pattern representing winter season and dedicated to Goddess Devi.

DIWAN-I-KHAS

Diwan-I-Khas was a private audience hall of the Maharajas, a marble floored chamber. It is located between the armoury and the art gallery. There are two huge sterling silver vessels of 1.6 metres height and each with capacity of 4000 litres and weighing 340 kilograms, on display here. They were made from 14000 melted silver coins without soldering. They are officially recorded by the Guinness Book of World Records as the world's largest sterling silver vessels.[16] These vessels were specially made by Maharaja Sawai Madho Singh II, who was a highly pious Hindu, to carry the water of the Ganges to drink on his trip to England in 1901 (for Edward VII's coronation) as he was finicky about committing religious sin by consuming the English water. Hence, the vessels are named as Gangajelies (Ganges-water urns). There are a number of crystal chandeliers hanging from the ceiling (normally covered with plastic sheets to prevent dust collection), which are uncovered on special occasions.[

DIWAN-I-AAM

The 'Diwan-E-Aam' (Sabha Niwas) or the 'Hall of Public Audience' is an enchanting chamber, with the ceiling painted in rich red and gold colours, which still looks vibrant. It is a major attraction in the Mubarak Mahal courtyard. This chamber, functioning now as an art gallery, has exhibits of exquisite miniature paintings (of Rajastahni, Mughal and Persian art), ancient texts, embroidered rugs, Kashmir shawls and carpets. The ceiling is richly decorated. At present, it is an art gallery showcasing enthralling painted ceilings and rare ancient handwritten original manuscripts of Hindu scriptures (the Hindu holy scripture of the Bhagavad Gita handwritten in tiny script). Also seen in the art gallery is the Golden throne (called as Takth-e-Rawal) that was the seat of the Maharaja during public audience. It was mounted on an elephant or carried by palanquin bearers during the Maharajas visit outside the palace. At the entry gateway to the hall, two large elephants, each made out of single marble rock are on display.

MAHARANI PALACE

Maharani's Palace was originally the residence of the royal queens. It has been converted into a museum, where weapons used by the royalty during war campaigns are displayed, including those belonging to the 15th century. The ceiling of this chamber has unique frescoes, which are preserved using jewel dust of semiprecious stones. A particular weaponry on display is the scissor-action dagger, which when thrust into an enemy's body is said to disembowel the victim, on its withdrawal. The other artefacts on display include swords with pistols attached to it, the sword presented by Queen Victoria to Maharaja Sawai Ram Singh (1835–80) which is inlaid with rubies and emeralds, guns serving as walking sticks and a small canon.

BHAGGI KHANA

Bhaggi Khana is a museum in the palace complex where a collection of old carriages, palanquins and European cabs adopted as baggis to Indian situations are on display here. The baggi which attracts attention is the one gifted by Prince of Wales to the Maharaja in 1876, called the Victoria baggi. Also on display here are the mahadol, a palanquin with a single bamboo bar that was used to carry the priests and a ratha (chariot) that was used for carrying the idols of Hindu gods in procession on festive occasions.

GOVIND DEV JI TEMPLE

Govind Dev Ji temple, dedicated to the Hindu god Lord Krishna, is part of the City Palace complex. It was built in early 18th century outside the walls set in a garden environment. It has European chandeliers and paintings of Indian art. The ceiling in the temple is ornamented in gold. Its location provided a direct view to the Maharaja from his Chandar Mahal palace. The arathi (prayer offering) for the deity can be seen by devotees only for seven times during the day.

WIKIPEDIA

© Eric Lafforgue

www.ericlafforgue.com

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, located northeast of the centre of the grid-patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers continuing up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadhar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

HISTORY

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a Bengali architect from Naihati of present day West Bengal who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

STRUCTURES

The City Palace is in the central-northeast part of the Jaipur city, which is laid in a grid pattern with wide avenues. It is a unique and arresting complex of several palaces, pavilions, gardens and temples. The most prominent and most visited structures in the complex are the Chandra Mahal, Mubarak Mahal, Mukut Mahal, Maharani's Palace, Shri Govind Dev Temple and the City Palace Museum.

ENTRANCE GATES

Virendra Pol, Udai Pol near Jaleb chowk and the Tripolia Gate (triple gate) are the entry gates to the City Palace. The Tripolia gate is reserved for entry into the palace by the royal family. Common people and visitors can enter the place complex only through the Virendra Pol and the Udai Pol or the Atish Pol (Stable Gate). The entry from Virendra Pol leads to the Mubarak Mahal. The gateways are richly decorated.

MUBARAK MAHAL

Mubarak Mahal, meaning the 'Auspicious Palace', was built with a fusion of the Islamic, Rajput and European architectural styles in the late 19th century by Maharaja Madho Singh II as reception centre. It is a museum; a fine repository of variety of textiles such as the royal formal costumes, sanganeri block prints, embroidered shawls, Kashmiri pashminas and silk saris as part of the Maharaja Sawai Man Singh II Museum. A noteworthy display here is of the set of voluminous clothes worn by Sawai Madhosingh I, who was 1.2 metres wide and weighed 250 kilograms but interestingly had 108 wives.

CHANDRA MAHAL

Chandra Mahal or Chandra Niwas is the most commanding building in the City Palace complex, on its west end. It is a seven-storeyed building and each floor has been given a specific name such as the Sukh-Niwas, Ranga-Mandir, Pitam-Niwas, Chabi-Niwas, Shri-Niwas and Mukut-Mandir or Mukut Mahal. It contains many unique paintings, mirror work on walls and floral decorations. At present, most of this palace is the residence of the descendents of the former rulers of Jaipur. Only the ground floor is allowed for visitors where a museum is located that displays carpets, manuscripts and other items that belonged to the royal family. There is beautiful peacock gate at the entry to the Mahal. It has screened balconies and a pavilion at the roof from where a panoramic view of the city can been seen. It is set amidst well laid out gardens and a decorative lake in the foreground. "Sukh Nivas" or the "Hall of Rest" - Sukh Niwas is painted in Wedgewood blue fully decorated with white lining. Sukh Niwas has the drawing and dining room of the Maharaja which is fully ornamented with mughal miniatures, silver and glass dining tables. Chandra Mahal 3rd floor is called "Rang Mandir". In this there are small and large mirrors in wall, pillars and ceilings. "Shobha Nivas" – It is on the 4th floor of the Chandra Mahal. It is also known as "Hall of Beauty". The walls of the Shobha Nivas are fully decorated with mirror walls with blue tiles ornamented with mica and gold leaf. It is still under the control of the present Maharaja. "Chhavi Nivas" or Hall of Images – It is on the 5th floor. In the rainy season this place was the retreat of the Maharaja. It has an elegant floor of blue. Chandra mahal 6th floor is called "shri Niwas". And the 7th floor is called "Mukut mandir" crown temple.

Also seen at the top of the Chandra Mahal is the flag of the royal family, which is seen unfurled when the Maharaja is in the palace. It is a one and quarter sized flag. However, when the king is away, the queen's flag is hoisted on the building.

There is an interesting anecdote narrated about the 'one and quarter flag', which is the insignia flag of the Maharajas of Jaipur. Emperor Aurangzeb who attended the wedding of Jai Singh, shook hands with the young groom and wished him well on his marriage. On this occasion, Jai Singh made an irreverent remark to the Emperor stating that the way he had shaken hands with him made it incumbent on the Emperor to protect him (Jai Singh) and his kingdom. Aurangzeb, instead of responding in indignation at the quip, felt pleased and conferred on the young Jai Singh the title of 'Sawai', which means "one and a quarter". Since then the Maharajas have pre-fixed their names with this title. During residence there, they also fly a one and a quarter size flag atop their buildings and palaces.

There is also a tragic story linked to this palace. Ishawri Singh, son of Jai Singh who was unwilling to face the advancing army of Marathas, ended his life humiliatingly by getting bitten by a snake. Following this, his 21 wives and paramours also committed the then accepted ritual of sati or jauhar (self immolation on the funeral pyre of their husband).

PRITAM NIWAS CHOWK

It is the inner courtyard, which provides access to the Chandra Mahal. Here, there are four small gates (known as Ridhi Sidhi Pol) that are adorned with themes representing the four seasons and Hindu gods. The gates are the Northeast Peacock Gate (with motifs of peacocks on the doorway) representing autumn and dedicated Lord Vishnu; the Southwest Lotus Gate (with continual flower and petal pattern) suggestive of summer season and dedicated to Lord Shiva-Parvati; the Northwest Green Gate, also called the Leheriya (meaning: "waves") gate, in green colour suggestive of spring and dedicated to Lord Ganesha, and lastly, the Rose Gate with repeated flower pattern representing winter season and dedicated to Goddess Devi.

DIWAN-I-KHAS

Diwan-I-Khas was a private audience hall of the Maharajas, a marble floored chamber. It is located between the armoury and the art gallery. There are two huge sterling silver vessels of 1.6 metres height and each with capacity of 4000 litres and weighing 340 kilograms, on display here. They were made from 14000 melted silver coins without soldering. They are officially recorded by the Guinness Book of World Records as the world's largest sterling silver vessels.[16] These vessels were specially made by Maharaja Sawai Madho Singh II, who was a highly pious Hindu, to carry the water of the Ganges to drink on his trip to England in 1901 (for Edward VII's coronation) as he was finicky about committing religious sin by consuming the English water. Hence, the vessels are named as Gangajelies (Ganges-water urns). There are a number of crystal chandeliers hanging from the ceiling (normally covered with plastic sheets to prevent dust collection), which are uncovered on special occasions.[

DIWAN-I-AAM

The 'Diwan-E-Aam' (Sabha Niwas) or the 'Hall of Public Audience' is an enchanting chamber, with the ceiling painted in rich red and gold colours, which still looks vibrant. It is a major attraction in the Mubarak Mahal courtyard. This chamber, functioning now as an art gallery, has exhibits of exquisite miniature paintings (of Rajastahni, Mughal and Persian art), ancient texts, embroidered rugs, Kashmir shawls and carpets. The ceiling is richly decorated. At present, it is an art gallery showcasing enthralling painted ceilings and rare ancient handwritten original manuscripts of Hindu scriptures (the Hindu holy scripture of the Bhagavad Gita handwritten in tiny script). Also seen in the art gallery is the Golden throne (called as Takth-e-Rawal) that was the seat of the Maharaja during public audience. It was mounted on an elephant or carried by palanquin bearers during the Maharajas visit outside the palace. At the entry gateway to the hall, two large elephants, each made out of single marble rock are on display.

MAHARANI PALACE

Maharani's Palace was originally the residence of the royal queens. It has been converted into a museum, where weapons used by the royalty during war campaigns are displayed, including those belonging to the 15th century. The ceiling of this chamber has unique frescoes, which are preserved using jewel dust of semiprecious stones. A particular weaponry on display is the scissor-action dagger, which when thrust into an enemy's body is said to disembowel the victim, on its withdrawal. The other artefacts on display include swords with pistols attached to it, the sword presented by Queen Victoria to Maharaja Sawai Ram Singh (1835–80) which is inlaid with rubies and emeralds, guns serving as walking sticks and a small canon.

BHAGGI KHANA

Bhaggi Khana is a museum in the palace complex where a collection of old carriages, palanquins and European cabs adopted as baggis to Indian situations are on display here. The baggi which attracts attention is the one gifted by Prince of Wales to the Maharaja in 1876, called the Victoria baggi. Also on display here are the mahadol, a palanquin with a single bamboo bar that was used to carry the priests and a ratha (chariot) that was used for carrying the idols of Hindu gods in procession on festive occasions.

GOVIND DEV JI TEMPLE

Govind Dev Ji temple, dedicated to the Hindu god Lord Krishna, is part of the City Palace complex. It was built in early 18th century outside the walls set in a garden environment. It has European chandeliers and paintings of Indian art. The ceiling in the temple is ornamented in gold. Its location provided a direct view to the Maharaja from his Chandar Mahal palace. The arathi (prayer offering) for the deity can be seen by devotees only for seven times during the day.

WIKIPEDIA

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, located northeast of the centre of the grid-patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers continuing up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadhar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

HISTORY

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a Bengali architect from Naihati of present day West Bengal who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

STRUCTURES

The City Palace is in the central-northeast part of the Jaipur city, which is laid in a grid pattern with wide avenues. It is a unique and arresting complex of several palaces, pavilions, gardens and temples. The most prominent and most visited structures in the complex are the Chandra Mahal, Mubarak Mahal, Mukut Mahal, Maharani's Palace, Shri Govind Dev Temple and the City Palace Museum.

ENTRANCE GATES

Virendra Pol, Udai Pol near Jaleb chowk and the Tripolia Gate (triple gate) are the entry gates to the City Palace. The Tripolia gate is reserved for entry into the palace by the royal family. Common people and visitors can enter the place complex only through the Virendra Pol and the Udai Pol or the Atish Pol (Stable Gate). The entry from Virendra Pol leads to the Mubarak Mahal. The gateways are richly decorated.

MUBARAK MAHAL

Mubarak Mahal, meaning the 'Auspicious Palace', was built with a fusion of the Islamic, Rajput and European architectural styles in the late 19th century by Maharaja Madho Singh II as reception centre. It is a museum; a fine repository of variety of textiles such as the royal formal costumes, sanganeri block prints, embroidered shawls, Kashmiri pashminas and silk saris as part of the Maharaja Sawai Man Singh II Museum. A noteworthy display here is of the set of voluminous clothes worn by Sawai Madhosingh I, who was 1.2 metres wide and weighed 250 kilograms but interestingly had 108 wives.

CHANDRA MAHAL

Chandra Mahal or Chandra Niwas is the most commanding building in the City Palace complex, on its west end. It is a seven-storeyed building and each floor has been given a specific name such as the Sukh-Niwas, Ranga-Mandir, Pitam-Niwas, Chabi-Niwas, Shri-Niwas and Mukut-Mandir or Mukut Mahal. It contains many unique paintings, mirror work on walls and floral decorations. At present, most of this palace is the residence of the descendents of the former rulers of Jaipur. Only the ground floor is allowed for visitors where a museum is located that displays carpets, manuscripts and other items that belonged to the royal family. There is beautiful peacock gate at the entry to the Mahal. It has screened balconies and a pavilion at the roof from where a panoramic view of the city can been seen. It is set amidst well laid out gardens and a decorative lake in the foreground. "Sukh Nivas" or the "Hall of Rest" - Sukh Niwas is painted in Wedgewood blue fully decorated with white lining. Sukh Niwas has the drawing and dining room of the Maharaja which is fully ornamented with mughal miniatures, silver and glass dining tables. Chandra Mahal 3rd floor is called "Rang Mandir". In this there are small and large mirrors in wall, pillars and ceilings. "Shobha Nivas" – It is on the 4th floor of the Chandra Mahal. It is also known as "Hall of Beauty". The walls of the Shobha Nivas are fully decorated with mirror walls with blue tiles ornamented with mica and gold leaf. It is still under the control of the present Maharaja. "Chhavi Nivas" or Hall of Images – It is on the 5th floor. In the rainy season this place was the retreat of the Maharaja. It has an elegant floor of blue. Chandra mahal 6th floor is called "shri Niwas". And the 7th floor is called "Mukut mandir" crown temple.

Also seen at the top of the Chandra Mahal is the flag of the royal family, which is seen unfurled when the Maharaja is in the palace. It is a one and quarter sized flag. However, when the king is away, the queen's flag is hoisted on the building.

There is an interesting anecdote narrated about the 'one and quarter flag', which is the insignia flag of the Maharajas of Jaipur. Emperor Aurangzeb who attended the wedding of Jai Singh, shook hands with the young groom and wished him well on his marriage. On this occasion, Jai Singh made an irreverent remark to the Emperor stating that the way he had shaken hands with him made it incumbent on the Emperor to protect him (Jai Singh) and his kingdom. Aurangzeb, instead of responding in indignation at the quip, felt pleased and conferred on the young Jai Singh the title of 'Sawai', which means "one and a quarter". Since then the Maharajas have pre-fixed their names with this title. During residence there, they also fly a one and a quarter size flag atop their buildings and palaces.

There is also a tragic story linked to this palace. Ishawri Singh, son of Jai Singh who was unwilling to face the advancing army of Marathas, ended his life humiliatingly by getting bitten by a snake. Following this, his 21 wives and paramours also committed the then accepted ritual of sati or jauhar (self immolation on the funeral pyre of their husband).

PRITAM NIWAS CHOWK

It is the inner courtyard, which provides access to the Chandra Mahal. Here, there are four small gates (known as Ridhi Sidhi Pol) that are adorned with themes representing the four seasons and Hindu gods. The gates are the Northeast Peacock Gate (with motifs of peacocks on the doorway) representing autumn and dedicated Lord Vishnu; the Southwest Lotus Gate (with continual flower and petal pattern) suggestive of summer season and dedicated to Lord Shiva-Parvati; the Northwest Green Gate, also called the Leheriya (meaning: "waves") gate, in green colour suggestive of spring and dedicated to Lord Ganesha, and lastly, the Rose Gate with repeated flower pattern representing winter season and dedicated to Goddess Devi.

DIWAN-I-KHAS

Diwan-I-Khas was a private audience hall of the Maharajas, a marble floored chamber. It is located between the armoury and the art gallery. There are two huge sterling silver vessels of 1.6 metres height and each with capacity of 4000 litres and weighing 340 kilograms, on display here. They were made from 14000 melted silver coins without soldering. They are officially recorded by the Guinness Book of World Records as the world's largest sterling silver vessels.[16] These vessels were specially made by Maharaja Sawai Madho Singh II, who was a highly pious Hindu, to carry the water of the Ganges to drink on his trip to England in 1901 (for Edward VII's coronation) as he was finicky about committing religious sin by consuming the English water. Hence, the vessels are named as Gangajelies (Ganges-water urns). There are a number of crystal chandeliers hanging from the ceiling (normally covered with plastic sheets to prevent dust collection), which are uncovered on special occasions.[

DIWAN-I-AAM

The 'Diwan-E-Aam' (Sabha Niwas) or the 'Hall of Public Audience' is an enchanting chamber, with the ceiling painted in rich red and gold colours, which still looks vibrant. It is a major attraction in the Mubarak Mahal courtyard. This chamber, functioning now as an art gallery, has exhibits of exquisite miniature paintings (of Rajastahni, Mughal and Persian art), ancient texts, embroidered rugs, Kashmir shawls and carpets. The ceiling is richly decorated. At present, it is an art gallery showcasing enthralling painted ceilings and rare ancient handwritten original manuscripts of Hindu scriptures (the Hindu holy scripture of the Bhagavad Gita handwritten in tiny script). Also seen in the art gallery is the Golden throne (called as Takth-e-Rawal) that was the seat of the Maharaja during public audience. It was mounted on an elephant or carried by palanquin bearers during the Maharajas visit outside the palace. At the entry gateway to the hall, two large elephants, each made out of single marble rock are on display.

MAHARANI PALACE

Maharani's Palace was originally the residence of the royal queens. It has been converted into a museum, where weapons used by the royalty during war campaigns are displayed, including those belonging to the 15th century. The ceiling of this chamber has unique frescoes, which are preserved using jewel dust of semiprecious stones. A particular weaponry on display is the scissor-action dagger, which when thrust into an enemy's body is said to disembowel the victim, on its withdrawal. The other artefacts on display include swords with pistols attached to it, the sword presented by Queen Victoria to Maharaja Sawai Ram Singh (1835–80) which is inlaid with rubies and emeralds, guns serving as walking sticks and a small canon.

BHAGGI KHANA

Bhaggi Khana is a museum in the palace complex where a collection of old carriages, palanquins and European cabs adopted as baggis to Indian situations are on display here. The baggi which attracts attention is the one gifted by Prince of Wales to the Maharaja in 1876, called the Victoria baggi. Also on display here are the mahadol, a palanquin with a single bamboo bar that was used to carry the priests and a ratha (chariot) that was used for carrying the idols of Hindu gods in procession on festive occasions.

GOVIND DEV JI TEMPLE

Govind Dev Ji temple, dedicated to the Hindu god Lord Krishna, is part of the City Palace complex. It was built in early 18th century outside the walls set in a garden environment. It has European chandeliers and paintings of Indian art. The ceiling in the temple is ornamented in gold. Its location provided a direct view to the Maharaja from his Chandar Mahal palace. The arathi (prayer offering) for the deity can be seen by devotees only for seven times during the day.

WIKIPEDIA

© Eric Lafforgue

www.ericlafforgue.com

Jacobo Gordon

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, located northeast of the centre of the grid-patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers continuing up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadhar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

HISTORY

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a Bengali architect from Naihati of present day West Bengal who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

STRUCTURES

The City Palace is in the central-northeast part of the Jaipur city, which is laid in a grid pattern with wide avenues. It is a unique and arresting complex of several palaces, pavilions, gardens and temples. The most prominent and most visited structures in the complex are the Chandra Mahal, Mubarak Mahal, Mukut Mahal, Maharani's Palace, Shri Govind Dev Temple and the City Palace Museum.

ENTRANCE GATES

Virendra Pol, Udai Pol near Jaleb chowk and the Tripolia Gate (triple gate) are the entry gates to the City Palace. The Tripolia gate is reserved for entry into the palace by the royal family. Common people and visitors can enter the place complex only through the Virendra Pol and the Udai Pol or the Atish Pol (Stable Gate). The entry from Virendra Pol leads to the Mubarak Mahal. The gateways are richly decorated.

MUBARAK MAHAL

Mubarak Mahal, meaning the 'Auspicious Palace', was built with a fusion of the Islamic, Rajput and European architectural styles in the late 19th century by Maharaja Madho Singh II as reception centre. It is a museum; a fine repository of variety of textiles such as the royal formal costumes, sanganeri block prints, embroidered shawls, Kashmiri pashminas and silk saris as part of the Maharaja Sawai Man Singh II Museum. A noteworthy display here is of the set of voluminous clothes worn by Sawai Madhosingh I, who was 1.2 metres wide and weighed 250 kilograms but interestingly had 108 wives.

CHANDRA MAHAL

Chandra Mahal or Chandra Niwas is the most commanding building in the City Palace complex, on its west end. It is a seven-storeyed building and each floor has been given a specific name such as the Sukh-Niwas, Ranga-Mandir, Pitam-Niwas, Chabi-Niwas, Shri-Niwas and Mukut-Mandir or Mukut Mahal. It contains many unique paintings, mirror work on walls and floral decorations. At present, most of this palace is the residence of the descendents of the former rulers of Jaipur. Only the ground floor is allowed for visitors where a museum is located that displays carpets, manuscripts and other items that belonged to the royal family. There is beautiful peacock gate at the entry to the Mahal. It has screened balconies and a pavilion at the roof from where a panoramic view of the city can been seen. It is set amidst well laid out gardens and a decorative lake in the foreground. "Sukh Nivas" or the "Hall of Rest" - Sukh Niwas is painted in Wedgewood blue fully decorated with white lining. Sukh Niwas has the drawing and dining room of the Maharaja which is fully ornamented with mughal miniatures, silver and glass dining tables. Chandra Mahal 3rd floor is called "Rang Mandir". In this there are small and large mirrors in wall, pillars and ceilings. "Shobha Nivas" – It is on the 4th floor of the Chandra Mahal. It is also known as "Hall of Beauty". The walls of the Shobha Nivas are fully decorated with mirror walls with blue tiles ornamented with mica and gold leaf. It is still under the control of the present Maharaja. "Chhavi Nivas" or Hall of Images – It is on the 5th floor. In the rainy season this place was the retreat of the Maharaja. It has an elegant floor of blue. Chandra mahal 6th floor is called "shri Niwas". And the 7th floor is called "Mukut mandir" crown temple.

Also seen at the top of the Chandra Mahal is the flag of the royal family, which is seen unfurled when the Maharaja is in the palace. It is a one and quarter sized flag. However, when the king is away, the queen's flag is hoisted on the building.

There is an interesting anecdote narrated about the 'one and quarter flag', which is the insignia flag of the Maharajas of Jaipur. Emperor Aurangzeb who attended the wedding of Jai Singh, shook hands with the young groom and wished him well on his marriage. On this occasion, Jai Singh made an irreverent remark to the Emperor stating that the way he had shaken hands with him made it incumbent on the Emperor to protect him (Jai Singh) and his kingdom. Aurangzeb, instead of responding in indignation at the quip, felt pleased and conferred on the young Jai Singh the title of 'Sawai', which means "one and a quarter". Since then the Maharajas have pre-fixed their names with this title. During residence there, they also fly a one and a quarter size flag atop their buildings and palaces.

There is also a tragic story linked to this palace. Ishawri Singh, son of Jai Singh who was unwilling to face the advancing army of Marathas, ended his life humiliatingly by getting bitten by a snake. Following this, his 21 wives and paramours also committed the then accepted ritual of sati or jauhar (self immolation on the funeral pyre of their husband).

PRITAM NIWAS CHOWK

It is the inner courtyard, which provides access to the Chandra Mahal. Here, there are four small gates (known as Ridhi Sidhi Pol) that are adorned with themes representing the four seasons and Hindu gods. The gates are the Northeast Peacock Gate (with motifs of peacocks on the doorway) representing autumn and dedicated Lord Vishnu; the Southwest Lotus Gate (with continual flower and petal pattern) suggestive of summer season and dedicated to Lord Shiva-Parvati; the Northwest Green Gate, also called the Leheriya (meaning: "waves") gate, in green colour suggestive of spring and dedicated to Lord Ganesha, and lastly, the Rose Gate with repeated flower pattern representing winter season and dedicated to Goddess Devi.

DIWAN-I-KHAS

Diwan-I-Khas was a private audience hall of the Maharajas, a marble floored chamber. It is located between the armoury and the art gallery. There are two huge sterling silver vessels of 1.6 metres height and each with capacity of 4000 litres and weighing 340 kilograms, on display here. They were made from 14000 melted silver coins without soldering. They are officially recorded by the Guinness Book of World Records as the world's largest sterling silver vessels.[16] These vessels were specially made by Maharaja Sawai Madho Singh II, who was a highly pious Hindu, to carry the water of the Ganges to drink on his trip to England in 1901 (for Edward VII's coronation) as he was finicky about committing religious sin by consuming the English water. Hence, the vessels are named as Gangajelies (Ganges-water urns). There are a number of crystal chandeliers hanging from the ceiling (normally covered with plastic sheets to prevent dust collection), which are uncovered on special occasions.[

DIWAN-I-AAM

The 'Diwan-E-Aam' (Sabha Niwas) or the 'Hall of Public Audience' is an enchanting chamber, with the ceiling painted in rich red and gold colours, which still looks vibrant. It is a major attraction in the Mubarak Mahal courtyard. This chamber, functioning now as an art gallery, has exhibits of exquisite miniature paintings (of Rajastahni, Mughal and Persian art), ancient texts, embroidered rugs, Kashmir shawls and carpets. The ceiling is richly decorated. At present, it is an art gallery showcasing enthralling painted ceilings and rare ancient handwritten original manuscripts of Hindu scriptures (the Hindu holy scripture of the Bhagavad Gita handwritten in tiny script). Also seen in the art gallery is the Golden throne (called as Takth-e-Rawal) that was the seat of the Maharaja during public audience. It was mounted on an elephant or carried by palanquin bearers during the Maharajas visit outside the palace. At the entry gateway to the hall, two large elephants, each made out of single marble rock are on display.

MAHARANI PALACE

Maharani's Palace was originally the residence of the royal queens. It has been converted into a museum, where weapons used by the royalty during war campaigns are displayed, including those belonging to the 15th century. The ceiling of this chamber has unique frescoes, which are preserved using jewel dust of semiprecious stones. A particular weaponry on display is the scissor-action dagger, which when thrust into an enemy's body is said to disembowel the victim, on its withdrawal. The other artefacts on display include swords with pistols attached to it, the sword presented by Queen Victoria to Maharaja Sawai Ram Singh (1835–80) which is inlaid with rubies and emeralds, guns serving as walking sticks and a small canon.

BHAGGI KHANA

Bhaggi Khana is a museum in the palace complex where a collection of old carriages, palanquins and European cabs adopted as baggis to Indian situations are on display here. The baggi which attracts attention is the one gifted by Prince of Wales to the Maharaja in 1876, called the Victoria baggi. Also on display here are the mahadol, a palanquin with a single bamboo bar that was used to carry the priests and a ratha (chariot) that was used for carrying the idols of Hindu gods in procession on festive occasions.

GOVIND DEV JI TEMPLE

Govind Dev Ji temple, dedicated to the Hindu god Lord Krishna, is part of the City Palace complex. It was built in early 18th century outside the walls set in a garden environment. It has European chandeliers and paintings of Indian art. The ceiling in the temple is ornamented in gold. Its location provided a direct view to the Maharaja from his Chandar Mahal palace. The arathi (prayer offering) for the deity can be seen by devotees only for seven times during the day.

WIKIPEDIA

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, located northeast of the centre of the grid-patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers continuing up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadhar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

HISTORY

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a Bengali architect from Naihati of present day West Bengal who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

STRUCTURES

The City Palace is in the central-northeast part of the Jaipur city, which is laid in a grid pattern with wide avenues. It is a unique and arresting complex of several palaces, pavilions, gardens and temples. The most prominent and most visited structures in the complex are the Chandra Mahal, Mubarak Mahal, Mukut Mahal, Maharani's Palace, Shri Govind Dev Temple and the City Palace Museum.

ENTRANCE GATES

Virendra Pol, Udai Pol near Jaleb chowk and the Tripolia Gate (triple gate) are the entry gates to the City Palace. The Tripolia gate is reserved for entry into the palace by the royal family. Common people and visitors can enter the place complex only through the Virendra Pol and the Udai Pol or the Atish Pol (Stable Gate). The entry from Virendra Pol leads to the Mubarak Mahal. The gateways are richly decorated.

MUBARAK MAHAL

Mubarak Mahal, meaning the 'Auspicious Palace', was built with a fusion of the Islamic, Rajput and European architectural styles in the late 19th century by Maharaja Madho Singh II as reception centre. It is a museum; a fine repository of variety of textiles such as the royal formal costumes, sanganeri block prints, embroidered shawls, Kashmiri pashminas and silk saris as part of the Maharaja Sawai Man Singh II Museum. A noteworthy display here is of the set of voluminous clothes worn by Sawai Madhosingh I, who was 1.2 metres wide and weighed 250 kilograms but interestingly had 108 wives.

CHANDRA MAHAL

Chandra Mahal or Chandra Niwas is the most commanding building in the City Palace complex, on its west end. It is a seven-storeyed building and each floor has been given a specific name such as the Sukh-Niwas, Ranga-Mandir, Pitam-Niwas, Chabi-Niwas, Shri-Niwas and Mukut-Mandir or Mukut Mahal. It contains many unique paintings, mirror work on walls and floral decorations. At present, most of this palace is the residence of the descendents of the former rulers of Jaipur. Only the ground floor is allowed for visitors where a museum is located that displays carpets, manuscripts and other items that belonged to the royal family. There is beautiful peacock gate at the entry to the Mahal. It has screened balconies and a pavilion at the roof from where a panoramic view of the city can been seen. It is set amidst well laid out gardens and a decorative lake in the foreground. "Sukh Nivas" or the "Hall of Rest" - Sukh Niwas is painted in Wedgewood blue fully decorated with white lining. Sukh Niwas has the drawing and dining room of the Maharaja which is fully ornamented with mughal miniatures, silver and glass dining tables. Chandra Mahal 3rd floor is called "Rang Mandir". In this there are small and large mirrors in wall, pillars and ceilings. "Shobha Nivas" – It is on the 4th floor of the Chandra Mahal. It is also known as "Hall of Beauty". The walls of the Shobha Nivas are fully decorated with mirror walls with blue tiles ornamented with mica and gold leaf. It is still under the control of the present Maharaja. "Chhavi Nivas" or Hall of Images – It is on the 5th floor. In the rainy season this place was the retreat of the Maharaja. It has an elegant floor of blue. Chandra mahal 6th floor is called "shri Niwas". And the 7th floor is called "Mukut mandir" crown temple.

Also seen at the top of the Chandra Mahal is the flag of the royal family, which is seen unfurled when the Maharaja is in the palace. It is a one and quarter sized flag. However, when the king is away, the queen's flag is hoisted on the building.

There is an interesting anecdote narrated about the 'one and quarter flag', which is the insignia flag of the Maharajas of Jaipur. Emperor Aurangzeb who attended the wedding of Jai Singh, shook hands with the young groom and wished him well on his marriage. On this occasion, Jai Singh made an irreverent remark to the Emperor stating that the way he had shaken hands with him made it incumbent on the Emperor to protect him (Jai Singh) and his kingdom. Aurangzeb, instead of responding in indignation at the quip, felt pleased and conferred on the young Jai Singh the title of 'Sawai', which means "one and a quarter". Since then the Maharajas have pre-fixed their names with this title. During residence there, they also fly a one and a quarter size flag atop their buildings and palaces.

There is also a tragic story linked to this palace. Ishawri Singh, son of Jai Singh who was unwilling to face the advancing army of Marathas, ended his life humiliatingly by getting bitten by a snake. Following this, his 21 wives and paramours also committed the then accepted ritual of sati or jauhar (self immolation on the funeral pyre of their husband).

PRITAM NIWAS CHOWK

It is the inner courtyard, which provides access to the Chandra Mahal. Here, there are four small gates (known as Ridhi Sidhi Pol) that are adorned with themes representing the four seasons and Hindu gods. The gates are the Northeast Peacock Gate (with motifs of peacocks on the doorway) representing autumn and dedicated Lord Vishnu; the Southwest Lotus Gate (with continual flower and petal pattern) suggestive of summer season and dedicated to Lord Shiva-Parvati; the Northwest Green Gate, also called the Leheriya (meaning: "waves") gate, in green colour suggestive of spring and dedicated to Lord Ganesha, and lastly, the Rose Gate with repeated flower pattern representing winter season and dedicated to Goddess Devi.

DIWAN-I-KHAS

Diwan-I-Khas was a private audience hall of the Maharajas, a marble floored chamber. It is located between the armoury and the art gallery. There are two huge sterling silver vessels of 1.6 metres height and each with capacity of 4000 litres and weighing 340 kilograms, on display here. They were made from 14000 melted silver coins without soldering. They are officially recorded by the Guinness Book of World Records as the world's largest sterling silver vessels.[16] These vessels were specially made by Maharaja Sawai Madho Singh II, who was a highly pious Hindu, to carry the water of the Ganges to drink on his trip to England in 1901 (for Edward VII's coronation) as he was finicky about committing religious sin by consuming the English water. Hence, the vessels are named as Gangajelies (Ganges-water urns). There are a number of crystal chandeliers hanging from the ceiling (normally covered with plastic sheets to prevent dust collection), which are uncovered on special occasions.[

DIWAN-I-AAM

The 'Diwan-E-Aam' (Sabha Niwas) or the 'Hall of Public Audience' is an enchanting chamber, with the ceiling painted in rich red and gold colours, which still looks vibrant. It is a major attraction in the Mubarak Mahal courtyard. This chamber, functioning now as an art gallery, has exhibits of exquisite miniature paintings (of Rajastahni, Mughal and Persian art), ancient texts, embroidered rugs, Kashmir shawls and carpets. The ceiling is richly decorated. At present, it is an art gallery showcasing enthralling painted ceilings and rare ancient handwritten original manuscripts of Hindu scriptures (the Hindu holy scripture of the Bhagavad Gita handwritten in tiny script). Also seen in the art gallery is the Golden throne (called as Takth-e-Rawal) that was the seat of the Maharaja during public audience. It was mounted on an elephant or carried by palanquin bearers during the Maharajas visit outside the palace. At the entry gateway to the hall, two large elephants, each made out of single marble rock are on display.

MAHARANI PALACE

Maharani's Palace was originally the residence of the royal queens. It has been converted into a museum, where weapons used by the royalty during war campaigns are displayed, including those belonging to the 15th century. The ceiling of this chamber has unique frescoes, which are preserved using jewel dust of semiprecious stones. A particular weaponry on display is the scissor-action dagger, which when thrust into an enemy's body is said to disembowel the victim, on its withdrawal. The other artefacts on display include swords with pistols attached to it, the sword presented by Queen Victoria to Maharaja Sawai Ram Singh (1835–80) which is inlaid with rubies and emeralds, guns serving as walking sticks and a small canon.

BHAGGI KHANA

Bhaggi Khana is a museum in the palace complex where a collection of old carriages, palanquins and European cabs adopted as baggis to Indian situations are on display here. The baggi which attracts attention is the one gifted by Prince of Wales to the Maharaja in 1876, called the Victoria baggi. Also on display here are the mahadol, a palanquin with a single bamboo bar that was used to carry the priests and a ratha (chariot) that was used for carrying the idols of Hindu gods in procession on festive occasions.

GOVIND DEV JI TEMPLE

Govind Dev Ji temple, dedicated to the Hindu god Lord Krishna, is part of the City Palace complex. It was built in early 18th century outside the walls set in a garden environment. It has European chandeliers and paintings of Indian art. The ceiling in the temple is ornamented in gold. Its location provided a direct view to the Maharaja from his Chandar Mahal palace. The arathi (prayer offering) for the deity can be seen by devotees only for seven times during the day.

WIKIPEDIA

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, located northeast of the centre of the grid-patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers continuing up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadhar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

HISTORY

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a Bengali architect from Naihati of present day West Bengal who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

STRUCTURES

The City Palace is in the central-northeast part of the Jaipur city, which is laid in a grid pattern with wide avenues. It is a unique and arresting complex of several palaces, pavilions, gardens and temples. The most prominent and most visited structures in the complex are the Chandra Mahal, Mubarak Mahal, Mukut Mahal, Maharani's Palace, Shri Govind Dev Temple and the City Palace Museum.

ENTRANCE GATES

Virendra Pol, Udai Pol near Jaleb chowk and the Tripolia Gate (triple gate) are the entry gates to the City Palace. The Tripolia gate is reserved for entry into the palace by the royal family. Common people and visitors can enter the place complex only through the Virendra Pol and the Udai Pol or the Atish Pol (Stable Gate). The entry from Virendra Pol leads to the Mubarak Mahal. The gateways are richly decorated.

MUBARAK MAHAL

Mubarak Mahal, meaning the 'Auspicious Palace', was built with a fusion of the Islamic, Rajput and European architectural styles in the late 19th century by Maharaja Madho Singh II as reception centre. It is a museum; a fine repository of variety of textiles such as the royal formal costumes, sanganeri block prints, embroidered shawls, Kashmiri pashminas and silk saris as part of the Maharaja Sawai Man Singh II Museum. A noteworthy display here is of the set of voluminous clothes worn by Sawai Madhosingh I, who was 1.2 metres wide and weighed 250 kilograms but interestingly had 108 wives.

CHANDRA MAHAL

Chandra Mahal or Chandra Niwas is the most commanding building in the City Palace complex, on its west end. It is a seven-storeyed building and each floor has been given a specific name such as the Sukh-Niwas, Ranga-Mandir, Pitam-Niwas, Chabi-Niwas, Shri-Niwas and Mukut-Mandir or Mukut Mahal. It contains many unique paintings, mirror work on walls and floral decorations. At present, most of this palace is the residence of the descendents of the former rulers of Jaipur. Only the ground floor is allowed for visitors where a museum is located that displays carpets, manuscripts and other items that belonged to the royal family. There is beautiful peacock gate at the entry to the Mahal. It has screened balconies and a pavilion at the roof from where a panoramic view of the city can been seen. It is set amidst well laid out gardens and a decorative lake in the foreground. "Sukh Nivas" or the "Hall of Rest" - Sukh Niwas is painted in Wedgewood blue fully decorated with white lining. Sukh Niwas has the drawing and dining room of the Maharaja which is fully ornamented with mughal miniatures, silver and glass dining tables. Chandra Mahal 3rd floor is called "Rang Mandir". In this there are small and large mirrors in wall, pillars and ceilings. "Shobha Nivas" – It is on the 4th floor of the Chandra Mahal. It is also known as "Hall of Beauty". The walls of the Shobha Nivas are fully decorated with mirror walls with blue tiles ornamented with mica and gold leaf. It is still under the control of the present Maharaja. "Chhavi Nivas" or Hall of Images – It is on the 5th floor. In the rainy season this place was the retreat of the Maharaja. It has an elegant floor of blue. Chandra mahal 6th floor is called "shri Niwas". And the 7th floor is called "Mukut mandir" crown temple.

Also seen at the top of the Chandra Mahal is the flag of the royal family, which is seen unfurled when the Maharaja is in the palace. It is a one and quarter sized flag. However, when the king is away, the queen's flag is hoisted on the building.

There is an interesting anecdote narrated about the 'one and quarter flag', which is the insignia flag of the Maharajas of Jaipur. Emperor Aurangzeb who attended the wedding of Jai Singh, shook hands with the young groom and wished him well on his marriage. On this occasion, Jai Singh made an irreverent remark to the Emperor stating that the way he had shaken hands with him made it incumbent on the Emperor to protect him (Jai Singh) and his kingdom. Aurangzeb, instead of responding in indignation at the quip, felt pleased and conferred on the young Jai Singh the title of 'Sawai', which means "one and a quarter". Since then the Maharajas have pre-fixed their names with this title. During residence there, they also fly a one and a quarter size flag atop their buildings and palaces.

There is also a tragic story linked to this palace. Ishawri Singh, son of Jai Singh who was unwilling to face the advancing army of Marathas, ended his life humiliatingly by getting bitten by a snake. Following this, his 21 wives and paramours also committed the then accepted ritual of sati or jauhar (self immolation on the funeral pyre of their husband).

PRITAM NIWAS CHOWK

It is the inner courtyard, which provides access to the Chandra Mahal. Here, there are four small gates (known as Ridhi Sidhi Pol) that are adorned with themes representing the four seasons and Hindu gods. The gates are the Northeast Peacock Gate (with motifs of peacocks on the doorway) representing autumn and dedicated Lord Vishnu; the Southwest Lotus Gate (with continual flower and petal pattern) suggestive of summer season and dedicated to Lord Shiva-Parvati; the Northwest Green Gate, also called the Leheriya (meaning: "waves") gate, in green colour suggestive of spring and dedicated to Lord Ganesha, and lastly, the Rose Gate with repeated flower pattern representing winter season and dedicated to Goddess Devi.

DIWAN-I-KHAS

Diwan-I-Khas was a private audience hall of the Maharajas, a marble floored chamber. It is located between the armoury and the art gallery. There are two huge sterling silver vessels of 1.6 metres height and each with capacity of 4000 litres and weighing 340 kilograms, on display here. They were made from 14000 melted silver coins without soldering. They are officially recorded by the Guinness Book of World Records as the world's largest sterling silver vessels.[16] These vessels were specially made by Maharaja Sawai Madho Singh II, who was a highly pious Hindu, to carry the water of the Ganges to drink on his trip to England in 1901 (for Edward VII's coronation) as he was finicky about committing religious sin by consuming the English water. Hence, the vessels are named as Gangajelies (Ganges-water urns). There are a number of crystal chandeliers hanging from the ceiling (normally covered with plastic sheets to prevent dust collection), which are uncovered on special occasions.[

DIWAN-I-AAM

The 'Diwan-E-Aam' (Sabha Niwas) or the 'Hall of Public Audience' is an enchanting chamber, with the ceiling painted in rich red and gold colours, which still looks vibrant. It is a major attraction in the Mubarak Mahal courtyard. This chamber, functioning now as an art gallery, has exhibits of exquisite miniature paintings (of Rajastahni, Mughal and Persian art), ancient texts, embroidered rugs, Kashmir shawls and carpets. The ceiling is richly decorated. At present, it is an art gallery showcasing enthralling painted ceilings and rare ancient handwritten original manuscripts of Hindu scriptures (the Hindu holy scripture of the Bhagavad Gita handwritten in tiny script). Also seen in the art gallery is the Golden throne (called as Takth-e-Rawal) that was the seat of the Maharaja during public audience. It was mounted on an elephant or carried by palanquin bearers during the Maharajas visit outside the palace. At the entry gateway to the hall, two large elephants, each made out of single marble rock are on display.

MAHARANI PALACE

Maharani's Palace was originally the residence of the royal queens. It has been converted into a museum, where weapons used by the royalty during war campaigns are displayed, including those belonging to the 15th century. The ceiling of this chamber has unique frescoes, which are preserved using jewel dust of semiprecious stones. A particular weaponry on display is the scissor-action dagger, which when thrust into an enemy's body is said to disembowel the victim, on its withdrawal. The other artefacts on display include swords with pistols attached to it, the sword presented by Queen Victoria to Maharaja Sawai Ram Singh (1835–80) which is inlaid with rubies and emeralds, guns serving as walking sticks and a small canon.

BHAGGI KHANA

Bhaggi Khana is a museum in the palace complex where a collection of old carriages, palanquins and European cabs adopted as baggis to Indian situations are on display here. The baggi which attracts attention is the one gifted by Prince of Wales to the Maharaja in 1876, called the Victoria baggi. Also on display here are the mahadol, a palanquin with a single bamboo bar that was used to carry the priests and a ratha (chariot) that was used for carrying the idols of Hindu gods in procession on festive occasions.

GOVIND DEV JI TEMPLE

Govind Dev Ji temple, dedicated to the Hindu god Lord Krishna, is part of the City Palace complex. It was built in early 18th century outside the walls set in a garden environment. It has European chandeliers and paintings of Indian art. The ceiling in the temple is ornamented in gold. Its location provided a direct view to the Maharaja from his Chandar Mahal palace. The arathi (prayer offering) for the deity can be seen by devotees only for seven times during the day.

WIKIPEDIA

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, located northeast of the centre of the grid-patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers continuing up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadhar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

HISTORY

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a Bengali architect from Naihati of present day West Bengal who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

STRUCTURES

The City Palace is in the central-northeast part of the Jaipur city, which is laid in a grid pattern with wide avenues. It is a unique and arresting complex of several palaces, pavilions, gardens and temples. The most prominent and most visited structures in the complex are the Chandra Mahal, Mubarak Mahal, Mukut Mahal, Maharani's Palace, Shri Govind Dev Temple and the City Palace Museum.

ENTRANCE GATES

Virendra Pol, Udai Pol near Jaleb chowk and the Tripolia Gate (triple gate) are the entry gates to the City Palace. The Tripolia gate is reserved for entry into the palace by the royal family. Common people and visitors can enter the place complex only through the Virendra Pol and the Udai Pol or the Atish Pol (Stable Gate). The entry from Virendra Pol leads to the Mubarak Mahal. The gateways are richly decorated.

MUBARAK MAHAL

Mubarak Mahal, meaning the 'Auspicious Palace', was built with a fusion of the Islamic, Rajput and European architectural styles in the late 19th century by Maharaja Madho Singh II as reception centre. It is a museum; a fine repository of variety of textiles such as the royal formal costumes, sanganeri block prints, embroidered shawls, Kashmiri pashminas and silk saris as part of the Maharaja Sawai Man Singh II Museum. A noteworthy display here is of the set of voluminous clothes worn by Sawai Madhosingh I, who was 1.2 metres wide and weighed 250 kilograms but interestingly had 108 wives.

CHANDRA MAHAL

Chandra Mahal or Chandra Niwas is the most commanding building in the City Palace complex, on its west end. It is a seven-storeyed building and each floor has been given a specific name such as the Sukh-Niwas, Ranga-Mandir, Pitam-Niwas, Chabi-Niwas, Shri-Niwas and Mukut-Mandir or Mukut Mahal. It contains many unique paintings, mirror work on walls and floral decorations. At present, most of this palace is the residence of the descendents of the former rulers of Jaipur. Only the ground floor is allowed for visitors where a museum is located that displays carpets, manuscripts and other items that belonged to the royal family. There is beautiful peacock gate at the entry to the Mahal. It has screened balconies and a pavilion at the roof from where a panoramic view of the city can been seen. It is set amidst well laid out gardens and a decorative lake in the foreground. "Sukh Nivas" or the "Hall of Rest" - Sukh Niwas is painted in Wedgewood blue fully decorated with white lining. Sukh Niwas has the drawing and dining room of the Maharaja which is fully ornamented with mughal miniatures, silver and glass dining tables. Chandra Mahal 3rd floor is called "Rang Mandir". In this there are small and large mirrors in wall, pillars and ceilings. "Shobha Nivas" – It is on the 4th floor of the Chandra Mahal. It is also known as "Hall of Beauty". The walls of the Shobha Nivas are fully decorated with mirror walls with blue tiles ornamented with mica and gold leaf. It is still under the control of the present Maharaja. "Chhavi Nivas" or Hall of Images – It is on the 5th floor. In the rainy season this place was the retreat of the Maharaja. It has an elegant floor of blue. Chandra mahal 6th floor is called "shri Niwas". And the 7th floor is called "Mukut mandir" crown temple.

Also seen at the top of the Chandra Mahal is the flag of the royal family, which is seen unfurled when the Maharaja is in the palace. It is a one and quarter sized flag. However, when the king is away, the queen's flag is hoisted on the building.

There is an interesting anecdote narrated about the 'one and quarter flag', which is the insignia flag of the Maharajas of Jaipur. Emperor Aurangzeb who attended the wedding of Jai Singh, shook hands with the young groom and wished him well on his marriage. On this occasion, Jai Singh made an irreverent remark to the Emperor stating that the way he had shaken hands with him made it incumbent on the Emperor to protect him (Jai Singh) and his kingdom. Aurangzeb, instead of responding in indignation at the quip, felt pleased and conferred on the young Jai Singh the title of 'Sawai', which means "one and a quarter". Since then the Maharajas have pre-fixed their names with this title. During residence there, they also fly a one and a quarter size flag atop their buildings and palaces.

There is also a tragic story linked to this palace. Ishawri Singh, son of Jai Singh who was unwilling to face the advancing army of Marathas, ended his life humiliatingly by getting bitten by a snake. Following this, his 21 wives and paramours also committed the then accepted ritual of sati or jauhar (self immolation on the funeral pyre of their husband).

PRITAM NIWAS CHOWK

It is the inner courtyard, which provides access to the Chandra Mahal. Here, there are four small gates (known as Ridhi Sidhi Pol) that are adorned with themes representing the four seasons and Hindu gods. The gates are the Northeast Peacock Gate (with motifs of peacocks on the doorway) representing autumn and dedicated Lord Vishnu; the Southwest Lotus Gate (with continual flower and petal pattern) suggestive of summer season and dedicated to Lord Shiva-Parvati; the Northwest Green Gate, also called the Leheriya (meaning: "waves") gate, in green colour suggestive of spring and dedicated to Lord Ganesha, and lastly, the Rose Gate with repeated flower pattern representing winter season and dedicated to Goddess Devi.

DIWAN-I-KHAS

Diwan-I-Khas was a private audience hall of the Maharajas, a marble floored chamber. It is located between the armoury and the art gallery. There are two huge sterling silver vessels of 1.6 metres height and each with capacity of 4000 litres and weighing 340 kilograms, on display here. They were made from 14000 melted silver coins without soldering. They are officially recorded by the Guinness Book of World Records as the world's largest sterling silver vessels.[16] These vessels were specially made by Maharaja Sawai Madho Singh II, who was a highly pious Hindu, to carry the water of the Ganges to drink on his trip to England in 1901 (for Edward VII's coronation) as he was finicky about committing religious sin by consuming the English water. Hence, the vessels are named as Gangajelies (Ganges-water urns). There are a number of crystal chandeliers hanging from the ceiling (normally covered with plastic sheets to prevent dust collection), which are uncovered on special occasions.[

DIWAN-I-AAM

The 'Diwan-E-Aam' (Sabha Niwas) or the 'Hall of Public Audience' is an enchanting chamber, with the ceiling painted in rich red and gold colours, which still looks vibrant. It is a major attraction in the Mubarak Mahal courtyard. This chamber, functioning now as an art gallery, has exhibits of exquisite miniature paintings (of Rajastahni, Mughal and Persian art), ancient texts, embroidered rugs, Kashmir shawls and carpets. The ceiling is richly decorated. At present, it is an art gallery showcasing enthralling painted ceilings and rare ancient handwritten original manuscripts of Hindu scriptures (the Hindu holy scripture of the Bhagavad Gita handwritten in tiny script). Also seen in the art gallery is the Golden throne (called as Takth-e-Rawal) that was the seat of the Maharaja during public audience. It was mounted on an elephant or carried by palanquin bearers during the Maharajas visit outside the palace. At the entry gateway to the hall, two large elephants, each made out of single marble rock are on display.

MAHARANI PALACE

Maharani's Palace was originally the residence of the royal queens. It has been converted into a museum, where weapons used by the royalty during war campaigns are displayed, including those belonging to the 15th century. The ceiling of this chamber has unique frescoes, which are preserved using jewel dust of semiprecious stones. A particular weaponry on display is the scissor-action dagger, which when thrust into an enemy's body is said to disembowel the victim, on its withdrawal. The other artefacts on display include swords with pistols attached to it, the sword presented by Queen Victoria to Maharaja Sawai Ram Singh (1835–80) which is inlaid with rubies and emeralds, guns serving as walking sticks and a small canon.

BHAGGI KHANA

Bhaggi Khana is a museum in the palace complex where a collection of old carriages, palanquins and European cabs adopted as baggis to Indian situations are on display here. The baggi which attracts attention is the one gifted by Prince of Wales to the Maharaja in 1876, called the Victoria baggi. Also on display here are the mahadol, a palanquin with a single bamboo bar that was used to carry the priests and a ratha (chariot) that was used for carrying the idols of Hindu gods in procession on festive occasions.

GOVIND DEV JI TEMPLE

Govind Dev Ji temple, dedicated to the Hindu god Lord Krishna, is part of the City Palace complex. It was built in early 18th century outside the walls set in a garden environment. It has European chandeliers and paintings of Indian art. The ceiling in the temple is ornamented in gold. Its location provided a direct view to the Maharaja from his Chandar Mahal palace. The arathi (prayer offering) for the deity can be seen by devotees only for seven times during the day.

WIKIPEDIA

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, located northeast of the centre of the grid-patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers continuing up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadhar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

HISTORY

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a Bengali architect from Naihati of present day West Bengal who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

STRUCTURES

The City Palace is in the central-northeast part of the Jaipur city, which is laid in a grid pattern with wide avenues. It is a unique and arresting complex of several palaces, pavilions, gardens and temples. The most prominent and most visited structures in the complex are the Chandra Mahal, Mubarak Mahal, Mukut Mahal, Maharani's Palace, Shri Govind Dev Temple and the City Palace Museum.

ENTRANCE GATES

Virendra Pol, Udai Pol near Jaleb chowk and the Tripolia Gate (triple gate) are the entry gates to the City Palace. The Tripolia gate is reserved for entry into the palace by the royal family. Common people and visitors can enter the place complex only through the Virendra Pol and the Udai Pol or the Atish Pol (Stable Gate). The entry from Virendra Pol leads to the Mubarak Mahal. The gateways are richly decorated.

MUBARAK MAHAL

Mubarak Mahal, meaning the 'Auspicious Palace', was built with a fusion of the Islamic, Rajput and European architectural styles in the late 19th century by Maharaja Madho Singh II as reception centre. It is a museum; a fine repository of variety of textiles such as the royal formal costumes, sanganeri block prints, embroidered shawls, Kashmiri pashminas and silk saris as part of the Maharaja Sawai Man Singh II Museum. A noteworthy display here is of the set of voluminous clothes worn by Sawai Madhosingh I, who was 1.2 metres wide and weighed 250 kilograms but interestingly had 108 wives.

CHANDRA MAHAL

Chandra Mahal or Chandra Niwas is the most commanding building in the City Palace complex, on its west end. It is a seven-storeyed building and each floor has been given a specific name such as the Sukh-Niwas, Ranga-Mandir, Pitam-Niwas, Chabi-Niwas, Shri-Niwas and Mukut-Mandir or Mukut Mahal. It contains many unique paintings, mirror work on walls and floral decorations. At present, most of this palace is the residence of the descendents of the former rulers of Jaipur. Only the ground floor is allowed for visitors where a museum is located that displays carpets, manuscripts and other items that belonged to the royal family. There is beautiful peacock gate at the entry to the Mahal. It has screened balconies and a pavilion at the roof from where a panoramic view of the city can been seen. It is set amidst well laid out gardens and a decorative lake in the foreground. "Sukh Nivas" or the "Hall of Rest" - Sukh Niwas is painted in Wedgewood blue fully decorated with white lining. Sukh Niwas has the drawing and dining room of the Maharaja which is fully ornamented with mughal miniatures, silver and glass dining tables. Chandra Mahal 3rd floor is called "Rang Mandir". In this there are small and large mirrors in wall, pillars and ceilings. "Shobha Nivas" – It is on the 4th floor of the Chandra Mahal. It is also known as "Hall of Beauty". The walls of the Shobha Nivas are fully decorated with mirror walls with blue tiles ornamented with mica and gold leaf. It is still under the control of the present Maharaja. "Chhavi Nivas" or Hall of Images – It is on the 5th floor. In the rainy season this place was the retreat of the Maharaja. It has an elegant floor of blue. Chandra mahal 6th floor is called "shri Niwas". And the 7th floor is called "Mukut mandir" crown temple.

Also seen at the top of the Chandra Mahal is the flag of the royal family, which is seen unfurled when the Maharaja is in the palace. It is a one and quarter sized flag. However, when the king is away, the queen's flag is hoisted on the building.

There is an interesting anecdote narrated about the 'one and quarter flag', which is the insignia flag of the Maharajas of Jaipur. Emperor Aurangzeb who attended the wedding of Jai Singh, shook hands with the young groom and wished him well on his marriage. On this occasion, Jai Singh made an irreverent remark to the Emperor stating that the way he had shaken hands with him made it incumbent on the Emperor to protect him (Jai Singh) and his kingdom. Aurangzeb, instead of responding in indignation at the quip, felt pleased and conferred on the young Jai Singh the title of 'Sawai', which means "one and a quarter". Since then the Maharajas have pre-fixed their names with this title. During residence there, they also fly a one and a quarter size flag atop their buildings and palaces.

There is also a tragic story linked to this palace. Ishawri Singh, son of Jai Singh who was unwilling to face the advancing army of Marathas, ended his life humiliatingly by getting bitten by a snake. Following this, his 21 wives and paramours also committed the then accepted ritual of sati or jauhar (self immolation on the funeral pyre of their husband).

PRITAM NIWAS CHOWK

It is the inner courtyard, which provides access to the Chandra Mahal. Here, there are four small gates (known as Ridhi Sidhi Pol) that are adorned with themes representing the four seasons and Hindu gods. The gates are the Northeast Peacock Gate (with motifs of peacocks on the doorway) representing autumn and dedicated Lord Vishnu; the Southwest Lotus Gate (with continual flower and petal pattern) suggestive of summer season and dedicated to Lord Shiva-Parvati; the Northwest Green Gate, also called the Leheriya (meaning: "waves") gate, in green colour suggestive of spring and dedicated to Lord Ganesha, and lastly, the Rose Gate with repeated flower pattern representing winter season and dedicated to Goddess Devi.

DIWAN-I-KHAS

Diwan-I-Khas was a private audience hall of the Maharajas, a marble floored chamber. It is located between the armoury and the art gallery. There are two huge sterling silver vessels of 1.6 metres height and each with capacity of 4000 litres and weighing 340 kilograms, on display here. They were made from 14000 melted silver coins without soldering. They are officially recorded by the Guinness Book of World Records as the world's largest sterling silver vessels.[16] These vessels were specially made by Maharaja Sawai Madho Singh II, who was a highly pious Hindu, to carry the water of the Ganges to drink on his trip to England in 1901 (for Edward VII's coronation) as he was finicky about committing religious sin by consuming the English water. Hence, the vessels are named as Gangajelies (Ganges-water urns). There are a number of crystal chandeliers hanging from the ceiling (normally covered with plastic sheets to prevent dust collection), which are uncovered on special occasions.[

DIWAN-I-AAM

The 'Diwan-E-Aam' (Sabha Niwas) or the 'Hall of Public Audience' is an enchanting chamber, with the ceiling painted in rich red and gold colours, which still looks vibrant. It is a major attraction in the Mubarak Mahal courtyard. This chamber, functioning now as an art gallery, has exhibits of exquisite miniature paintings (of Rajastahni, Mughal and Persian art), ancient texts, embroidered rugs, Kashmir shawls and carpets. The ceiling is richly decorated. At present, it is an art gallery showcasing enthralling painted ceilings and rare ancient handwritten original manuscripts of Hindu scriptures (the Hindu holy scripture of the Bhagavad Gita handwritten in tiny script). Also seen in the art gallery is the Golden throne (called as Takth-e-Rawal) that was the seat of the Maharaja during public audience. It was mounted on an elephant or carried by palanquin bearers during the Maharajas visit outside the palace. At the entry gateway to the hall, two large elephants, each made out of single marble rock are on display.

MAHARANI PALACE

Maharani's Palace was originally the residence of the royal queens. It has been converted into a museum, where weapons used by the royalty during war campaigns are displayed, including those belonging to the 15th century. The ceiling of this chamber has unique frescoes, which are preserved using jewel dust of semiprecious stones. A particular weaponry on display is the scissor-action dagger, which when thrust into an enemy's body is said to disembowel the victim, on its withdrawal. The other artefacts on display include swords with pistols attached to it, the sword presented by Queen Victoria to Maharaja Sawai Ram Singh (1835–80) which is inlaid with rubies and emeralds, guns serving as walking sticks and a small canon.

BHAGGI KHANA

Bhaggi Khana is a museum in the palace complex where a collection of old carriages, palanquins and European cabs adopted as baggis to Indian situations are on display here. The baggi which attracts attention is the one gifted by Prince of Wales to the Maharaja in 1876, called the Victoria baggi. Also on display here are the mahadol, a palanquin with a single bamboo bar that was used to carry the priests and a ratha (chariot) that was used for carrying the idols of Hindu gods in procession on festive occasions.

GOVIND DEV JI TEMPLE

Govind Dev Ji temple, dedicated to the Hindu god Lord Krishna, is part of the City Palace complex. It was built in early 18th century outside the walls set in a garden environment. It has European chandeliers and paintings of Indian art. The ceiling in the temple is ornamented in gold. Its location provided a direct view to the Maharaja from his Chandar Mahal palace. The arathi (prayer offering) for the deity can be seen by devotees only for seven times during the day.

WIKIPEDIA

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, located northeast of the centre of the grid-patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers continuing up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadhar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

HISTORY

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a Bengali architect from Naihati of present day West Bengal who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

STRUCTURES

The City Palace is in the central-northeast part of the Jaipur city, which is laid in a grid pattern with wide avenues. It is a unique and arresting complex of several palaces, pavilions, gardens and temples. The most prominent and most visited structures in the complex are the Chandra Mahal, Mubarak Mahal, Mukut Mahal, Maharani's Palace, Shri Govind Dev Temple and the City Palace Museum.

ENTRANCE GATES

Virendra Pol, Udai Pol near Jaleb chowk and the Tripolia Gate (triple gate) are the entry gates to the City Palace. The Tripolia gate is reserved for entry into the palace by the royal family. Common people and visitors can enter the place complex only through the Virendra Pol and the Udai Pol or the Atish Pol (Stable Gate). The entry from Virendra Pol leads to the Mubarak Mahal. The gateways are richly decorated.

MUBARAK MAHAL

Mubarak Mahal, meaning the 'Auspicious Palace', was built with a fusion of the Islamic, Rajput and European architectural styles in the late 19th century by Maharaja Madho Singh II as reception centre. It is a museum; a fine repository of variety of textiles such as the royal formal costumes, sanganeri block prints, embroidered shawls, Kashmiri pashminas and silk saris as part of the Maharaja Sawai Man Singh II Museum. A noteworthy display here is of the set of voluminous clothes worn by Sawai Madhosingh I, who was 1.2 metres wide and weighed 250 kilograms but interestingly had 108 wives.

CHANDRA MAHAL

Chandra Mahal or Chandra Niwas is the most commanding building in the City Palace complex, on its west end. It is a seven-storeyed building and each floor has been given a specific name such as the Sukh-Niwas, Ranga-Mandir, Pitam-Niwas, Chabi-Niwas, Shri-Niwas and Mukut-Mandir or Mukut Mahal. It contains many unique paintings, mirror work on walls and floral decorations. At present, most of this palace is the residence of the descendents of the former rulers of Jaipur. Only the ground floor is allowed for visitors where a museum is located that displays carpets, manuscripts and other items that belonged to the royal family. There is beautiful peacock gate at the entry to the Mahal. It has screened balconies and a pavilion at the roof from where a panoramic view of the city can been seen. It is set amidst well laid out gardens and a decorative lake in the foreground. "Sukh Nivas" or the "Hall of Rest" - Sukh Niwas is painted in Wedgewood blue fully decorated with white lining. Sukh Niwas has the drawing and dining room of the Maharaja which is fully ornamented with mughal miniatures, silver and glass dining tables. Chandra Mahal 3rd floor is called "Rang Mandir". In this there are small and large mirrors in wall, pillars and ceilings. "Shobha Nivas" – It is on the 4th floor of the Chandra Mahal. It is also known as "Hall of Beauty". The walls of the Shobha Nivas are fully decorated with mirror walls with blue tiles ornamented with mica and gold leaf. It is still under the control of the present Maharaja. "Chhavi Nivas" or Hall of Images – It is on the 5th floor. In the rainy season this place was the retreat of the Maharaja. It has an elegant floor of blue. Chandra mahal 6th floor is called "shri Niwas". And the 7th floor is called "Mukut mandir" crown temple.

Also seen at the top of the Chandra Mahal is the flag of the royal family, which is seen unfurled when the Maharaja is in the palace. It is a one and quarter sized flag. However, when the king is away, the queen's flag is hoisted on the building.

There is an interesting anecdote narrated about the 'one and quarter flag', which is the insignia flag of the Maharajas of Jaipur. Emperor Aurangzeb who attended the wedding of Jai Singh, shook hands with the young groom and wished him well on his marriage. On this occasion, Jai Singh made an irreverent remark to the Emperor stating that the way he had shaken hands with him made it incumbent on the Emperor to protect him (Jai Singh) and his kingdom. Aurangzeb, instead of responding in indignation at the quip, felt pleased and conferred on the young Jai Singh the title of 'Sawai', which means "one and a quarter". Since then the Maharajas have pre-fixed their names with this title. During residence there, they also fly a one and a quarter size flag atop their buildings and palaces.

There is also a tragic story linked to this palace. Ishawri Singh, son of Jai Singh who was unwilling to face the advancing army of Marathas, ended his life humiliatingly by getting bitten by a snake. Following this, his 21 wives and paramours also committed the then accepted ritual of sati or jauhar (self immolation on the funeral pyre of their husband).

PRITAM NIWAS CHOWK

It is the inner courtyard, which provides access to the Chandra Mahal. Here, there are four small gates (known as Ridhi Sidhi Pol) that are adorned with themes representing the four seasons and Hindu gods. The gates are the Northeast Peacock Gate (with motifs of peacocks on the doorway) representing autumn and dedicated Lord Vishnu; the Southwest Lotus Gate (with continual flower and petal pattern) suggestive of summer season and dedicated to Lord Shiva-Parvati; the Northwest Green Gate, also called the Leheriya (meaning: "waves") gate, in green colour suggestive of spring and dedicated to Lord Ganesha, and lastly, the Rose Gate with repeated flower pattern representing winter season and dedicated to Goddess Devi.

DIWAN-I-KHAS

Diwan-I-Khas was a private audience hall of the Maharajas, a marble floored chamber. It is located between the armoury and the art gallery. There are two huge sterling silver vessels of 1.6 metres height and each with capacity of 4000 litres and weighing 340 kilograms, on display here. They were made from 14000 melted silver coins without soldering. They are officially recorded by the Guinness Book of World Records as the world's largest sterling silver vessels.[16] These vessels were specially made by Maharaja Sawai Madho Singh II, who was a highly pious Hindu, to carry the water of the Ganges to drink on his trip to England in 1901 (for Edward VII's coronation) as he was finicky about committing religious sin by consuming the English water. Hence, the vessels are named as Gangajelies (Ganges-water urns). There are a number of crystal chandeliers hanging from the ceiling (normally covered with plastic sheets to prevent dust collection), which are uncovered on special occasions.[

DIWAN-I-AAM

The 'Diwan-E-Aam' (Sabha Niwas) or the 'Hall of Public Audience' is an enchanting chamber, with the ceiling painted in rich red and gold colours, which still looks vibrant. It is a major attraction in the Mubarak Mahal courtyard. This chamber, functioning now as an art gallery, has exhibits of exquisite miniature paintings (of Rajastahni, Mughal and Persian art), ancient texts, embroidered rugs, Kashmir shawls and carpets. The ceiling is richly decorated. At present, it is an art gallery showcasing enthralling painted ceilings and rare ancient handwritten original manuscripts of Hindu scriptures (the Hindu holy scripture of the Bhagavad Gita handwritten in tiny script). Also seen in the art gallery is the Golden throne (called as Takth-e-Rawal) that was the seat of the Maharaja during public audience. It was mounted on an elephant or carried by palanquin bearers during the Maharajas visit outside the palace. At the entry gateway to the hall, two large elephants, each made out of single marble rock are on display.

MAHARANI PALACE

Maharani's Palace was originally the residence of the royal queens. It has been converted into a museum, where weapons used by the royalty during war campaigns are displayed, including those belonging to the 15th century. The ceiling of this chamber has unique frescoes, which are preserved using jewel dust of semiprecious stones. A particular weaponry on display is the scissor-action dagger, which when thrust into an enemy's body is said to disembowel the victim, on its withdrawal. The other artefacts on display include swords with pistols attached to it, the sword presented by Queen Victoria to Maharaja Sawai Ram Singh (1835–80) which is inlaid with rubies and emeralds, guns serving as walking sticks and a small canon.

BHAGGI KHANA

Bhaggi Khana is a museum in the palace complex where a collection of old carriages, palanquins and European cabs adopted as baggis to Indian situations are on display here. The baggi which attracts attention is the one gifted by Prince of Wales to the Maharaja in 1876, called the Victoria baggi. Also on display here are the mahadol, a palanquin with a single bamboo bar that was used to carry the priests and a ratha (chariot) that was used for carrying the idols of Hindu gods in procession on festive occasions.

GOVIND DEV JI TEMPLE

Govind Dev Ji temple, dedicated to the Hindu god Lord Krishna, is part of the City Palace complex. It was built in early 18th century outside the walls set in a garden environment. It has European chandeliers and paintings of Indian art. The ceiling in the temple is ornamented in gold. Its location provided a direct view to the Maharaja from his Chandar Mahal palace. The arathi (prayer offering) for the deity can be seen by devotees only for seven times during the day.

WIKIPEDIA

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, located northeast of the centre of the grid-patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers continuing up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadhar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

HISTORY

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a Bengali architect from Naihati of present day West Bengal who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

STRUCTURES

The City Palace is in the central-northeast part of the Jaipur city, which is laid in a grid pattern with wide avenues. It is a unique and arresting complex of several palaces, pavilions, gardens and temples. The most prominent and most visited structures in the complex are the Chandra Mahal, Mubarak Mahal, Mukut Mahal, Maharani's Palace, Shri Govind Dev Temple and the City Palace Museum.

ENTRANCE GATES

Virendra Pol, Udai Pol near Jaleb chowk and the Tripolia Gate (triple gate) are the entry gates to the City Palace. The Tripolia gate is reserved for entry into the palace by the royal family. Common people and visitors can enter the place complex only through the Virendra Pol and the Udai Pol or the Atish Pol (Stable Gate). The entry from Virendra Pol leads to the Mubarak Mahal. The gateways are richly decorated.

MUBARAK MAHAL

Mubarak Mahal, meaning the 'Auspicious Palace', was built with a fusion of the Islamic, Rajput and European architectural styles in the late 19th century by Maharaja Madho Singh II as reception centre. It is a museum; a fine repository of variety of textiles such as the royal formal costumes, sanganeri block prints, embroidered shawls, Kashmiri pashminas and silk saris as part of the Maharaja Sawai Man Singh II Museum. A noteworthy display here is of the set of voluminous clothes worn by Sawai Madhosingh I, who was 1.2 metres wide and weighed 250 kilograms but interestingly had 108 wives.

CHANDRA MAHAL

Chandra Mahal or Chandra Niwas is the most commanding building in the City Palace complex, on its west end. It is a seven-storeyed building and each floor has been given a specific name such as the Sukh-Niwas, Ranga-Mandir, Pitam-Niwas, Chabi-Niwas, Shri-Niwas and Mukut-Mandir or Mukut Mahal. It contains many unique paintings, mirror work on walls and floral decorations. At present, most of this palace is the residence of the descendents of the former rulers of Jaipur. Only the ground floor is allowed for visitors where a museum is located that displays carpets, manuscripts and other items that belonged to the royal family. There is beautiful peacock gate at the entry to the Mahal. It has screened balconies and a pavilion at the roof from where a panoramic view of the city can been seen. It is set amidst well laid out gardens and a decorative lake in the foreground. "Sukh Nivas" or the "Hall of Rest" - Sukh Niwas is painted in Wedgewood blue fully decorated with white lining. Sukh Niwas has the drawing and dining room of the Maharaja which is fully ornamented with mughal miniatures, silver and glass dining tables. Chandra Mahal 3rd floor is called "Rang Mandir". In this there are small and large mirrors in wall, pillars and ceilings. "Shobha Nivas" – It is on the 4th floor of the Chandra Mahal. It is also known as "Hall of Beauty". The walls of the Shobha Nivas are fully decorated with mirror walls with blue tiles ornamented with mica and gold leaf. It is still under the control of the present Maharaja. "Chhavi Nivas" or Hall of Images – It is on the 5th floor. In the rainy season this place was the retreat of the Maharaja. It has an elegant floor of blue. Chandra mahal 6th floor is called "shri Niwas". And the 7th floor is called "Mukut mandir" crown temple.

Also seen at the top of the Chandra Mahal is the flag of the royal family, which is seen unfurled when the Maharaja is in the palace. It is a one and quarter sized flag. However, when the king is away, the queen's flag is hoisted on the building.

There is an interesting anecdote narrated about the 'one and quarter flag', which is the insignia flag of the Maharajas of Jaipur. Emperor Aurangzeb who attended the wedding of Jai Singh, shook hands with the young groom and wished him well on his marriage. On this occasion, Jai Singh made an irreverent remark to the Emperor stating that the way he had shaken hands with him made it incumbent on the Emperor to protect him (Jai Singh) and his kingdom. Aurangzeb, instead of responding in indignation at the quip, felt pleased and conferred on the young Jai Singh the title of 'Sawai', which means "one and a quarter". Since then the Maharajas have pre-fixed their names with this title. During residence there, they also fly a one and a quarter size flag atop their buildings and palaces.

There is also a tragic story linked to this palace. Ishawri Singh, son of Jai Singh who was unwilling to face the advancing army of Marathas, ended his life humiliatingly by getting bitten by a snake. Following this, his 21 wives and paramours also committed the then accepted ritual of sati or jauhar (self immolation on the funeral pyre of their husband).

PRITAM NIWAS CHOWK

It is the inner courtyard, which provides access to the Chandra Mahal. Here, there are four small gates (known as Ridhi Sidhi Pol) that are adorned with themes representing the four seasons and Hindu gods. The gates are the Northeast Peacock Gate (with motifs of peacocks on the doorway) representing autumn and dedicated Lord Vishnu; the Southwest Lotus Gate (with continual flower and petal pattern) suggestive of summer season and dedicated to Lord Shiva-Parvati; the Northwest Green Gate, also called the Leheriya (meaning: "waves") gate, in green colour suggestive of spring and dedicated to Lord Ganesha, and lastly, the Rose Gate with repeated flower pattern representing winter season and dedicated to Goddess Devi.

DIWAN-I-KHAS

Diwan-I-Khas was a private audience hall of the Maharajas, a marble floored chamber. It is located between the armoury and the art gallery. There are two huge sterling silver vessels of 1.6 metres height and each with capacity of 4000 litres and weighing 340 kilograms, on display here. They were made from 14000 melted silver coins without soldering. They are officially recorded by the Guinness Book of World Records as the world's largest sterling silver vessels.[16] These vessels were specially made by Maharaja Sawai Madho Singh II, who was a highly pious Hindu, to carry the water of the Ganges to drink on his trip to England in 1901 (for Edward VII's coronation) as he was finicky about committing religious sin by consuming the English water. Hence, the vessels are named as Gangajelies (Ganges-water urns). There are a number of crystal chandeliers hanging from the ceiling (normally covered with plastic sheets to prevent dust collection), which are uncovered on special occasions.[

DIWAN-I-AAM

The 'Diwan-E-Aam' (Sabha Niwas) or the 'Hall of Public Audience' is an enchanting chamber, with the ceiling painted in rich red and gold colours, which still looks vibrant. It is a major attraction in the Mubarak Mahal courtyard. This chamber, functioning now as an art gallery, has exhibits of exquisite miniature paintings (of Rajastahni, Mughal and Persian art), ancient texts, embroidered rugs, Kashmir shawls and carpets. The ceiling is richly decorated. At present, it is an art gallery showcasing enthralling painted ceilings and rare ancient handwritten original manuscripts of Hindu scriptures (the Hindu holy scripture of the Bhagavad Gita handwritten in tiny script). Also seen in the art gallery is the Golden throne (called as Takth-e-Rawal) that was the seat of the Maharaja during public audience. It was mounted on an elephant or carried by palanquin bearers during the Maharajas visit outside the palace. At the entry gateway to the hall, two large elephants, each made out of single marble rock are on display.

MAHARANI PALACE

Maharani's Palace was originally the residence of the royal queens. It has been converted into a museum, where weapons used by the royalty during war campaigns are displayed, including those belonging to the 15th century. The ceiling of this chamber has unique frescoes, which are preserved using jewel dust of semiprecious stones. A particular weaponry on display is the scissor-action dagger, which when thrust into an enemy's body is said to disembowel the victim, on its withdrawal. The other artefacts on display include swords with pistols attached to it, the sword presented by Queen Victoria to Maharaja Sawai Ram Singh (1835–80) which is inlaid with rubies and emeralds, guns serving as walking sticks and a small canon.

BHAGGI KHANA

Bhaggi Khana is a museum in the palace complex where a collection of old carriages, palanquins and European cabs adopted as baggis to Indian situations are on display here. The baggi which attracts attention is the one gifted by Prince of Wales to the Maharaja in 1876, called the Victoria baggi. Also on display here are the mahadol, a palanquin with a single bamboo bar that was used to carry the priests and a ratha (chariot) that was used for carrying the idols of Hindu gods in procession on festive occasions.

GOVIND DEV JI TEMPLE

Govind Dev Ji temple, dedicated to the Hindu god Lord Krishna, is part of the City Palace complex. It was built in early 18th century outside the walls set in a garden environment. It has European chandeliers and paintings of Indian art. The ceiling in the temple is ornamented in gold. Its location provided a direct view to the Maharaja from his Chandar Mahal palace. The arathi (prayer offering) for the deity can be seen by devotees only for seven times during the day.

WIKIPEDIA

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, located northeast of the centre of the grid-patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers continuing up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadhar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

HISTORY

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a Bengali architect from Naihati of present day West Bengal who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

STRUCTURES

The City Palace is in the central-northeast part of the Jaipur city, which is laid in a grid pattern with wide avenues. It is a unique and arresting complex of several palaces, pavilions, gardens and temples. The most prominent and most visited structures in the complex are the Chandra Mahal, Mubarak Mahal, Mukut Mahal, Maharani's Palace, Shri Govind Dev Temple and the City Palace Museum.

ENTRANCE GATES

Virendra Pol, Udai Pol near Jaleb chowk and the Tripolia Gate (triple gate) are the entry gates to the City Palace. The Tripolia gate is reserved for entry into the palace by the royal family. Common people and visitors can enter the place complex only through the Virendra Pol and the Udai Pol or the Atish Pol (Stable Gate). The entry from Virendra Pol leads to the Mubarak Mahal. The gateways are richly decorated.

MUBARAK MAHAL

Mubarak Mahal, meaning the 'Auspicious Palace', was built with a fusion of the Islamic, Rajput and European architectural styles in the late 19th century by Maharaja Madho Singh II as reception centre. It is a museum; a fine repository of variety of textiles such as the royal formal costumes, sanganeri block prints, embroidered shawls, Kashmiri pashminas and silk saris as part of the Maharaja Sawai Man Singh II Museum. A noteworthy display here is of the set of voluminous clothes worn by Sawai Madhosingh I, who was 1.2 metres wide and weighed 250 kilograms but interestingly had 108 wives.

CHANDRA MAHAL

Chandra Mahal or Chandra Niwas is the most commanding building in the City Palace complex, on its west end. It is a seven-storeyed building and each floor has been given a specific name such as the Sukh-Niwas, Ranga-Mandir, Pitam-Niwas, Chabi-Niwas, Shri-Niwas and Mukut-Mandir or Mukut Mahal. It contains many unique paintings, mirror work on walls and floral decorations. At present, most of this palace is the residence of the descendents of the former rulers of Jaipur. Only the ground floor is allowed for visitors where a museum is located that displays carpets, manuscripts and other items that belonged to the royal family. There is beautiful peacock gate at the entry to the Mahal. It has screened balconies and a pavilion at the roof from where a panoramic view of the city can been seen. It is set amidst well laid out gardens and a decorative lake in the foreground. "Sukh Nivas" or the "Hall of Rest" - Sukh Niwas is painted in Wedgewood blue fully decorated with white lining. Sukh Niwas has the drawing and dining room of the Maharaja which is fully ornamented with mughal miniatures, silver and glass dining tables. Chandra Mahal 3rd floor is called "Rang Mandir". In this there are small and large mirrors in wall, pillars and ceilings. "Shobha Nivas" – It is on the 4th floor of the Chandra Mahal. It is also known as "Hall of Beauty". The walls of the Shobha Nivas are fully decorated with mirror walls with blue tiles ornamented with mica and gold leaf. It is still under the control of the present Maharaja. "Chhavi Nivas" or Hall of Images – It is on the 5th floor. In the rainy season this place was the retreat of the Maharaja. It has an elegant floor of blue. Chandra mahal 6th floor is called "shri Niwas". And the 7th floor is called "Mukut mandir" crown temple.

Also seen at the top of the Chandra Mahal is the flag of the royal family, which is seen unfurled when the Maharaja is in the palace. It is a one and quarter sized flag. However, when the king is away, the queen's flag is hoisted on the building.

There is an interesting anecdote narrated about the 'one and quarter flag', which is the insignia flag of the Maharajas of Jaipur. Emperor Aurangzeb who attended the wedding of Jai Singh, shook hands with the young groom and wished him well on his marriage. On this occasion, Jai Singh made an irreverent remark to the Emperor stating that the way he had shaken hands with him made it incumbent on the Emperor to protect him (Jai Singh) and his kingdom. Aurangzeb, instead of responding in indignation at the quip, felt pleased and conferred on the young Jai Singh the title of 'Sawai', which means "one and a quarter". Since then the Maharajas have pre-fixed their names with this title. During residence there, they also fly a one and a quarter size flag atop their buildings and palaces.

There is also a tragic story linked to this palace. Ishawri Singh, son of Jai Singh who was unwilling to face the advancing army of Marathas, ended his life humiliatingly by getting bitten by a snake. Following this, his 21 wives and paramours also committed the then accepted ritual of sati or jauhar (self immolation on the funeral pyre of their husband).

PRITAM NIWAS CHOWK

It is the inner courtyard, which provides access to the Chandra Mahal. Here, there are four small gates (known as Ridhi Sidhi Pol) that are adorned with themes representing the four seasons and Hindu gods. The gates are the Northeast Peacock Gate (with motifs of peacocks on the doorway) representing autumn and dedicated Lord Vishnu; the Southwest Lotus Gate (with continual flower and petal pattern) suggestive of summer season and dedicated to Lord Shiva-Parvati; the Northwest Green Gate, also called the Leheriya (meaning: "waves") gate, in green colour suggestive of spring and dedicated to Lord Ganesha, and lastly, the Rose Gate with repeated flower pattern representing winter season and dedicated to Goddess Devi.

DIWAN-I-KHAS

Diwan-I-Khas was a private audience hall of the Maharajas, a marble floored chamber. It is located between the armoury and the art gallery. There are two huge sterling silver vessels of 1.6 metres height and each with capacity of 4000 litres and weighing 340 kilograms, on display here. They were made from 14000 melted silver coins without soldering. They are officially recorded by the Guinness Book of World Records as the world's largest sterling silver vessels.[16] These vessels were specially made by Maharaja Sawai Madho Singh II, who was a highly pious Hindu, to carry the water of the Ganges to drink on his trip to England in 1901 (for Edward VII's coronation) as he was finicky about committing religious sin by consuming the English water. Hence, the vessels are named as Gangajelies (Ganges-water urns). There are a number of crystal chandeliers hanging from the ceiling (normally covered with plastic sheets to prevent dust collection), which are uncovered on special occasions.[

DIWAN-I-AAM

The 'Diwan-E-Aam' (Sabha Niwas) or the 'Hall of Public Audience' is an enchanting chamber, with the ceiling painted in rich red and gold colours, which still looks vibrant. It is a major attraction in the Mubarak Mahal courtyard. This chamber, functioning now as an art gallery, has exhibits of exquisite miniature paintings (of Rajastahni, Mughal and Persian art), ancient texts, embroidered rugs, Kashmir shawls and carpets. The ceiling is richly decorated. At present, it is an art gallery showcasing enthralling painted ceilings and rare ancient handwritten original manuscripts of Hindu scriptures (the Hindu holy scripture of the Bhagavad Gita handwritten in tiny script). Also seen in the art gallery is the Golden throne (called as Takth-e-Rawal) that was the seat of the Maharaja during public audience. It was mounted on an elephant or carried by palanquin bearers during the Maharajas visit outside the palace. At the entry gateway to the hall, two large elephants, each made out of single marble rock are on display.

MAHARANI PALACE

Maharani's Palace was originally the residence of the royal queens. It has been converted into a museum, where weapons used by the royalty during war campaigns are displayed, including those belonging to the 15th century. The ceiling of this chamber has unique frescoes, which are preserved using jewel dust of semiprecious stones. A particular weaponry on display is the scissor-action dagger, which when thrust into an enemy's body is said to disembowel the victim, on its withdrawal. The other artefacts on display include swords with pistols attached to it, the sword presented by Queen Victoria to Maharaja Sawai Ram Singh (1835–80) which is inlaid with rubies and emeralds, guns serving as walking sticks and a small canon.

BHAGGI KHANA

Bhaggi Khana is a museum in the palace complex where a collection of old carriages, palanquins and European cabs adopted as baggis to Indian situations are on display here. The baggi which attracts attention is the one gifted by Prince of Wales to the Maharaja in 1876, called the Victoria baggi. Also on display here are the mahadol, a palanquin with a single bamboo bar that was used to carry the priests and a ratha (chariot) that was used for carrying the idols of Hindu gods in procession on festive occasions.

GOVIND DEV JI TEMPLE

Govind Dev Ji temple, dedicated to the Hindu god Lord Krishna, is part of the City Palace complex. It was built in early 18th century outside the walls set in a garden environment. It has European chandeliers and paintings of Indian art. The ceiling in the temple is ornamented in gold. Its location provided a direct view to the Maharaja from his Chandar Mahal palace. The arathi (prayer offering) for the deity can be seen by devotees only for seven times during the day.

WIKIPEDIA

Importance of Vastu Shastra?

Vastu Shastra service in Rohini

Services:

LOGO ANALYSIS

ASTRO-VASTU

NUMEROLOGY

TAROT CARD READING

ASTROLOGY

Gmail: vastumystics@gmail.com

Contact Us: +91-8287583061

+91-9268979207

www.vastumystics.com/blog/importance-of-vastu-shastra

www.vastumystics.com/

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, located northeast of the centre of the grid-patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers continuing up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadhar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

HISTORY

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a Bengali architect from Naihati of present day West Bengal who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

STRUCTURES

The City Palace is in the central-northeast part of the Jaipur city, which is laid in a grid pattern with wide avenues. It is a unique and arresting complex of several palaces, pavilions, gardens and temples. The most prominent and most visited structures in the complex are the Chandra Mahal, Mubarak Mahal, Mukut Mahal, Maharani's Palace, Shri Govind Dev Temple and the City Palace Museum.

ENTRANCE GATES

Virendra Pol, Udai Pol near Jaleb chowk and the Tripolia Gate (triple gate) are the entry gates to the City Palace. The Tripolia gate is reserved for entry into the palace by the royal family. Common people and visitors can enter the place complex only through the Virendra Pol and the Udai Pol or the Atish Pol (Stable Gate). The entry from Virendra Pol leads to the Mubarak Mahal. The gateways are richly decorated.

MUBARAK MAHAL

Mubarak Mahal, meaning the 'Auspicious Palace', was built with a fusion of the Islamic, Rajput and European architectural styles in the late 19th century by Maharaja Madho Singh II as reception centre. It is a museum; a fine repository of variety of textiles such as the royal formal costumes, sanganeri block prints, embroidered shawls, Kashmiri pashminas and silk saris as part of the Maharaja Sawai Man Singh II Museum. A noteworthy display here is of the set of voluminous clothes worn by Sawai Madhosingh I, who was 1.2 metres wide and weighed 250 kilograms but interestingly had 108 wives.

CHANDRA MAHAL

Chandra Mahal or Chandra Niwas is the most commanding building in the City Palace complex, on its west end. It is a seven-storeyed building and each floor has been given a specific name such as the Sukh-Niwas, Ranga-Mandir, Pitam-Niwas, Chabi-Niwas, Shri-Niwas and Mukut-Mandir or Mukut Mahal. It contains many unique paintings, mirror work on walls and floral decorations. At present, most of this palace is the residence of the descendents of the former rulers of Jaipur. Only the ground floor is allowed for visitors where a museum is located that displays carpets, manuscripts and other items that belonged to the royal family. There is beautiful peacock gate at the entry to the Mahal. It has screened balconies and a pavilion at the roof from where a panoramic view of the city can been seen. It is set amidst well laid out gardens and a decorative lake in the foreground. "Sukh Nivas" or the "Hall of Rest" - Sukh Niwas is painted in Wedgewood blue fully decorated with white lining. Sukh Niwas has the drawing and dining room of the Maharaja which is fully ornamented with mughal miniatures, silver and glass dining tables. Chandra Mahal 3rd floor is called "Rang Mandir". In this there are small and large mirrors in wall, pillars and ceilings. "Shobha Nivas" – It is on the 4th floor of the Chandra Mahal. It is also known as "Hall of Beauty". The walls of the Shobha Nivas are fully decorated with mirror walls with blue tiles ornamented with mica and gold leaf. It is still under the control of the present Maharaja. "Chhavi Nivas" or Hall of Images – It is on the 5th floor. In the rainy season this place was the retreat of the Maharaja. It has an elegant floor of blue. Chandra mahal 6th floor is called "shri Niwas". And the 7th floor is called "Mukut mandir" crown temple.

Also seen at the top of the Chandra Mahal is the flag of the royal family, which is seen unfurled when the Maharaja is in the palace. It is a one and quarter sized flag. However, when the king is away, the queen's flag is hoisted on the building.

There is an interesting anecdote narrated about the 'one and quarter flag', which is the insignia flag of the Maharajas of Jaipur. Emperor Aurangzeb who attended the wedding of Jai Singh, shook hands with the young groom and wished him well on his marriage. On this occasion, Jai Singh made an irreverent remark to the Emperor stating that the way he had shaken hands with him made it incumbent on the Emperor to protect him (Jai Singh) and his kingdom. Aurangzeb, instead of responding in indignation at the quip, felt pleased and conferred on the young Jai Singh the title of 'Sawai', which means "one and a quarter". Since then the Maharajas have pre-fixed their names with this title. During residence there, they also fly a one and a quarter size flag atop their buildings and palaces.

There is also a tragic story linked to this palace. Ishawri Singh, son of Jai Singh who was unwilling to face the advancing army of Marathas, ended his life humiliatingly by getting bitten by a snake. Following this, his 21 wives and paramours also committed the then accepted ritual of sati or jauhar (self immolation on the funeral pyre of their husband).

PRITAM NIWAS CHOWK

It is the inner courtyard, which provides access to the Chandra Mahal. Here, there are four small gates (known as Ridhi Sidhi Pol) that are adorned with themes representing the four seasons and Hindu gods. The gates are the Northeast Peacock Gate (with motifs of peacocks on the doorway) representing autumn and dedicated Lord Vishnu; the Southwest Lotus Gate (with continual flower and petal pattern) suggestive of summer season and dedicated to Lord Shiva-Parvati; the Northwest Green Gate, also called the Leheriya (meaning: "waves") gate, in green colour suggestive of spring and dedicated to Lord Ganesha, and lastly, the Rose Gate with repeated flower pattern representing winter season and dedicated to Goddess Devi.

DIWAN-I-KHAS

Diwan-I-Khas was a private audience hall of the Maharajas, a marble floored chamber. It is located between the armoury and the art gallery. There are two huge sterling silver vessels of 1.6 metres height and each with capacity of 4000 litres and weighing 340 kilograms, on display here. They were made from 14000 melted silver coins without soldering. They are officially recorded by the Guinness Book of World Records as the world's largest sterling silver vessels.[16] These vessels were specially made by Maharaja Sawai Madho Singh II, who was a highly pious Hindu, to carry the water of the Ganges to drink on his trip to England in 1901 (for Edward VII's coronation) as he was finicky about committing religious sin by consuming the English water. Hence, the vessels are named as Gangajelies (Ganges-water urns). There are a number of crystal chandeliers hanging from the ceiling (normally covered with plastic sheets to prevent dust collection), which are uncovered on special occasions.[

DIWAN-I-AAM

The 'Diwan-E-Aam' (Sabha Niwas) or the 'Hall of Public Audience' is an enchanting chamber, with the ceiling painted in rich red and gold colours, which still looks vibrant. It is a major attraction in the Mubarak Mahal courtyard. This chamber, functioning now as an art gallery, has exhibits of exquisite miniature paintings (of Rajastahni, Mughal and Persian art), ancient texts, embroidered rugs, Kashmir shawls and carpets. The ceiling is richly decorated. At present, it is an art gallery showcasing enthralling painted ceilings and rare ancient handwritten original manuscripts of Hindu scriptures (the Hindu holy scripture of the Bhagavad Gita handwritten in tiny script). Also seen in the art gallery is the Golden throne (called as Takth-e-Rawal) that was the seat of the Maharaja during public audience. It was mounted on an elephant or carried by palanquin bearers during the Maharajas visit outside the palace. At the entry gateway to the hall, two large elephants, each made out of single marble rock are on display.

MAHARANI PALACE

Maharani's Palace was originally the residence of the royal queens. It has been converted into a museum, where weapons used by the royalty during war campaigns are displayed, including those belonging to the 15th century. The ceiling of this chamber has unique frescoes, which are preserved using jewel dust of semiprecious stones. A particular weaponry on display is the scissor-action dagger, which when thrust into an enemy's body is said to disembowel the victim, on its withdrawal. The other artefacts on display include swords with pistols attached to it, the sword presented by Queen Victoria to Maharaja Sawai Ram Singh (1835–80) which is inlaid with rubies and emeralds, guns serving as walking sticks and a small canon.

BHAGGI KHANA

Bhaggi Khana is a museum in the palace complex where a collection of old carriages, palanquins and European cabs adopted as baggis to Indian situations are on display here. The baggi which attracts attention is the one gifted by Prince of Wales to the Maharaja in 1876, called the Victoria baggi. Also on display here are the mahadol, a palanquin with a single bamboo bar that was used to carry the priests and a ratha (chariot) that was used for carrying the idols of Hindu gods in procession on festive occasions.

GOVIND DEV JI TEMPLE

Govind Dev Ji temple, dedicated to the Hindu god Lord Krishna, is part of the City Palace complex. It was built in early 18th century outside the walls set in a garden environment. It has European chandeliers and paintings of Indian art. The ceiling in the temple is ornamented in gold. Its location provided a direct view to the Maharaja from his Chandar Mahal palace. The arathi (prayer offering) for the deity can be seen by devotees only for seven times during the day.

WIKIPEDIA

© Eric Lafforgue

www.ericlafforgue.com

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, located northeast of the centre of the grid-patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers continuing up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadhar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

HISTORY

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a Bengali architect from Naihati of present day West Bengal who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

STRUCTURES

The City Palace is in the central-northeast part of the Jaipur city, which is laid in a grid pattern with wide avenues. It is a unique and arresting complex of several palaces, pavilions, gardens and temples. The most prominent and most visited structures in the complex are the Chandra Mahal, Mubarak Mahal, Mukut Mahal, Maharani's Palace, Shri Govind Dev Temple and the City Palace Museum.

ENTRANCE GATES

Virendra Pol, Udai Pol near Jaleb chowk and the Tripolia Gate (triple gate) are the entry gates to the City Palace. The Tripolia gate is reserved for entry into the palace by the royal family. Common people and visitors can enter the place complex only through the Virendra Pol and the Udai Pol or the Atish Pol (Stable Gate). The entry from Virendra Pol leads to the Mubarak Mahal. The gateways are richly decorated.

MUBARAK MAHAL

Mubarak Mahal, meaning the 'Auspicious Palace', was built with a fusion of the Islamic, Rajput and European architectural styles in the late 19th century by Maharaja Madho Singh II as reception centre. It is a museum; a fine repository of variety of textiles such as the royal formal costumes, sanganeri block prints, embroidered shawls, Kashmiri pashminas and silk saris as part of the Maharaja Sawai Man Singh II Museum. A noteworthy display here is of the set of voluminous clothes worn by Sawai Madhosingh I, who was 1.2 metres wide and weighed 250 kilograms but interestingly had 108 wives.

CHANDRA MAHAL

Chandra Mahal or Chandra Niwas is the most commanding building in the City Palace complex, on its west end. It is a seven-storeyed building and each floor has been given a specific name such as the Sukh-Niwas, Ranga-Mandir, Pitam-Niwas, Chabi-Niwas, Shri-Niwas and Mukut-Mandir or Mukut Mahal. It contains many unique paintings, mirror work on walls and floral decorations. At present, most of this palace is the residence of the descendents of the former rulers of Jaipur. Only the ground floor is allowed for visitors where a museum is located that displays carpets, manuscripts and other items that belonged to the royal family. There is beautiful peacock gate at the entry to the Mahal. It has screened balconies and a pavilion at the roof from where a panoramic view of the city can been seen. It is set amidst well laid out gardens and a decorative lake in the foreground. "Sukh Nivas" or the "Hall of Rest" - Sukh Niwas is painted in Wedgewood blue fully decorated with white lining. Sukh Niwas has the drawing and dining room of the Maharaja which is fully ornamented with mughal miniatures, silver and glass dining tables. Chandra Mahal 3rd floor is called "Rang Mandir". In this there are small and large mirrors in wall, pillars and ceilings. "Shobha Nivas" – It is on the 4th floor of the Chandra Mahal. It is also known as "Hall of Beauty". The walls of the Shobha Nivas are fully decorated with mirror walls with blue tiles ornamented with mica and gold leaf. It is still under the control of the present Maharaja. "Chhavi Nivas" or Hall of Images – It is on the 5th floor. In the rainy season this place was the retreat of the Maharaja. It has an elegant floor of blue. Chandra mahal 6th floor is called "shri Niwas". And the 7th floor is called "Mukut mandir" crown temple.

Also seen at the top of the Chandra Mahal is the flag of the royal family, which is seen unfurled when the Maharaja is in the palace. It is a one and quarter sized flag. However, when the king is away, the queen's flag is hoisted on the building.

There is an interesting anecdote narrated about the 'one and quarter flag', which is the insignia flag of the Maharajas of Jaipur. Emperor Aurangzeb who attended the wedding of Jai Singh, shook hands with the young groom and wished him well on his marriage. On this occasion, Jai Singh made an irreverent remark to the Emperor stating that the way he had shaken hands with him made it incumbent on the Emperor to protect him (Jai Singh) and his kingdom. Aurangzeb, instead of responding in indignation at the quip, felt pleased and conferred on the young Jai Singh the title of 'Sawai', which means "one and a quarter". Since then the Maharajas have pre-fixed their names with this title. During residence there, they also fly a one and a quarter size flag atop their buildings and palaces.

There is also a tragic story linked to this palace. Ishawri Singh, son of Jai Singh who was unwilling to face the advancing army of Marathas, ended his life humiliatingly by getting bitten by a snake. Following this, his 21 wives and paramours also committed the then accepted ritual of sati or jauhar (self immolation on the funeral pyre of their husband).

PRITAM NIWAS CHOWK

It is the inner courtyard, which provides access to the Chandra Mahal. Here, there are four small gates (known as Ridhi Sidhi Pol) that are adorned with themes representing the four seasons and Hindu gods. The gates are the Northeast Peacock Gate (with motifs of peacocks on the doorway) representing autumn and dedicated Lord Vishnu; the Southwest Lotus Gate (with continual flower and petal pattern) suggestive of summer season and dedicated to Lord Shiva-Parvati; the Northwest Green Gate, also called the Leheriya (meaning: "waves") gate, in green colour suggestive of spring and dedicated to Lord Ganesha, and lastly, the Rose Gate with repeated flower pattern representing winter season and dedicated to Goddess Devi.

DIWAN-I-KHAS

Diwan-I-Khas was a private audience hall of the Maharajas, a marble floored chamber. It is located between the armoury and the art gallery. There are two huge sterling silver vessels of 1.6 metres height and each with capacity of 4000 litres and weighing 340 kilograms, on display here. They were made from 14000 melted silver coins without soldering. They are officially recorded by the Guinness Book of World Records as the world's largest sterling silver vessels.[16] These vessels were specially made by Maharaja Sawai Madho Singh II, who was a highly pious Hindu, to carry the water of the Ganges to drink on his trip to England in 1901 (for Edward VII's coronation) as he was finicky about committing religious sin by consuming the English water. Hence, the vessels are named as Gangajelies (Ganges-water urns). There are a number of crystal chandeliers hanging from the ceiling (normally covered with plastic sheets to prevent dust collection), which are uncovered on special occasions.[

DIWAN-I-AAM

The 'Diwan-E-Aam' (Sabha Niwas) or the 'Hall of Public Audience' is an enchanting chamber, with the ceiling painted in rich red and gold colours, which still looks vibrant. It is a major attraction in the Mubarak Mahal courtyard. This chamber, functioning now as an art gallery, has exhibits of exquisite miniature paintings (of Rajastahni, Mughal and Persian art), ancient texts, embroidered rugs, Kashmir shawls and carpets. The ceiling is richly decorated. At present, it is an art gallery showcasing enthralling painted ceilings and rare ancient handwritten original manuscripts of Hindu scriptures (the Hindu holy scripture of the Bhagavad Gita handwritten in tiny script). Also seen in the art gallery is the Golden throne (called as Takth-e-Rawal) that was the seat of the Maharaja during public audience. It was mounted on an elephant or carried by palanquin bearers during the Maharajas visit outside the palace. At the entry gateway to the hall, two large elephants, each made out of single marble rock are on display.

MAHARANI PALACE

Maharani's Palace was originally the residence of the royal queens. It has been converted into a museum, where weapons used by the royalty during war campaigns are displayed, including those belonging to the 15th century. The ceiling of this chamber has unique frescoes, which are preserved using jewel dust of semiprecious stones. A particular weaponry on display is the scissor-action dagger, which when thrust into an enemy's body is said to disembowel the victim, on its withdrawal. The other artefacts on display include swords with pistols attached to it, the sword presented by Queen Victoria to Maharaja Sawai Ram Singh (1835–80) which is inlaid with rubies and emeralds, guns serving as walking sticks and a small canon.

BHAGGI KHANA

Bhaggi Khana is a museum in the palace complex where a collection of old carriages, palanquins and European cabs adopted as baggis to Indian situations are on display here. The baggi which attracts attention is the one gifted by Prince of Wales to the Maharaja in 1876, called the Victoria baggi. Also on display here are the mahadol, a palanquin with a single bamboo bar that was used to carry the priests and a ratha (chariot) that was used for carrying the idols of Hindu gods in procession on festive occasions.

GOVIND DEV JI TEMPLE

Govind Dev Ji temple, dedicated to the Hindu god Lord Krishna, is part of the City Palace complex. It was built in early 18th century outside the walls set in a garden environment. It has European chandeliers and paintings of Indian art. The ceiling in the temple is ornamented in gold. Its location provided a direct view to the Maharaja from his Chandar Mahal palace. The arathi (prayer offering) for the deity can be seen by devotees only for seven times during the day.

WIKIPEDIA

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, located northeast of the centre of the grid-patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers continuing up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadhar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

HISTORY

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a Bengali architect from Naihati of present day West Bengal who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

STRUCTURES

The City Palace is in the central-northeast part of the Jaipur city, which is laid in a grid pattern with wide avenues. It is a unique and arresting complex of several palaces, pavilions, gardens and temples. The most prominent and most visited structures in the complex are the Chandra Mahal, Mubarak Mahal, Mukut Mahal, Maharani's Palace, Shri Govind Dev Temple and the City Palace Museum.

ENTRANCE GATES

Virendra Pol, Udai Pol near Jaleb chowk and the Tripolia Gate (triple gate) are the entry gates to the City Palace. The Tripolia gate is reserved for entry into the palace by the royal family. Common people and visitors can enter the place complex only through the Virendra Pol and the Udai Pol or the Atish Pol (Stable Gate). The entry from Virendra Pol leads to the Mubarak Mahal. The gateways are richly decorated.

MUBARAK MAHAL

Mubarak Mahal, meaning the 'Auspicious Palace', was built with a fusion of the Islamic, Rajput and European architectural styles in the late 19th century by Maharaja Madho Singh II as reception centre. It is a museum; a fine repository of variety of textiles such as the royal formal costumes, sanganeri block prints, embroidered shawls, Kashmiri pashminas and silk saris as part of the Maharaja Sawai Man Singh II Museum. A noteworthy display here is of the set of voluminous clothes worn by Sawai Madhosingh I, who was 1.2 metres wide and weighed 250 kilograms but interestingly had 108 wives.

CHANDRA MAHAL

Chandra Mahal or Chandra Niwas is the most commanding building in the City Palace complex, on its west end. It is a seven-storeyed building and each floor has been given a specific name such as the Sukh-Niwas, Ranga-Mandir, Pitam-Niwas, Chabi-Niwas, Shri-Niwas and Mukut-Mandir or Mukut Mahal. It contains many unique paintings, mirror work on walls and floral decorations. At present, most of this palace is the residence of the descendents of the former rulers of Jaipur. Only the ground floor is allowed for visitors where a museum is located that displays carpets, manuscripts and other items that belonged to the royal family. There is beautiful peacock gate at the entry to the Mahal. It has screened balconies and a pavilion at the roof from where a panoramic view of the city can been seen. It is set amidst well laid out gardens and a decorative lake in the foreground. "Sukh Nivas" or the "Hall of Rest" - Sukh Niwas is painted in Wedgewood blue fully decorated with white lining. Sukh Niwas has the drawing and dining room of the Maharaja which is fully ornamented with mughal miniatures, silver and glass dining tables. Chandra Mahal 3rd floor is called "Rang Mandir". In this there are small and large mirrors in wall, pillars and ceilings. "Shobha Nivas" – It is on the 4th floor of the Chandra Mahal. It is also known as "Hall of Beauty". The walls of the Shobha Nivas are fully decorated with mirror walls with blue tiles ornamented with mica and gold leaf. It is still under the control of the present Maharaja. "Chhavi Nivas" or Hall of Images – It is on the 5th floor. In the rainy season this place was the retreat of the Maharaja. It has an elegant floor of blue. Chandra mahal 6th floor is called "shri Niwas". And the 7th floor is called "Mukut mandir" crown temple.

Also seen at the top of the Chandra Mahal is the flag of the royal family, which is seen unfurled when the Maharaja is in the palace. It is a one and quarter sized flag. However, when the king is away, the queen's flag is hoisted on the building.

There is an interesting anecdote narrated about the 'one and quarter flag', which is the insignia flag of the Maharajas of Jaipur. Emperor Aurangzeb who attended the wedding of Jai Singh, shook hands with the young groom and wished him well on his marriage. On this occasion, Jai Singh made an irreverent remark to the Emperor stating that the way he had shaken hands with him made it incumbent on the Emperor to protect him (Jai Singh) and his kingdom. Aurangzeb, instead of responding in indignation at the quip, felt pleased and conferred on the young Jai Singh the title of 'Sawai', which means "one and a quarter". Since then the Maharajas have pre-fixed their names with this title. During residence there, they also fly a one and a quarter size flag atop their buildings and palaces.

There is also a tragic story linked to this palace. Ishawri Singh, son of Jai Singh who was unwilling to face the advancing army of Marathas, ended his life humiliatingly by getting bitten by a snake. Following this, his 21 wives and paramours also committed the then accepted ritual of sati or jauhar (self immolation on the funeral pyre of their husband).

PRITAM NIWAS CHOWK

It is the inner courtyard, which provides access to the Chandra Mahal. Here, there are four small gates (known as Ridhi Sidhi Pol) that are adorned with themes representing the four seasons and Hindu gods. The gates are the Northeast Peacock Gate (with motifs of peacocks on the doorway) representing autumn and dedicated Lord Vishnu; the Southwest Lotus Gate (with continual flower and petal pattern) suggestive of summer season and dedicated to Lord Shiva-Parvati; the Northwest Green Gate, also called the Leheriya (meaning: "waves") gate, in green colour suggestive of spring and dedicated to Lord Ganesha, and lastly, the Rose Gate with repeated flower pattern representing winter season and dedicated to Goddess Devi.

DIWAN-I-KHAS

Diwan-I-Khas was a private audience hall of the Maharajas, a marble floored chamber. It is located between the armoury and the art gallery. There are two huge sterling silver vessels of 1.6 metres height and each with capacity of 4000 litres and weighing 340 kilograms, on display here. They were made from 14000 melted silver coins without soldering. They are officially recorded by the Guinness Book of World Records as the world's largest sterling silver vessels.[16] These vessels were specially made by Maharaja Sawai Madho Singh II, who was a highly pious Hindu, to carry the water of the Ganges to drink on his trip to England in 1901 (for Edward VII's coronation) as he was finicky about committing religious sin by consuming the English water. Hence, the vessels are named as Gangajelies (Ganges-water urns). There are a number of crystal chandeliers hanging from the ceiling (normally covered with plastic sheets to prevent dust collection), which are uncovered on special occasions.[

DIWAN-I-AAM

The 'Diwan-E-Aam' (Sabha Niwas) or the 'Hall of Public Audience' is an enchanting chamber, with the ceiling painted in rich red and gold colours, which still looks vibrant. It is a major attraction in the Mubarak Mahal courtyard. This chamber, functioning now as an art gallery, has exhibits of exquisite miniature paintings (of Rajastahni, Mughal and Persian art), ancient texts, embroidered rugs, Kashmir shawls and carpets. The ceiling is richly decorated. At present, it is an art gallery showcasing enthralling painted ceilings and rare ancient handwritten original manuscripts of Hindu scriptures (the Hindu holy scripture of the Bhagavad Gita handwritten in tiny script). Also seen in the art gallery is the Golden throne (called as Takth-e-Rawal) that was the seat of the Maharaja during public audience. It was mounted on an elephant or carried by palanquin bearers during the Maharajas visit outside the palace. At the entry gateway to the hall, two large elephants, each made out of single marble rock are on display.

MAHARANI PALACE

Maharani's Palace was originally the residence of the royal queens. It has been converted into a museum, where weapons used by the royalty during war campaigns are displayed, including those belonging to the 15th century. The ceiling of this chamber has unique frescoes, which are preserved using jewel dust of semiprecious stones. A particular weaponry on display is the scissor-action dagger, which when thrust into an enemy's body is said to disembowel the victim, on its withdrawal. The other artefacts on display include swords with pistols attached to it, the sword presented by Queen Victoria to Maharaja Sawai Ram Singh (1835–80) which is inlaid with rubies and emeralds, guns serving as walking sticks and a small canon.

BHAGGI KHANA

Bhaggi Khana is a museum in the palace complex where a collection of old carriages, palanquins and European cabs adopted as baggis to Indian situations are on display here. The baggi which attracts attention is the one gifted by Prince of Wales to the Maharaja in 1876, called the Victoria baggi. Also on display here are the mahadol, a palanquin with a single bamboo bar that was used to carry the priests and a ratha (chariot) that was used for carrying the idols of Hindu gods in procession on festive occasions.

GOVIND DEV JI TEMPLE

Govind Dev Ji temple, dedicated to the Hindu god Lord Krishna, is part of the City Palace complex. It was built in early 18th century outside the walls set in a garden environment. It has European chandeliers and paintings of Indian art. The ceiling in the temple is ornamented in gold. Its location provided a direct view to the Maharaja from his Chandar Mahal palace. The arathi (prayer offering) for the deity can be seen by devotees only for seven times during the day.

WIKIPEDIA

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, located northeast of the centre of the grid-patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers continuing up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadhar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

HISTORY

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a Bengali architect from Naihati of present day West Bengal who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

STRUCTURES

The City Palace is in the central-northeast part of the Jaipur city, which is laid in a grid pattern with wide avenues. It is a unique and arresting complex of several palaces, pavilions, gardens and temples. The most prominent and most visited structures in the complex are the Chandra Mahal, Mubarak Mahal, Mukut Mahal, Maharani's Palace, Shri Govind Dev Temple and the City Palace Museum.

ENTRANCE GATES

Virendra Pol, Udai Pol near Jaleb chowk and the Tripolia Gate (triple gate) are the entry gates to the City Palace. The Tripolia gate is reserved for entry into the palace by the royal family. Common people and visitors can enter the place complex only through the Virendra Pol and the Udai Pol or the Atish Pol (Stable Gate). The entry from Virendra Pol leads to the Mubarak Mahal. The gateways are richly decorated.

MUBARAK MAHAL

Mubarak Mahal, meaning the 'Auspicious Palace', was built with a fusion of the Islamic, Rajput and European architectural styles in the late 19th century by Maharaja Madho Singh II as reception centre. It is a museum; a fine repository of variety of textiles such as the royal formal costumes, sanganeri block prints, embroidered shawls, Kashmiri pashminas and silk saris as part of the Maharaja Sawai Man Singh II Museum. A noteworthy display here is of the set of voluminous clothes worn by Sawai Madhosingh I, who was 1.2 metres wide and weighed 250 kilograms but interestingly had 108 wives.

CHANDRA MAHAL

Chandra Mahal or Chandra Niwas is the most commanding building in the City Palace complex, on its west end. It is a seven-storeyed building and each floor has been given a specific name such as the Sukh-Niwas, Ranga-Mandir, Pitam-Niwas, Chabi-Niwas, Shri-Niwas and Mukut-Mandir or Mukut Mahal. It contains many unique paintings, mirror work on walls and floral decorations. At present, most of this palace is the residence of the descendents of the former rulers of Jaipur. Only the ground floor is allowed for visitors where a museum is located that displays carpets, manuscripts and other items that belonged to the royal family. There is beautiful peacock gate at the entry to the Mahal. It has screened balconies and a pavilion at the roof from where a panoramic view of the city can been seen. It is set amidst well laid out gardens and a decorative lake in the foreground. "Sukh Nivas" or the "Hall of Rest" - Sukh Niwas is painted in Wedgewood blue fully decorated with white lining. Sukh Niwas has the drawing and dining room of the Maharaja which is fully ornamented with mughal miniatures, silver and glass dining tables. Chandra Mahal 3rd floor is called "Rang Mandir". In this there are small and large mirrors in wall, pillars and ceilings. "Shobha Nivas" – It is on the 4th floor of the Chandra Mahal. It is also known as "Hall of Beauty". The walls of the Shobha Nivas are fully decorated with mirror walls with blue tiles ornamented with mica and gold leaf. It is still under the control of the present Maharaja. "Chhavi Nivas" or Hall of Images – It is on the 5th floor. In the rainy season this place was the retreat of the Maharaja. It has an elegant floor of blue. Chandra mahal 6th floor is called "shri Niwas". And the 7th floor is called "Mukut mandir" crown temple.

Also seen at the top of the Chandra Mahal is the flag of the royal family, which is seen unfurled when the Maharaja is in the palace. It is a one and quarter sized flag. However, when the king is away, the queen's flag is hoisted on the building.

There is an interesting anecdote narrated about the 'one and quarter flag', which is the insignia flag of the Maharajas of Jaipur. Emperor Aurangzeb who attended the wedding of Jai Singh, shook hands with the young groom and wished him well on his marriage. On this occasion, Jai Singh made an irreverent remark to the Emperor stating that the way he had shaken hands with him made it incumbent on the Emperor to protect him (Jai Singh) and his kingdom. Aurangzeb, instead of responding in indignation at the quip, felt pleased and conferred on the young Jai Singh the title of 'Sawai', which means "one and a quarter". Since then the Maharajas have pre-fixed their names with this title. During residence there, they also fly a one and a quarter size flag atop their buildings and palaces.

There is also a tragic story linked to this palace. Ishawri Singh, son of Jai Singh who was unwilling to face the advancing army of Marathas, ended his life humiliatingly by getting bitten by a snake. Following this, his 21 wives and paramours also committed the then accepted ritual of sati or jauhar (self immolation on the funeral pyre of their husband).

PRITAM NIWAS CHOWK

It is the inner courtyard, which provides access to the Chandra Mahal. Here, there are four small gates (known as Ridhi Sidhi Pol) that are adorned with themes representing the four seasons and Hindu gods. The gates are the Northeast Peacock Gate (with motifs of peacocks on the doorway) representing autumn and dedicated Lord Vishnu; the Southwest Lotus Gate (with continual flower and petal pattern) suggestive of summer season and dedicated to Lord Shiva-Parvati; the Northwest Green Gate, also called the Leheriya (meaning: "waves") gate, in green colour suggestive of spring and dedicated to Lord Ganesha, and lastly, the Rose Gate with repeated flower pattern representing winter season and dedicated to Goddess Devi.

DIWAN-I-KHAS

Diwan-I-Khas was a private audience hall of the Maharajas, a marble floored chamber. It is located between the armoury and the art gallery. There are two huge sterling silver vessels of 1.6 metres height and each with capacity of 4000 litres and weighing 340 kilograms, on display here. They were made from 14000 melted silver coins without soldering. They are officially recorded by the Guinness Book of World Records as the world's largest sterling silver vessels.[16] These vessels were specially made by Maharaja Sawai Madho Singh II, who was a highly pious Hindu, to carry the water of the Ganges to drink on his trip to England in 1901 (for Edward VII's coronation) as he was finicky about committing religious sin by consuming the English water. Hence, the vessels are named as Gangajelies (Ganges-water urns). There are a number of crystal chandeliers hanging from the ceiling (normally covered with plastic sheets to prevent dust collection), which are uncovered on special occasions.[

DIWAN-I-AAM

The 'Diwan-E-Aam' (Sabha Niwas) or the 'Hall of Public Audience' is an enchanting chamber, with the ceiling painted in rich red and gold colours, which still looks vibrant. It is a major attraction in the Mubarak Mahal courtyard. This chamber, functioning now as an art gallery, has exhibits of exquisite miniature paintings (of Rajastahni, Mughal and Persian art), ancient texts, embroidered rugs, Kashmir shawls and carpets. The ceiling is richly decorated. At present, it is an art gallery showcasing enthralling painted ceilings and rare ancient handwritten original manuscripts of Hindu scriptures (the Hindu holy scripture of the Bhagavad Gita handwritten in tiny script). Also seen in the art gallery is the Golden throne (called as Takth-e-Rawal) that was the seat of the Maharaja during public audience. It was mounted on an elephant or carried by palanquin bearers during the Maharajas visit outside the palace. At the entry gateway to the hall, two large elephants, each made out of single marble rock are on display.

MAHARANI PALACE

Maharani's Palace was originally the residence of the royal queens. It has been converted into a museum, where weapons used by the royalty during war campaigns are displayed, including those belonging to the 15th century. The ceiling of this chamber has unique frescoes, which are preserved using jewel dust of semiprecious stones. A particular weaponry on display is the scissor-action dagger, which when thrust into an enemy's body is said to disembowel the victim, on its withdrawal. The other artefacts on display include swords with pistols attached to it, the sword presented by Queen Victoria to Maharaja Sawai Ram Singh (1835–80) which is inlaid with rubies and emeralds, guns serving as walking sticks and a small canon.

BHAGGI KHANA

Bhaggi Khana is a museum in the palace complex where a collection of old carriages, palanquins and European cabs adopted as baggis to Indian situations are on display here. The baggi which attracts attention is the one gifted by Prince of Wales to the Maharaja in 1876, called the Victoria baggi. Also on display here are the mahadol, a palanquin with a single bamboo bar that was used to carry the priests and a ratha (chariot) that was used for carrying the idols of Hindu gods in procession on festive occasions.

GOVIND DEV JI TEMPLE

Govind Dev Ji temple, dedicated to the Hindu god Lord Krishna, is part of the City Palace complex. It was built in early 18th century outside the walls set in a garden environment. It has European chandeliers and paintings of Indian art. The ceiling in the temple is ornamented in gold. Its location provided a direct view to the Maharaja from his Chandar Mahal palace. The arathi (prayer offering) for the deity can be seen by devotees only for seven times during the day.

WIKIPEDIA