One of
the Nawabs of the Babi family, Mohammad Mahabat Khanji II ruled over
state of Junagadh in a period, 1851 – 1882. Almost 10 years after
his death, a tomb or a Maqbara was built on his grave in 1892. I am
on my way to visit this historic building. This building is in the
middle of the old city; one of the highly congested areas, today. The
building however, is so imposing that it is quite impossible to miss
it. The tomb is an architectural masterpiece that has come out of a
mixture of Hindu, Moorish (Medieval Morroco) and European influences
and is very remarkable. It is also probably the best preserved
monument from the Babi Nawab's period. The structure is quite
traditional with a central domed hall, flanked by four minarets along
four corners. The minarets have external stairways that spiral in
opposite directions to maintain symmetry and creates a stunning
effect. On its side, stand the Jama Masjid and Vazir’s Maqbara,
which itself is also a remarkable piece of architecture.
The
buildings are located in a large campus which are being maintained in
a very poor fashion. There is no upkeep and I see boys playing
cricket. The yellow grass around the monument requires mowing.
The
building has some very unusual features very uncommon in India. I
can see on the sides of the doors and windows many Gothic columns and
the windows themselves are styled like french windows, from floor to
lintels. Some of the carvings are also noteworthy. Mahabat Maqbara is
one of the neglected tourist sights, but definitely worth a visit.
I now
move on again to outskirts of the city, where an old fort named as
'Uparkot' which really means Upper Fort, stands. The fort ramparts
are built almost on ground level with circular towers at the corners.
A car very easily can enter in the fort and can take you around
saving much of trouble. As we enter, I can see a couple of temples of
Hanuman and Ganesh. Once inside the fort, road climbs up sharply and
I find myself at a much higher level, almost at the top of the
bulwark. There are two guns kept here, named as 'Neelam' and 'Manek'.
According to the legend, these were cast in Cairo. The guns were used
by a Turkish naval force, invited by Sultan of Gujarat in a war
against Portuguese in Diu in the year 1583. Turks were defeated and
left the guns behind and were brought here and kept on the fort.
Opposite
the guns, stands a white coloured old and abandoned building of
Jammi-Masjid. The building has three central courtyards with roofs
that have octagonal openings. There might have existed 3 domes on the
openings in the roof. It is believed that this 140 pillared building
was a Palace of one Rani Ranak devi, married to Raja Rakhengar. This
residence of Ranak devi was converted into a mosque by Muhammad
Begada after his conquest of Junagadh, when he defeated Chudasama
ruler, Raja Mandlik III in 1473. The main or east side entrance to
the building, is one floor lower than the building floor, indicating
a possible arrangement to facilitate travel on an elephant. Just
outside the north gate,there is a spot, from where a clear view of
Mount Girnar is possible.
About
500 meters to northeast of Jammi-Masjid, there are two deep wells
called 'Adi-Kadi Vav' and 'Navghan Kuwo.' The first one looks like a
man made canyon because of the weird rock patterns seen on the side
walls in the rock. This well is 41 meter deep and can be approached
by a flight of 164 cut steps spread along a 81 meter long and 4.75
meter wide ramp. I try to go down the steps. After going more than
half way down, I realise that the well is filled with garbage only
and that too, mainly plastic. I beat a quick and hearty retreat. The
other well, named after Chudasma dynasty Raja Navghan (1025-1044 CE),
is perhaps deeper and the steps go round the well. I find myself
short of being enthusiastic to go down the steps as there is nothing
to see and just give up.
Mount Girnar
Adi-Kadi Wav
The
last major attraction on Uparkot fort, are the Buddhist rock cut
temples. I have seen number of such Buddhist caves in Deccan, but all
of them were excavated on the face of cliff, starting at bottom most
level and going up one or even two stories. The Uparkot caves are
radically different from this construction prevalent in Deccan. Here,
the caves have been excavated deeper and deeper in the rock, making a
real subterrestrial abode for the monks. The caves are excavated,
around three open shafts or a ducts of rectangular shape. Since these
shafts are open to sky, fresh air can reach the bottom of the pit,
easily. The monk's cells and prayer halls have been dug around the
shafts on two stories, joined to each other by stair cases.
Lower floor lacks fine workmanship
I take
a stair case, which leads me down to a lower floor. A passage from
here leads to the main hall (open to skies through second shaft) on
this floor. This has been excavated in a very crude form. The walls,
pillars and recesses in the walls are all excavated without any
fineness or art form. This probably indicates that these have been
dug much earlier than the lowest part. Two flights of stairs take me
to the lowest floor. The main hall of this floor (partially open to
skies) contains exquisitely carved pillars, whose base, shaft and the
capital contain uniquely decorative designs. The pillars are not
circular but are having a polygonal shape with 24 or even 30 sides.
The plinth bases are square and have intricate designs engraved on
them and florally ornamented capitals carrying animal and human
figures. The walls are adorned with horse shoe shaped Chaitya arches
with Buddhist railing pattern carved below it. Within the arch, a
human couple (in some places, two women) with ears like that of a
rabbit, are carved. A continuous band of lattice design is also
carved below the arches. Flowers are shown on the horse shoe arches.
The designs can be related easily to Satavahan period rock cut
temples.
Buddhist Chaitya arches with figures inside
engraved on walls of lowest floor
Highly decorated pillars on lowest floor
Popular Buddhist theme of Garland carriers engraved on the
base of the pillars; A Graeco-Roman Influence on Indian art
Each
pillar base, just near the floor has probably the famous garland
bearers that are seen on the Satavahan period Stupa at Amaravathi.
Very clearly a Graeco-Roman influence on the art in India. This cave
can be dated to around 2nd
century. The third shaft on south leads to a water cistern where rain
water was stored. On one side there is a platform for bathing.
It is
very clear from the fineness and detailed sculpturing of figures
carved on pillars, that even though the lower cave and pillars were
excavated in very early period, probably third century BCE, the
lowest floor has been done much later or around 2nd
century CE.
I come
out of the caves. We have tea at one of the roadside shacks and start
back for Sasan. After a night's rest, tomorrow we start for Rajkot,
where I would be catching a flight for Mumbai and then a bus ride to
Pune
My
Kutch-Kathiawar excursion is now coming to an end. The memories would
surely stay with me for my life time. It has been a wonderful
fortnight to say the least.
(Concluded)
15
February 2013
No comments:
Post a Comment