The Jaswant Thada

Source: Jaswant Thada in Jodhpur – White Marble Mausoleum in Jodhpur (indianholiday.com)

‘Such monuments are full of wisdom, for they have been filled with what they have seen and heard over hundreds of years.’

  A gigantic equestrian statue of Maharaja Jaswant Singh II stands around 100 meters before the mausoleum’s main gate. We were greeted by Rajasthani melodies sung by local musicians and folk singers seated on the monument’s steps as we proceeded to the entrance. The sepulchre is made from innumerable intricately cut marble sheets. The exquisite marble surfaces of the mausoleum exude a beautiful gentle glow, caressed by the sunlight and the surface being polished to perfection. Because the primary building material used in Jodhpur is buff-coloured sandstone, the pristine white marble provides a remarkable contrast not just with the reds of the staircase and walls, but also with anything else ever built in the region. The emerald greens of the doors and windows add to the charm of the structure.  

The equestrian statue of Maharaja Jaswant Singh II

Source: https://commons.wikimedia.org/wiki/File:Jaswant_thada.png

The contrast of white marble and red stone

Source: Clicked by me

Folk singer greeting the visitors with Rajasthani melodies

Source: File:Jodhpur-Jaswant Thada-10-Musiker-2018-gje.jpg – Wikimedia Commons

The edifice is an epitome of Rajputana architectural style but the quaint domes are influenced by some of the most innovative Mughal architecture, demonstrating how Rajput rulers blended Mughal motifs in their structures. The monument has marble lattice screens (jaali work) and whimsical domes that reflect the creative brilliance and artistic expertise of the craftsmen of the time. The arches, pillars and jharokhas of the cenotaph are embellished with elaborate carvings. The walls of the hall, which houses a silver throne, are adorned with the exclusive portraits of Maharajas of Jodhpur. The impeccable architecture and design are evocative of the fine craftsmanship of the bygone era. The monument is more of a temple dedicated to previous kings, as Rajput clans are known for their ancestor worship. The main hall, built like a temple, was used for various rituals. As a method of paying respect to the deceased, it is highly recommended that you remove your shoes while entering the cenotaph.  

The inside of the hall

Source: Jaswant Thada – Kevin Standage (wordpress.com)

The jaalis at the cenotaph

Source: https://commons.wikimedia.org/wiki/Category:Jaswant_Thada#/media/File:Jodhpur-Jaswant_Thada-34-Fenster-2018-gje.jpg

The green doors which add to the charm of the building

Source: https://commons.wikimedia.org/wiki/Category:Jaswant_Thada#/media/File:Jaswant_Thada_-_Tür.jpg

A minor cenotaph in the area

Source: Clicked by me

In addition to the cenotaph of Jaswant Singh, there are minor cenotaphs of various Rajput kings, such as Maharaja Umaid Singh, Maharaja Hanwant Singh, and a memorial of a peacock that is believed to have flown into the funeral pyre while the rites were in progress. It also houses the crematorium which is reserved only for the royal family. Maharaja Jaswant Singh’s queens, who sacrificed their life on the king’s pyre, have their own portion in the monument. Several beautiful pillars that depict dancing figures decorate this section of the monument. To the west of the complex lies Dev Kund, a water body that was formerly utilized for performing traditional rites and rituals for the deceased and is now home to a few ducks. Jaswant Thada was taken over by the government of Rajasthan in 1949 with the merging of Jodhpur. It was later returned to the Mehrangarh Museum Trust, which currently manages and looks after it. The Trust runs a museum at Jaswant Thada that has portraits of Marwar kings as well as educational didactics which provides information about the history of the region. It has also undertaken a comprehensive restoration and conservation plan, which involved the development of additional gardens, among other things.  

The small lake to the west of the complex

Source: File:Jaswant Thada .jpg – Wikimedia Commons

One of the cenotaph’s most striking features is its location. The monument is complemented by the lush greens, spick-and-span lawns, chhatris, and a shallow lake nearby. During events such as the Rajasthan International Folk Festival and the World Sacred Spirit Festival, its grounds are used as a venue for performances and concerts. Amidst the bustling city, Jaswant Thada provides a peaceful escape for visitors and locals. The breathtaking view of the blue city and the Mehrangarh fort from this vantage point enthralled us. With all these elements put together, the structure of Jaswant Thada creates a truly mesmerizing effect and hence one should never miss an opportunity to visit this royal cenotaph.  

Bibliography:

• Sinha, J. (2007). Beyond the Dunes: Journeys in Rajasthan. India: Penguin Books.
• Jaswant Thada, Information about Jaswant Thada, Jaswant Thada in Jodhpur (indovacations.net)
• Jaswant Thada- Royal Splendor of Jodhpur | AapNo Desh – RajasThan
• Jaswant Thada – Mehrangarh Museum Trust
• Jaswant Thada Jodhpur Rajasthan – Palaces on Wheels
• Jaswant Thada ‘ Taj Mahal of Marwar ‘ In Jodhpur. A white marble commemorative tomb (jodhpursearch.com)

The views, information, or opinions expressed above are solely those of the author(s) involved and do not necessarily represent those held by India Lost & Found and its creative community.

Hi, I’m Priya Agarwal …

Currently pursuing a Masters in Ancient Indian Culture and Archaeology, I aspire to create a link between heritage and people. I find solace in historical monuments and like to capture them through my lens. In the creative space, I love to sketch and try new DIYs. Ghazals and virtual tours of museums have been my best companion and kept me sane during the pandemic.

(Image: Quwwat – ul – Islam mosque pillars)

  On the pillars, I noticed that Brahminical motifs like the overflowing kalasa spouting flowering creepers, bells, and the lotus flower are repeatedly seen. On observing closely I found large numbers of Savaite, Vaishnavite, and Jaina images.  

(Image: Hindu and Jain remains)

  The pillars to the right of the east entrance may have come from a Vaishnava temple, while those in the aisles to the left of the east gate may be of Jain origin. The latter is less elaborately carved and there are some easily discernible figures of Parshvanatha. Then I saw the  Qutub Minar, the main attraction of the Qutub complex The inscription near it gives the complete history of it I.e from its commencement of the building into its repair during the reign of  Sikandar Lodi. The tower has a diameter of 14.32 metres at the base and about 2.75 metres at the top with red and buff sandstone on the first three storeys while the storeys added by the Firoz Shah Tughlaq make free use of marble. Compared with that of the Quwwat-ul- Islam Mosque, the decoration of the Qutb Minar is consistently Islamic in corrector from base to top. The Feroz Shah Tughlaq hybrid style could be seen as distinct.  

(Image: Qutub Minar)

What I liked most about the Qutub Minar is that it had projected balconies at every stage. This balcony is held up by a technique called Stalactite Vaulting. Nearby Quwwat-ul-Islam Mosque, there is an Iron Pillar set in the inner Court.  The inscription mentions king Chandra, Vishnu devotee,  as a “lofty standard’ (Dhwaja Stambha) of that divinity on the Hill of Vishnupada’. This king has now been identified as Chandragupta II (AD 375- 413) of the Gupta dynasty, who was also known as Vikramaditya. There is a probability that this pillar was brought here from some other place. This is confirmed by the fact that there are no other relics from the same period on this site. The local tradition says that it was brought here by Anangpal, the Tomar king from an unspecified place. The base of the pillar has small pieces of iron tying it to its foundations, and it is covered by a lead sheet around the portion concealed below the floor level. The total length of the pillar is 7.2 metres and around 93 cm is buried underground. The metal used in the pillar is an almost pure malleable iron, which shows very little signs of rust, and even that below the ground. This Iron Pillar is a standing testimony to the metallurgical skill of ancient Indians as it has not deteriorated much in the sixteen hundred years of its existence.  

(Image: Iron Pillar)

  When I moved towards the East, I found the Iltutmish Tomb. It is a square chamber, covered originally by a circular dome that was carried on a form of squinch-arch, which has the difference in shape between the square plan below and the circle above. On observing the ornamented interior of the tomb, I found the whole interior surface, both walls, and roof (except the lower walls on all but the west side which were probably plastered) is intricately combined with a diaper of arabesque designs, and Quranic inscriptions in both Naskh and the combined Kufic and Tughra characters.  

(Image: Iltutmish’s tomb)

On moving further south I found the Alai Darwaza. It is 17.2 metres square and pierced by arched openings that echo the contours of the covering dome. The arch to the north is semi-circular while the others are of the pointed horseshoe shape. These are all true arches built with radiating voussoirs and these lead into the central chamber. Towards the south side of the court, there is a large square structure that was once covered originally by a dome which has now fallen. It is supposedly the tomb of Sultan Alauddin Khalji. Parts of a boldly projecting portico still exist. Alai Minar, which is  24.5 metres in height, adores the whole complex. Its construction was abandoned after Alauddin’s death.  

(Image: Alai Darwaza; and Alai Minar)

  On moving southwest of the Quwwat-ul Islam Mosque, I saw Alauddin Madrasa. A simple quadrangular court surrounds the Madrasa. I entered on the north side through a triple gateway. It has been suggested that this madrasa was built by Iltutmish, but according to J A Page, the balance of probability rests with Alauddin. He decided so because of the high-drummed domes and the more advanced tie beam pendentive shape beneath them. These are different from the flat conical Hindu type of dome that supposedly covered the Iltutmish’s Tomb originally, and the primitive hunch arches which carried that dome across the corners of the tomb.  

(Image: Alauddin’s Madrasa)

  On moving east of the Alai Darwaza, I saw the Imam Zamin’s tomb. The 7.3 metre square tomb is constructed following the Lodi style. A sandstone dome rises over an octagonal drum and it is decorated with marble paneling above the chajja and kanguras row. A geometrical jali of red sandstone fills the spaces between the pilasters supporting the superstructure in all but the central bays of the west and south sides. These contain a mihrab and an entrance doorway, both inscribed in marble. Above the doorway is an inscription in beautiful Naskh characters recording the saint’s name.

(Image: Imam Zamin’s tomb)

  These facets of art, architecture, and history made me love heritage. Every single stone in the complex told a thousand stories of the past. From the lofty Qutub Minar to ruined Quwwat al Islam, from the unbreakable Iron Pillar to the unfinished Alai Minar and so on, every monument had its own history. This triggered my curiosity and I started reading more about the heritage sites. Today, I am an intern at India Lost & Found. This has given me the opportunity to bring out the heritage lover in me.  

Reference:-

Image and Information source – World Heritage series Qutub Minar and Adjoining Monuments Travel Guide  

The views, information, or opinions expressed above are solely those of the author(s) involved and do not necessarily represent those held by India Lost & Found and its creative community.

Hi, I’m Mehak Takkar…

ILF Look and Feel Ambassador As a student of history, for me, heritage is not merely the ruin of the past but as a way of representing ideological, aesthetical, historical, cultural, and social values. I believe in the supremacy of the Indian chisel that has carved the most beautiful structures ever built.