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·THE HRD SERIES
ART & ARCHITECTURE OF RAJASTHAN
Vol I
Antiquities of Chittorgadh
R NATH
The Historical Research Documentation Programme
JAIPUR
1984

·ANTIQUITIES OF R NATH

·Map No 1
Chittorgadh Fost
CHITTORGADH
The Historical Research Documentation Programme
JAIPUR

·No
Suraj
Jaina Kirttistambha
FORT WALL
ROAD
Fateh
Prakash
'Alha-Kabra
Annapurna &
Bannata
Terples &
Reservoirs
Lakhota
Ratneshwar Tank
Bari
Kumbha swamin
Temple
ఇది
Ida
Kurabha's Palaces
00
Wer Temple
& Kunda
Banbir's
Wall
ANTIQUITIES OF
R. NATH

·CHITTORGADH
The Historical Research Documentation Programme
JAIPUR

·Published by
The Historical Research Documentation Programme
Post Box No 319
JAIPUR-302 001
(India)
Design and Art-work by
NEELIMA
Published by Ajay Nath for the HRD Programme Jaipur and Printed
by Hazarı Singh at Indo-Burma Printers Raja Park Jaipur-302 004

·PUBLISHER'S NOTE With this Research work, wc initiate a comprehensive Series on the 'ART AND ARCHITECTURE OF RAJASTHAN' from the earliest times to the 19th century AD We propose to bring out separate volumes, by different learned authors sitewise, on Temple Architecture including Sculpture and Iconography (eg, Chaumukha Jaina Temple of Ranakpur), Military and Residential Architecture (Forts, Palaces and Havelis), Commemorative Architecture (Kırttistambhas and Chhatris), Water-Structure and Miniature and Mural Painting Ench one, as this, shall be an independent work on that subject This volume deals with a representative Art of Rajasthan in the Medapata idiom, in its early phases

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·DEDICATED
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·MAPS No 1 2 3 Map of the Chittor Fort Site Plan of the Gaumukha-Tirthasthala Site Plan of the Exposed Temples of Section-B Site Plan of Sections D & E 4 1 FIGURES (Line Drawings) Stellate Plan of the Cakraswamın Temple near the Kirttistambha 2 Dvara-sakha of Temple 'I 3 Svasti motif Dvara-sakha of Temple K 5 General Plan of the Temples of Gaumukha-Tirthasthala 6 Blocks of the Hathibada at Nagari 7 Slope on the external walls of the Blocks of the Hathibada 8 Section of the Ubha-Diwala 9 Beams of the Ubha-Diwala 10 Plan of the Brick Temple 11 Section of the Sikhara of the Brick Temple 12 Plan of the Jamı Masjid (so-called "Alha-Kabra) PLATES (Halftones) 1 Bhimlat Sarovara II Chaurasi-Deva Sarovara III Gaumukha-Kunda IV Situation of the Gyumukha-Tirthasthala V Northern Gateway of the Gaumukha-Tırthasthala VI Ruined Cakraswamın Temple near the Kırttıştambha (*) VII its Mülaprasada VIII Its Dvara-sakha IX Section-B of the Gaumukha-Tirthasthala X Section B of the Gaumukha-Tirthasthala XI Section-B of the Gaumukha-Tirthasthala ·X13 XII Dvira-cikha of the Temple I XIII Door-jambs from Sarnath XIV Rathikas on Eastern Bhidrs, Temple 1 XV Temple XVI Dvara-sakha Temple 'K XVII Eastern side Temple 'K XVIII Southern side Temple's XIX Ubha-Diwala at Nagari XX Ubha-Diwala at Nagari XXI Situation of the Brick Temple XXII Brick Temple, full view XXIII Mula-Prasada XXIV Mandapa XXV Sculpturesque Decor XXVI Śikhara XXVII Sikhura XXVIII Lintel showing Vişnu Gaumukha-Tirthasthala XXIX Lintel showing Durga Gaumukha-Tirthasthala XXX Tapasvini Parvati, Topkhana Museum XXXI Dancing Scene (jātimaha) Kalika Mata Temple XXXII Dancing Scene (jatimaha) Kalika Mata Temple XXXIII Dancing Scene (jatimaha) from Pawaya XXXIV Dancing Scene (jåtımaha) from Aurangabad XXXV The Kırttistambha of Maharana kumbh XXXVI Naulakha Bhandar and the Banbirs Wall XXXVII Bhama Shah s Palace XXXVIII Bhama Shah s Palace XXXIX Construction of the Jamı Masjid (Alha-Kubra) XL Construction of the Jámi Masjid (Alha-h ubra) XLI Cross-vaults of the ceiling XLII Southern Entrance of the Jamı Masjid XLIII Ogee of the Arches of the Jam Masjid Total Plates - 43 ·PREFACE The present volume traces the evolutionary process of the Hindu Temple on the basis of the extant examples at Chittorgadh a large number of which are 10 ruins and includes study of Sculpture and Iconography which have been integrally associated with the Temple since the earliest phases of its growth and development in the region Precisely this is study of the Art of the Hindu Temple While on the one hand it covers the UBRA-DIWALA of Nagari which is one of the earliest relics of the historical period on the other it identifies and assesses the style of the early 14th century AD Muslim monuments of Chittorgadh Many unknown and important things of Art History thus come to light for the first time Though study of the monuments in situ constitutes basis of this Researchwork and for this matter it is adequately illustrated by 4 maps 12 figures (linedrawings) of plans and sections and 43 half-tone plates epigraphical, scriptural and literary data so invaluable to a discipline such as this has also been fully used to substantrate re-inforce and authenticate Extracts from original Sanskrit texts in the Devanagart have been given in the text of its chapters A few important Sanskrit inscriptions which throw significant light on the History of the region have also been given in the six Appendices It must be emphasized however that though regionally it is limited to Chittorgadh and it is accordingly entitled as such stylistically it is representative of one of the most important formative phases of Indian Art and this study is not in isolation An isolated study of early phases of Indian Art is not possible either ·XIV This volume is dedicated to THE PEOPLE OF RAJASTHAN who even in the most modernised times in every period of change managed to live a cultural life preserved their ancient traditions against the heaviest odds and maintained their own identity personality and individuality The cultural side of these people has been over-shadowed by an eloquent propaganda of their gallantry which Tod as a matter of British Imperial policy initiated Gallantry alone is nothing more than Sophisticated Barbarism The Rajput as representative of this Land portrayed always as he was wearing fearful moustaches and whiskers carrying spear and sword and galloping his horse to battle-field has been mostly misunderstood He was more than a lion his was an extremely refined and cultured race and society and his contribution to Religion and Philosophy Language and Literature and FINE ARTS (such Performing Arts as Music Dance and Drama and Plastic Arts as Architecture Sculpture and Iconography) for example has to be retrieved from the wonderful romantic tales of wars and bartles evaluated and emphasized in the correct historical perspective for redemption of his rightful position in the cultural history of India It is in the Cultural History of Rajasthan rather than in the Saga of its military exploits that the source of its glory lies Howsoever modest it could be this is a step in the same direction That subsequent volumes of the series will sustain this small begioning is a hope I fondly entertain JAIPUR 6th April 1984 R NATH ·CONTENTS Pp V111 hey To Transliteration List of Illustrations (Maps Figures and Plates) Preface 1-X11 XII-XIV CHAPTERS GAUMUKHA-TIRTHASTHALA OF CHITTORGADH 1-28 23 24 25 APPENDICES A Sanskrit Text of the Nagari Inscription of VS 481/424 A D B Sanskrit Text of the Chittorgadh Inscription of Manabhanga (c 770/713) с Sanskrit Text of the Chutorgadh Ioscription of Citranga-Tadaga 1344/1287 D Sanskrit Text of the Phalodi Parsvanatha Temple Inscription of 1221/1164 E Sanskrit Text of the Chittorgadh Inscription of Gaumukha-Tirthasthala 1514/1457 F Sanskrit Text of the Chittorgadh Inscription of Gaumukha Tirthasthala 1543/1486 UBHA-DIWALA OF NAGARI CHITTORGADH 26 27 28 2 29-36 3 UNIQUE BRICK TEMPLE OF CHITTORGADH 37-40 1 41-44 5 SOME PRE-PRATIHARA PANELS AT CHITTORGADH ON THE SAMADHIŚVARA TEMPLE OF CHITTORGADH KUMBHASWAMİN-ALAYA OF THE WIRTTISTAMBHA- PRASASTI CHITTORGADH 45-56 6 57-64 7 ON THE MUSLIM VONUMENTS OF CHITTORGADH 65-72 INDEX PLATES 73-78 I-XLIII

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·Gaumukha Tirthasthala of Chittoi gadh Chittorgadh (Citrakata) is one of the most ancient sites of Rajasthan Buddhist relies and inscriptions datable to such an early period as the 4th century B C have been discovered at Nagari on the river Bedach, near Chittorgadh it was also here that the first Vaışnava temple of India was given a form! A full- Hedged Vişou temple was consecrated here on the 5th day of Suklapak sa of Karttıka 481 V S/424 A D as its inscription attests (४००) ८०-१ कात्तिक शुक्लपञ्चम्याम्या भगव महापुरुषपादाभ्या प्रासाद 2 Two fragmentary inscriptions of the period of Yasodharman of Malwa from Chittorgadh are darable to the first half of the 6th century A D3 They mention a RAJASTHANIYA (local governor or feudatory of the region called Rajasthan ?) of Dašapura (Mandsaur) and Madhyamika (Nagari) who excavated tanks and built temples Their discovery at Chittorgadh shows that the fort was important religious centre as early as the Gupta period an Before the end of the 6th century AD the Mauryas (Moris a local dynasty of the region) were in possession of Chittorgadh They held their sway in the region practically for about two and a half centuries until about the middle of the 9th century AD they were replaced by the Prattharas Col James Tod found here a grand prasasti of 17 lines of VS 770/713 AD which men tioned one Raja Mana who built the lake Manasarovara Unfortunately the original epigraph-stone is lost only its very corrupt English translation has remained 4 But we have another inscription of the same date which mentions one Manabhanga of the Maurya Dynasty obviously the same Raja Mana he is recorded to have built at Chittorgadh tanks step-wells and also a temple each dedicated to Surya and Siva ·Antiquities of Chittorgadh 2 "श्रीमानभग नृप । यन न्य वारित जलाकस्य प्रपा शीतल वाप्य कस्य कीतिर्भासप्रभे च निपुराविजय नो व्याप्त विधु (त) प्र सभोजमती। 15 The present Kalika Mata Temple of Chittorgadh has been identified as the Sürya temple built by Raja Mana In Magha VS 887/80 AD Chittor was ruled by Dharını-Varaha of the same dynasty who patronised Mahuka a descendant of Magha and author of Haramekhala 6 Chittorgadh was as much an important centre of Jainism as it was of Saura Vaisnava Saiva and Sakta religions Jaina Ācarya Haribhadra Suri (VS 757/700- 827/770 AD) lived at Chittorgadh and he is said to have composed here 1444 works on Jainism out of which about 80 have been discovered He mentioned the fort as follows चितउड दुग्ग सिरि सबिएहिं समत्त राय रत्तेहिं । सुचरित्र समूह सहिया, कहिया एस्त कहावदा ।।१२२।। सम्मत सुद्धि हेउ चरित्र हरिभद्द सूरिया रहन। विसुणत कहतारण भन विरह बुभऊ मेदाण ॥१२३।। Rajasekhar Suri in the Prabandha-kośa compiled data in VS 1405/1348 AD on Haribhadra Sūri under the heading HARIBHADRA-SURI-PRABANDHA & He was proficient in fourteen Vidyas श्रीचित्रकूटे हरिभद्रो विप्रश्चतुदशविद्यास्थानन ।। This work draws profusely on three earlier works viZ PRABHAVAKA-CARITA (V S 1334) PRABANDHA-CINTAMANI (V S 1361) and VIVIDHA-TIRTHA KALPA of Jina Prabha Suri (V S 1389) these four are among the basic works for the history of Jainism in the region Another work PURATANA PRABANDHA- SANGRAHA also has a Prabandha (No 54) entitled Sri Haribhadra Sūri- Prabandhah and confirms the ancient data Rajasekhara Sūri also narrated a story related to a unique and wonderful stambha at Chittorgadh in which books on occult sciences were preserved ·3 Gaumukha Tirthasthala अन्यदा सिद्धमेनश्चित्रकूटमटति स्म । तन चिरन्तनचत्ये स्तम्भमेक महात दृष्ट्वा कश्चित्प्राक्षीत्-कोऽय स्तम्भो महान् ? किंमय ? तेनाक्तम्पूर्वाचार्यैरिह रहस्यविद्यापुस्तकानि न्यस्तानि सति । स्तम्भस्तुतत्तदापधद्रव्यमय । जलादिभिरभेद्यो वज्रवत् । The PURATANA-PRABANDHA-SANGRAHA also confirmed this story under Sri-Haribhadra-Surn Prabandhah गुरुभिश्चित्रकूटोपरि प्रासादे औपचानि सम्मील्य स्तम्भ कृत । तत्र प्रक्षिप्य मुक्तानि । स स्तम्भो न पानीयन गलति, न च्छिद्यते, नाग्निना दह्यते ।। It seems to preserve some historical fact symbolically The reference to the wonderful stambha which contained books is significant it may have more than one meaning which may on further investigation shed new light on the history of Chittorgadh The Jaina texts also parrate the story related to the origin rather the founda tion of the Fort of Chittorgadh The SAMKSHIPTA-KUMÅRAPALA DEVA- CARITAM of an anonymous autbor of late 12th century A D records it ध्येदशपुर भूत्वा चित्रकूटनग गत । शान्तिचैत्ये श्वेतभिक्षी रामचन्द्रस्य सनिधौ ।।१४१।। जातिचित्रश्चित्रकूटदुर्गोत्पत्तिम पृच्छत । रामोऽप्यूचे-'इत क्रोशत्रयेऽभू मध्यमा पुरी ॥१४२।। तन चित्राङ्गदो गजा सोऽ यदाभिनव फल । योगिना व्याघ्रयुक्त न पण्मासावधि सेवित ॥१४३॥12 Kumarapala went to the mountain of Cifrakūta There in the Jaina temple of Shantinath lived the Svetambara Jana Bhiksu Ramchandra He asked him about the origin of the Citrakuta Fort The latter recounted the legend of a Yogin (Tantrika) who was trying to make a Goldeo Man (स्वणपुरुष) by Sadhana and Sacra fice He tried to bluff the King Citrangada but the latter was warned by his Mantrin in time Ultimately the King threw the Yogin in the sacrificial fire and the Yogin immediately turned into 'Svarpa-Purusa ·Antiquities of Chittorgadh 4 यथा चित्रगिरे पार्वे घूटशलाऽस्तिदुगम । तस्योपरि महादुग कारयाभङ्गरोद्यम ॥१५६।। मन्त्रिणाऽपि तथारब्धे यावच्चेचीयते दिवा । तावनिपतति रानौ पण्मासा इति जनिरे ।।१६०॥ तथाप्यमग रोत्साह नृप कूटाचलाधिप । उवाच माग्राम्य (?) दुगमत्र क्तु न कोऽप्यलम् ।।१६१।। प्राणात्ययेऽपि कर्ताऽस्मि नृपेरणोक्त सुरोऽब्रवीत् । यद्येव निश्चयरतहि कुरु चित्रनगापरि ।।१६२।। दुगस्य नाम मध्ये तु देय मे नाम भूपते । ततश्चित्राङ्गदश्चक्रे दुग चित्रनगापरि ॥१६३॥ चित्रकूटेति दत्तास्य देवेन तदधिष्ठितम् । कोटीध्वजाना यामध्ये सहस्त्राणि चतुद श ॥१६४।। लक्षेश्वराणा योग्या च कारिता तलहट्टिका । वापी-कूप-सरोमुरय शेपेन देवेन निम्मितम् ।।१६५।। I his has been confirmed by other texts as Soma Tilaka Surs Aumarapala Dera- Caritam 14 (late 14th century A D), the kumarapala-Prabodha-Prabandha (late 14th century AD)15 and under the Prabandha entitled Citrakuta-Utpatti- Prabandhah in the Puratana-Prabandha-Sangraha 16 This ancient legend assigns its origin to Cusangada (or Citſanga) of the Maurya Dynasty and it was obviously after him that the Fort was named CITRAKŪTA He was undoubtedly a historical person He founded a great reservoir which still bears hts name An inscription of V S 1344/1287 AD unmistakably mentions this CITRĂNGA- TADĀGA in the middle or on the bank of which a temple of Siva Vaidyanatha was situated 17 The Jaina works almost invariably mention Chittorgadh as a great seat of the Jaina religion where a large number of Caityas (Jaina temples) were built and bimbas were consecrated In fact a CITRAUTA-CAITYAPARIPATI came to be established and symbolisation and worship of the Citrakūta-Tirtha was deemed to be sacred Like Ayagapatt Citrakūta-Śılapatt (stone slab showing the Chittorgadh Tirtha) acquired yotive importance and was dedicated to Jaina temples as the Phalodi Parsvanatha Derasarainscription of VS 1221/1164 A D attests प्रात्मश्रयोथ श्रीचित्रकूटीय सिलफट (शिलापट्ट) सहित चदको प्रदत 13 It seems that the Fort passed into the Prathara possession about the middle of the 9th century AD The fragmentary inscription of Adıvaraha Amoghavarşa ·5 Gaumukha Tirthasthala Rhoja Pratıhara (A D 836-882) mentions the construction here of a PATTSILĂ PATTSĀLA or PÃTHASĀLĀ 19 The Guhilas the most illustrious dynasty of Mewar, under Allata appear to possess it independently about the middle of the 10th century A D Munja Paramāra of Malwa defeated the combined forces of the Guhsla ru er Saktikumara and Mülarajı Calukya and annexed Chittorgadh towards the end of the 10th century A D His successor Bhoja Paramara (A D 1018–54) often resided in the Fort and it was here that he received the Paramara chief Dhandhuka Chittor was the base of Paramara operations agaiosts the Cahamanas and the Calukyas 20 Not only strategically it was also an important religious seat and Bhoja Paramara built here a Siva temple which after him was named Tribhuvana-Narayana It has been referred to as भोजराज रचित त्रिभुवननारायणस्य देवगृहे in the Chirawa inscription of V S 1330/1273 A D and as afgaat in the Chittorgadh inscription of 358/1301 It was restored by kumarapala Calukva (Solanki) and provided with certain grants as his inscription dated 1207/1150 shows 21 Therein it has been mentioned as the SAMADHĪŚWARA' (The God Siva Lord of Samadhi) temple 2* The Fort seems to have been held by the Paramāras during the whole of the 11th century AD There was a constant tripartite struggle between the Cahamanas of Sakambhari the Calukyis of Gujarat and the Paramāras of Malwa™3 and Chittorgadh was, more often than not a bone of contention It is quite likely that the Cahamanas captured the Fort from the Paramaras for a brief period and Calukya Kumarapala (A D 1142-73) captured it from the Cahamanas about the middle of the 12th century AD He placed it under his governor named Sayana Vigraharaja-IV Cahamana again captured it from the Calukya possession and the Fort changed hands between them Ultimately about the close of the century, the Guhilors became master of the region The Gaumukha-Tirtbasthala is one of the three most sacred sites on the Fort the other two being the Bhiwalat reservoir and the Chitranga-Mori reservoir (See Map no 1) Situated south of the Jaimal-Palta s tank, slightly to the cast of the Suraj-Kund near the eastera ramparts, Bhimlat (Plate-I) is a large, decp rock cut and with stairs on the castern and northern sides A renovated ancient temple overlooks it on the western bank It could have beca a Sun temple originally On the Eastern bank by the road stand a large number of Sati-pillars and there is also a ruined Derali These twenty and odd sau-pillars bearing sculptures of men women and divinities some of which are inscribed are ·e Sun TION Chittori Burs are Suraj Polo ROAD The Bhiralat 1 Jaina Kirttistambha Chittori Magris Sübhagia Bika Khoh FORT WALL ç FORT WALL, Patta barovara ROAD Pateh Prakash 'Alha Kabra' Annapurna % Bannata Temples ! Rostrvo Lakhota Ratnothwar Tank Bari Temple Kumbhas Teaple Kalika-kata Gaunukha Kunda Kuabha's Palaces Kukreshwar Temple Kunde >> De-The Karttistambha ok The Samīdhuswart CO Banbir's Nap No.1 Chittorgadh Fort ·7 Gaumukha Tirthasthala assignable to the period from 10th to 15th century A D and they show that the Bhimlat, not the Gaumukh-Tırthasthala as it is erroneously supposed, was the traditional Satı-site from the ancient tinies Just attached to it on the southern side is a great rock-cut sarovara (reservoir) of the size of a great lake It has now been dried up and three side embankments have also disappeared Its northern embankment is a masonry wall running from west to east with ornamental stairs reaching upto the water-level (Plate-Il) This wall has 84 rathikas (niches) overlooking the sarovara containing full-size asana images of gods and goddesses 56 icons have survived in-situ A caption is gien on the pedestal of each sculpture At a considerable distance to its south is situated the Chitranga-Mori reservoir The temple of Vaidyanatha Śiva was situated on a high plinth on its Kesfern bank as its inscription dated V S 1344/1287 A D testifies Its names the reservoir as Chitranga-Tadaga It is now in ruins Like its counterpart at the Bhimlat the Vaidyanatha Śiva temple also faces east This tank has also been excavated in rock It has built-in stars on the eastern side Northern and western masonry walls have mostly crumbled down The southern wall had 84 rathikas exactly similar to the Chaurasi-Dera-Sarovara described above but only 41 of these have survived here They contain asana images but there are no captions and no polish and these sculptures are decidedly more ancient than the previous serres The Gaumukha-Tırtbastbala is the most ancient and the most sacred of these three sites The Gaumukba-hunda is its pivot It is a large deep tank of Irregularly oblong size (Plate-III) attached to the western ramparts (Map No 1) A perennial underground stream of crystal clear water flows into it from a small natural cave through a GAUMUKHA (sculpture of cows head) hence its nomenclature It is situated at the lowest level of the Fort (Plate-IV) and its perennial stream is made up of the seepage water from 20 and odd large tanks and reservoirs which are situated at a much higher level Nature appears to have helped Man a lot in the execution of this grand artifice which is however a great miracle The stream-appears mysteriously from the living rock and falls into the hunga the year round the water-fall creates a beautiful sound and enlivens the place Surely Gods have selected this place for display of such wonderful plienomenon of Nature on account of its sanctity So thought the ancient pcople The Brhat-Samhita of Varahamshira of the Gupta period enjoined that gods live at nalural sies near forest mcr, rock and water-fall ·Antiquities of Chittorgadh 8 वनोपा तनदीशैलनिझरोपान्त भूमिषु । रमते देवता नित्य पुरेपूद्यानवत्सु च 11 (LV 8) and it is always in the neighbourhood of natural water that temple should be built कृत्वा प्रभूत सलिलमारान् विनिवेश्य च । देवतायतन कुर्याद् यशोधमाभिवृद्धये ।। (LV 1) It was for this reason that religious sanctity was attached to the place from the most ancient times and it was here more than anywhere else in the Fort that temples were successively built from the Gupta period at least as fate as the 15th century AD and it was also here on its N-E corner that Maharana Kumbha (A D 1433-68) decided to build his most ambitious monument the Kirttistambha It is sometimes erroneously called Mahasati under the belief that Rajput lad es performed SÅKĀ (popularly called JAUHAR) at this place Recently a thick layer of ashes was also discovered here It may be noticed that the first SAKA was held here only in 1534 A D when Bahadur Shah of Gujarat captured the Fort for a brief period This was not the Sati-site prior to this date Bhimlat was the Satı-site from the 10th to 15th Century AD as the surviving Satimemorials testify In fact the Gaumukha site was the centre of pilgrimage and it has been designated a Punya Tirtha When the people of the area returned from Ganga- Saana (bath in the sacred Ganges) and other tartha-yatļas they came to the Gaumukha before going home performed anjali dedicated Ganga water into the kunda and took its water to home It was deemed to be as sacred as the river Ganga and rites were performed here for the molsa of the ancestors (pitratarpana) Till recently an annual fair was held here on the 8th ſukla of the month of Cança Jt is remarkable that the Kırttıstambha of Maharana Kumbha was consecrated here on the eve of this very fair on 7th Sukla or Cauta in V S 1515/1458 A D A number of epigraphs attach this religious sanctity to the Gatimukba Thus kumarapala s inscription in the Samadhiswara dated V S 1207 1150 A D speaks of it as follows अगाधगभीरस्वच्छ स्वमिव मानसम् । निम्मल सलिल यत्र पिहित प(न) जे नीलाराग (भू) श्रियम् । विमुच्य व्योमपातालरमा ·9 Gauniukha Tirthasthala यन निमाग्गगा । लोकान् पु(नाति) (त)स्योत्तरतटेद्राक्षीनभ्रामरसचित । श्री समिद्धेश्वर (समाधीश्वर) देव प्रसिद्ध जगतो ते । सन्ध्य (तू)यनादेन कलि (लि) निभत्सयनिव । य (स्त?) वस्याधिपत्येस्थात्पुरा भट्टारिवोत्त(मा) (This Kunda is extremely deep and full of crystal clear water It is covered by beautiful lotus flowers which look blue on account of its deep blue water It appears that the sacred Ganga has descended from Heaven and sanctiſving the worlds it is now ready to go to Patala The King (kumarapala) saw the world famous temple of Samadhıswara Mábadeva on its northern bank This great temple was worshipped by gods and as representative of the Satyayuga it ruled over the Earth with Dharma, as if condemning the halıyuga) This temple seems to have been demolished during the Khalji occupation (A D 1303-13) and Mokal father of kumbha restored it again This is recorded in his inscription dated V S 1485/1428 A D preserved in the temple cpigraph also mentions Chittorgadh as a Tirtha and sacred seat of pilgrimage This वैचित्र्या चित्रकूट तुलयितुमनल तीर्थभूतप्रदेश 125 The Gaumukha and its perennial stream have been thus described एतस्मि सरिदस्ति निमलजला यस्या निवापाजला- वुमोलत्तिलजातपातक्वलव्यग्रा शफयश्चला । ब्रोडासभ्रम विस्मृतान्मुबहुशो मज्जननामहो नेवारणावि विलोपज्जल कणाश्चेतु स्फुरति स्फुट ॥६॥ (The water of this stream is pure and sacred People offer añalt here for the molsa of their ancestors It is so sacred that sins are washed away by it The plausul fish come up to collect particles of hajjala which is Washed off the eyes of the damsels who bath in its water Sios are washed off here in a similar way) This inscripton also eulogised the Samadhishara and claimed that since Ravica shook the hassa abode of Sna bis seat was disturbed and he was not able to perform Mafya (as Nagarajz the cosmic Dancer), hence Sıva came to Chittor and now he resides with his consort in this temple ·Antiquities of Chittorgadh 10 गिरि कैलासो यदृशमुखभुजोच्छासन दिनादगल मूल- -स्थामा प्रभवति न नाट्य विपहितु । प्रदेशप्राग्भारप्र (कृ) तिरमणीये तदधुना समिहैश श्रोमानिह वसति गौरीसहचर ॥७२॥ This imparts a unique sanctity to this site in which the epigraph records the People had faith for about a millennium so much so that the tradition had been perfectly standardised Two Jaina inscriptions of the Gaumukha-kunda show that it was as sacred to the Jainas as it was to the Saivas The earlier one of V S 1514/1457 A D is carved on rock on the sides of a set of footprints followed by images of Ganesa and Bhairava it mentions a temple of Adinatha and a cave on its left side opening towards south containing 21 four-armed Devis Its meaning has yet to be examined correctly in the historical perspective but it seems to record the con secration of the Jaina footprints along with images of Ganesa and Dev for PUNYA 27 The second epigraph is dated V S 1543/1486 A D It is also carved on rock near the Jaina temple situated on the northern side of the Gaumukha-Kunda just overlooking it After the usual Jaina invocation it has 10 lines in Prakrat and a sloka in Sanskrit which reads तीर्थेशोऽहन कीर्तिघर सुकोशलमुनिस्तथा व्याघ्री । सर्वेऽपि सतु सुखदा श्रीखरतरपुण्यनदिगणो । Accordingly four panels bearing figures of hirttıdhara, Arhan (Arhat) Rşi Sukosala and Vyagbri with Muni are carved on rock Finally two lines in Sanskrit follow which record the consecration at this tirtha of the icon of Rşu Sukosala स-तीथ । श्री सुकोशलपि प्रतिमा कारिता। प्रतिष्ठिता 128 Consecration of an image at the site is an important reference which confirms that the Gaumukba site was deemed to be as sacred by the Jaipas, as important a turtha It was to the Saivas Map No 2 shows the site plan of the Gaumukha-Tirthasthala and the temple ruins Section-A situated to the south west of the Kirttistambha is unexplored land on a high level Just to the west of the kirttistambha at equal distance to ·E Road Road E Gateway KIRTTI STAMSHA RVINED STRUCTURES Modem Chhattis & Section-A Unexplored Land (High Lovel) Unexplored Land Plinth of the Auined nu TA UTUENsesxp3 Temple X High Plinth on the side of the Samadh Isvara (Unexplored) Gaumukha kunda - Section - Exposed Teaplas (Lower Lovel) Section OD OD Sectlei.-E Samadhiuvais Tople N Gateway LOS PUOTT PATOS Section: Unexplored Lund N Only one Topla wall Map No.2 Rough site elan Gaumukha Tirthasthala CHITTORGADH Fort ·Antiquities of Cluttorgadh 12 the northern gateway (Plate-V) of the Gaumukha Tirthasthala stands on an extraordinarily high jagati (plinth) a ruined temple X (Plate-VI)of stellate plan with super abundance of karnikas (proliferations) (Fig 1) la fact, mo uldings on both the elevational and horizontal lines are extremely propor tionate and give a beautiful impression (Plate-VII) All this could not have been possible without a sound know ledge and practice of Geometry and it is a pity that detailed enumeration of "Rekha in such texts as the Apara jitaprccha are beyond our comprehen sion today Fig 1 Only the pıtha (socle) and mangovara (main wall) upto the varandika (eave cornice) of the Mülaprasada (the shrine proper) have remained and the śikhara (spire) is no longer extant Bhitt is quite plain and even such traditional mouldings as grasapatti and the tharas have not been shown The mandovara has the usual divisions into vedibandha (podium) and jamgha (central part) but both are absolutely plain except for the rathikas ornamental niches) at the cardinal points having asana (sitting) divinities on the vedībandha and sthanaka (standing) divinities on the jamgha These sculptures have been exquisitely done and they more than balance the plainness of the exterior of the mtlapra sad? The temple faced west The square garbhagſha (sanctum) is quite plain in the interior as usual but the dvarasalha (door-jamb) with several beautiful mouldings has been most ornately designed and finished (Plate-VIII] Pratharas (door-Keepers) adorn the lower parts Along with the devanganas (playful damsels associated with the ornamental art of the Hindu temple) and the dividities (gods and goddesses) such traditional motifs of the temple art as kurttı mukha kalasa lahara-valları śrīvatsa and padma have been judiciously used This beautiful doorway is obviously in contrast to the plain exterior of the mula prasada Icons are predominantly Vaisnava and it seems that it was consecrated to the worship of Visņu in some-classical form Though it seems to have been renovated from time to time last in the 15th century AD as a few late devangana sculptures show until it was finally abandoned its original form can be assigned ·13 Gaumukha Tirthasthala to c 10th century AD In all probability this is the Cakraswamin (Vişnu) temple which has been referred to along with the Samadhiswara temple in the Achaleshwar (Abu) inscription of Veda Sharma of V S 1342/1285 A D योऽकादिकलिङ्गत्रिभुवनविदित श्रीसमाधीश चक्रस्वामिप्रासाद वृन्दे Both were situated adjacently and were enclosed together Its highly complicated stellate viz the CAKRA plan which necessitated a thorough knowledge of geometrical progressions more than confirms this contention Another relic of this section is a jagati situated in the neighbourhood of the Kirttistambha to its south towards the Eastern Gateway of the Gaumukha-Tirtha sthala Only the lower parts of the pitha e g jadyakumbha of a fully developed temple have survived on it The tſi-anga talacchanda was composed of the garbha-grha mandapa (ceremonial hall) and mukha-catuski (porch) Mandapa bad a four-pıllared sala the candrasıla attached to the udambara (doorsıll) of the garbhagsha with a samkha (konch) motif on either side has also survived It was also a pašcimabhimukha (facing west) temple Section B (Map No 2) is on a lower level on which temple ruins have been exposed (Plate-IX) Section-C is agaio unexplored land Obviously the land slopes towards the S-W and the paved paths with intermittant stairs recently built by the ASI descend accordingly Section D is composed of the Samadhis wara temple and Saiva monastery to its south on its eastern and southern sides is again bigh land with partially exposed temples above the Gaumukha-humla Section-B is by far its most important part (Plate-X) Map No 3 shows the site-plan of the exposed ruiged tempies which are situated from the Northern Gateway to the Samadhiswara (Plate-XI) "A (Map No 3) is a brick plinth only with five layers of well-backed small bricks Its is a dvi anga plan Approximately measuring 6 x 4 it should have been a very small temple There is no stone The plinth was probably originally plastered over It faced South i e towards the Gaumukha It can be assigned to c 6th-ith century A D B is only a rectangular stone foundation ie the lower part of the jagati roughly of 8 x 6 size No idea of upper mouldings can be had and even the orientation of the temple is not discernible C is also a rectangular stone foundation of a much bigger size It was pascimabhimukha

·E
Map No 3
Rough Site Plan Section - B
(Showing Exposed Temples)
S
02
8
қ
I
D
L
M
*
N

·15 Gaumukha Tirthasthala D is a plinth roughly measuring 7 x 5 composed of two layers of brick Its is a simple dvs-anga plan It is also paścımabhimukha It may be noticed that this brick plinth formed part of the bhitt and it could have belonged to the period when its characteristic mouldings e & jadyakumbha had not evolved seems to have been originally plastered over E is also plinth of a brick temple roughly measuring 10 x 8 There are three layers of brick in two mouldings below the brick layers are stone layers with mouldings though jadyakumbha is not there It was also pascimabbimukba These brick rums may belong to the earhest period, c 6th-7th century A D F was a stone temple only the finely moulded bhitt of which has remained Like other temples in its neighbourhood, it also faces west Roughly it measures 10 X 8 Probably there was a Mukhalioda (mukha-mandapa, vestibule) which rested on pillars It has beautiful karnikas and pratırathas Though the jadyakumbha is plain the mouldings of the bhift signify that this was one of the most ornately designed temples of the site G is a very small ruided temple of stone Only its simple pitha and vedibandba have remained It is also pascimabhimukha H 15 a small and simple temple of stone Only its bhit has remained Bricks were used in the upper construction Like other temples of the series, it also faced west stone jagati only J is a I and I are the most important temples of this series A pascimabhi mukha temple entirely built of stone I as it stands today is a mTlaprasada with its pſiha and mapdovara intact Originally there were mukhalında and mandapa as the surviving platform shows The square garbbagcha has a raised vedika ba a b c (pedestal) attached to the eastern wall aod a beautiful dvarasakha on the facade Kırttımukha hatasa and kalpa vīksa adorn the udambara which is preceded by a beautiful candrasala bearing sapkha motifs C Dvarasakha (Plate-XII) the upper portion of which has been destroyed has three jambs as shown in Fig 2 Sakha a bears a stylized floresque design on either side its lower portion has a male figure on the left side and a Fig 2 ·Antiquities of Cluttorgadh 16 female one on the right The head-dress of the female figure is remarkable sakha b has on the left a ghafa-pallava padma lahara-valları and a female figure probably a prathārl on the lowest part On the right are a kırttimukha a dancing figure and a male figure, on the lowest part The Dicbe into which these figures are carved is semi-circular resembling the gavaksa form The figures have been proportionately done and they are gracefully poised The c sakha on the left which is the widest and the most beautifully done has four panels Uppermost one shows a dancing devangana with a musical instrument second and third below it also have dancing devanganas The lowermost panel has a male pratıhara The right side sakha shows a grand laharavalları issuing forth from the navel of a sitting gana a popular motif of the Gupta and post-Gupta period as the Bhumara examples show Below it is an extremely beautiful female figure standing gracefully with her right hand on her warst and left hand on a small female attendant Voluptuous mass of the breasts and thighs has been most proportionately presented in stone the sculpture vibrates with rhythm and the expression is as assertive as it is lively She is very sparingly dressed and ornamented in contrast her head-dress is very boldly depicted The entire composition is comparable to Gupta and post-Gupta door-jambs e g at Deogarh Bhumara and Sarnath (Plate-XIII) This is expression of the typical art of the post-Gupta period and stylistically these sculptures and for this matter this temple can be placed latest during the early Prathara penod c 8th century AD The temple has three traditional divisions on the elevational axis viz pitha, mandovara and sikhara the last is though no longer extant The pitha has several mouldings but they are plan and there is no jady mbha or any thara The recess between the pitha and the mandovara as also the recess between mandovara and the sikhara bears the simple svasti (Fig 3) motif which like svastika denotes the four directions of the space as well as the chamfered plan of a square which has immediate relevance to the plan of the Hindu Fig 3 temple The ved bandha of the Mandovara is also plan except for the very beautiful rathikas, one in the centre of each bhadra bearing divinities It is made of two mini pilasters of amalaka and ghata-pallava design having a triangular jalaka design on its sirşa The rathika on the eastern bhadra bears asana Ganesa (Plate-XIV) which shows that the temple was probably dedicated to the Saiva worship Sthanaka divinities have been depicted on the jamgha of the mandovara each in a rathika of its own, above which a beautiful jalaka design composed of ·17 Gauntukka Turthasthala gayaksa motif takes over It was with this that the sıkhara too was originally ornamented The eastern bhadra has Brahma in N-E and Siva in S-E tatbikas The central niche probably contains Revanta on horse-back with a canopy (chhatça) (Plate-XIV) All these figures provide an extremely interesting study of the iconography and iconometry of the period as well as of the faiths and beliefs of the people who brought them into form I II II TI TI a b b Like I 'K (Plate-XV) also has a tfi-anga plan and is pascimabhimukha It also has vedika inside the garbhagsha and remains of a mukhalında The udambara has no candrasala Ulla tanga is not original The dvara-sakha also has three jambs (Plate-XVI) (Fig 4) d The I sakha on either side has Fig 4 three panels a b and c alternated by Kırttimukhas each containing an ásana (sitting) male figure He wears yajnopavita and kicita and has a kalasa in left hand, while his right hand is raised in varadamudrá Below them in d on erther side is a beautiful sthanaka (standing) male figure the left figure holds a conch in his left hand his sight hand rests on his sight knee The right figure has a cakra and his left hand rests on his left knee These figures too wear yajñopavita and kirita and are well-proportioned The 11 sakha on cither side has a stylized lotus design while III has stylized lahara-vallan Panele on either side occupied by two female figures, one of them bearing a pūrna-Kalasa There is na lagichana though they can be identificd as Ganga-Yamuna a popular motif of temple ornamentation of the Gupta and the post-Gupta period They are extremely well-proportioned and gracefully poised Stylistically this art can be assigned to c 8th-9th century A D The traditional mouldings of the picha do not exist and it is quite plain This may denore the early stages of temple evolution as even in a mini-temple jadyakumbha and grasapattı could have been shown There is no sikhara without which proper classification is not possible The icons on the vedibandha and jamgha of the mandovara on the N E and S sides, each contained in a beautiful rathika of its own are however very interesting N Side On the main bhadra of the vedibandha is an asana (sıtting) two-armed Siva with ·Antiguities of Chittorgadh J8 Naga in the left hand Above it in a much bigger and imposing rathika on the jamgha is also four-armed Siva sitting on his rahana Nandi, having Naga and irośīla in two hands, one raised in vatadamudra and one is broken It is an extremely impressive composition In the side rathikas are sthanaka (standing) icons of Sive the right one being four armed with Naga and Trisula and left one two armed with Nandi L Side On the main bhadra of the sedibandha is an asana gzneſa Above it on the jamgha is two armed asana Visņu in the Sürya icon He sits on a padestal in an assertive posture Side rathikas are occupied by sthanaka icons of Vişnu (Plate-XVII) S Side Vina Pani Saraswati has been beautifully shown on the main bhadra of the sedibandha (Plate XVIII) while above it on the jamgha 19 a four-armed trimurti bearing halasa One face could be concealed and he could be Brahma Side niches have other icons one each All this offers a veritable scope for the study of Indian Iconography in such a carly period as c 8th 9th century AD to which these may be assigned It is remarkablc that there is no other ornament on the mandovara and this marks the stage when rathika decoration had come to be established as a berutiful phenomenon of the art of the Hindu temple Section-C has not been explored It has only a ruined temple N which is extremely simple (see it in Plate-IX) Section-D has the great Samadhisvara Section-D Section- OOOO GAUMUKHA-KUNDA Oo SAMADHIŚWARA TEMPLE MOLLASTERY Map No 4 (Sections D&A) ·19 Gauniukha Tirthasthala temple and the Saiva monastery with modern additions, on its southern side Samadhisvara too, like the smaller temples of the series is a pascimabhimukha temple On its eastern side on a high platform resting on the living rock are plinths of four temples All faced west One shows a yoni patta and these all appear to be Saiva shrines (Map No 4) Section-E also has some ruined temples O seems to have been a very be autıful temple originally Only its tņi anga pitha with all the traditional mouldings as jadyakumbha, grasapaft: and the various iharas has remained The narathara showing SCENES FROM LIFE is most interesting All these carvings have been very gracefully done It is surprising that the carver could accommodate such bold and deep relief in the shortest space His skill to treat the mass of stone in the third dimension has yet to be recognized This can be assigned to the 10th century AD which marks the perfect stage in the evolution of the Hindu temple as well as the art of the Hindu sculpture P is a fully developed temple with mūlaprasåda mandapa and sıkhara of a much later period is also a small ruined temple the last towards the Gaumukba Its garbhagſha has been destroyed but the yoai paffa on which rested the Sıva-linga has survived Mukhalında had two pilasters and two pillars R and S are also small ruined temples situated to the east of the P Q S has survived upto varendika It is a dvi anga temple with beautiful mouldings Except for the grasapattı bearing impressive kırttımukhas, bhitt is plain So is the yedibandha There are three divinity figures in niches on the three bhadras of the jamgha but they have teen defaced Mukhalında too has been destroyed Yellow limestone was used in its construction There are other temple ruins to its east T' is the last temple of this series just overlooking the Gaumukha inside its gateway on the west of the stairs which lead down to the water Its dvarasakha showing graceful mithunas and ascetics and pillars of the mandapa have survived It could have been originally built in the 10th century AD These small temples either of brick or stone situated at the Gaumukba- Tirthasthala thus have a simple dvi anga or ifi anga plan consisting mainly of a garbhagpha and an attached mukhalında supported on two pillars (Fig 5) Two lower parts of the clevation viz pitha and mandovara have survived in some cases and the traces show that sıkhara had also evolved during the period when these temples were built It is . noticeable that while the traditional basic mouldings of the pitha eg jadyakumbha grasapajil gajathara asvathara and narathara Fig 5 are not there in some temples they are there in others Unless pre ---- ·Antiquities of Chittorgadh 20 cluded by the evolutionary process, these could have been shown in the temples of the former group also which are not merely symbolic mini-shrines The primary question is whether these desalis or devakulskas as these are popularly denoted are yotive temples built and consecrated at this sacred site which was a pilgrimage centre as memorials of the visitations by kings and rich men, or they were built for full-fledged worship by the devotees in different periods at this sacred place for special religious merit? We know for certain that Maharana humbha also decided to build his most important monument the KIRTTISTAMBHA which is unique in the whole range of Indian Art at the Gaumukha-Tirthasthala on account of its unique sanctity Howsoever symbolic and memorial is the hirttistambha it is representative of the contemporary style There seems to be no doubt that these shrines also reflect the contemporary style of temple-architecture and these can be fixed in various consecutive chronological units stylistically All these temples stand side by side, almost attached to one another, and it is not possible that these were built together with a single site-plan or lay-out They were built casually one after the other over several centuries and they are in essence representative of the contemporary style There is no doubt that the brick-ruins are earlier It is this way that their age can be tentatively fixed Then mostly they appear to be Saiva shrines Linga icons are found in abundance in ruins some garbhagshas have carved yonipaftas in-situ These also have gargoyles to drain out the sacred water The Samadhiswara was a Saiva temple since Bhoja Paramara consecrated it in early Ilth century AD It is quite likely that the Gaumukha site was a Saiva tirtha in the earliest period of the history of Chittorgadh from c 6th to 10th century AD to which these shrines may by tentatively assigned The most important aspect of the Gaumukba-Tirthasthala is that with c 6th Century relics, it is still living From art point of view it has lived for more than a millennium and nowhere else the evolutionary process of the temple architecture can be studied in perfect continuity ·21 Gaumukha Tirthasthala REFERFNCES See infra authors article Ubha Diwala of Nagan (Chittorgadhy' 2 CF Varda Bissau V 3 (July 1962) 2 3 for full text see Appendix A 3 Epigrapha Indica XXXIV, 53 58 Annual Report on Indian Epigraphy 1958 59 Nos 742 743 for details see D Sharma, Chittor A Part of Yashodharmana s Dominions Researcher Jaipur V VI (1964 65) 7 9 4 Sames Tod "Annals & Antiquities of Rajasthan (ed W Crooke) Vol II (Delhi 1971) pp 919 22 5 Rojasthan Bharati Bikaner IX 2 (April 1966) pp 30-31, for full text see Appendix-B 6 D Sharma Rajasthan through the Ages (Bikaner 1966) p 240 7 Agarchand Nahta Jaina Sahitya aur Chittor Shodh Patrika Udaipur I I (March 1947) pp 31 36 8 Prabandha kosa (ed Muni Jinavijaya) (Singhi Jain Granthmala (Shanti Niketan 1935) pp 24 26 9 Purarana Prabandha Sangraha (ed Munu Jina Vijaya) (Singhi Jain Grantha mala) (Calcutta 1936) pp 103 105 10 Prabandha Koša opcit p 17 Cf Op cit p 104 Kumarapala Carita Sangraha (ed Muni Jina Vijaya) (Singhi Jain Grantha mala) (Bombay 1956) PS 13 Ibid 6 14 lbid 14 15 Ibid 47 48 16 Op cit 103 17 See Appendix C for full text 18 See Appendix D for full text 19 ASI Annual Report of Indian Epigraphy for 1962 63 Inscripujon No B 838 fragmentary and undated inscription of Pratthara Bhojadeva in Sanskrit related to Siddhamatſika Records the construction of a Paltacal and some grant probably to the same The king s officer Siddha and his son

·Antiquines of Chittorgadh
22
20
Šesa are mentioned The broken slab is preserved in the Topkhina Museum
Chittorgadh Also see D Sharma s article Journal of the Oriental Institute
Baroda X 1, pp 32 33
For details of this history reference to D Sharma s Rajasthan through the
Ages op cit pp 234 49 263 448 515 641 etc may be made
Epigraphia Indica II p. 424
For details see infra authors article On the Samadhıswara Temple of
Chittorgadh
21
22
23 The tripartite struggle for political dominance in the region raged still
bitterly in the 15th century between Maharana kumbha of Mewar
Ahmedshahis of Gujarat and Khaljis of Malwa This is how geography helps
to repeat History
24 Epigraphia Indica II p 424 reference may also be made to AS! Progress
Report of the Western Circle 1903 4 Inscriptions Nos 2053 to 2071 which
are related to the Gaumukha site the hirttistambha and the Samadhiswara
25 Epigraphia Indica, 11 pp 419 22
26
Ibid p 420
27
For full text see Appendix E
For full text see Appendix F
28

·23 Gaumukha Tirthasthala APPENDIX-A १ (खण्डित) " स्स जयति भगवाधि- " ५ (प्पु) (फम्म) कृतेषु चतुर्यु बषशतेप्वेकाशीत्युत्तरेप्वस्या मालवपूर्वाया (४००) ८०-१ कात्तिक शुक्लपञ्चम्यामाझ्या भगवन्महापुरुषपादाम्या प्रासाद हित सत्यशूरेण स ग घेन दासेन भातृभिरेभिधनीश्वरज्जय ७ सत्पुनविष्णुचर पौनवृ द्धिवोद्द-प्रपौत्र- सूिप्रसूत पुण्य यशो- । पुण्यमभिवर्द्ध तु सिद्धिरस्तु ।। CER C Agarwal ‘Nagri-ka-krat-Samval-481-ka-Shilalekha' Varda Bissau V-3 (July 1962) pp 2-3, the epigraph-stone measures ll xlll , It was discovered at Nagarı by D R Bhandarkar it is in Sanskrit language written in Brahmi script of the Gupta period, now it is preserved in the Rajputana Museum Ajmer at records in 8 lines the construction and consecration of a temple dedicated to Visnu in VS 481/424 AD ·Antiquities of Chittorgadh 24 APPENDIX-B १ आ नम शिवाय'। ताण्डवाडम्पराकाण्ड २ को। समुद्रा किमवनि गगने व्याकुले किं च भाता ३ र विजयिनस्ताण्डवाडम्बराता कि यूय नत्तमित्य गदि (त) पिलकृतकृतयश यात्रा प्रजाना पुन । इति ५ श्रीमानभङ्ग नृप । ग्रहपतिजातिरासीन्गु ६ पृथवी हर्पितमतघरी य हितनक्षिने दत्त प सि स्तुतानेव यस्स विभक्तय प्रक्टय त्यक्त'शु ण्ड- वटक दिव्य क्षितौ विश्रुत । येनास्याक्षयवशी यत्र "प वारित जलाकस्प प्रपा शीतल वाय पस्य १० यस्या भिपृष्ठा कीत्तिपु चाविकोत्त न शना य ली ११ यव क्षेवलमिह शाश्वतधम्म । ज्ञात्वा १२ भ्र कप यनस्ति स्थले व । प्रयुनि तुरग शृ गेऽ १३ ध्यसनि निसारे समये सत्वकोक्लेि कालेशभू प्र १४ श्वो बुराम सन्तुण्ड-मण्डण्ड-प्रविकरति ज (य) १५ कोतिर्भासप्रभे चात्रिपुरविजय नो व्याप्त विश्रु (त) प्र समभोजमती। मात्रापूवक्षिरोदभासि टकोको सप्तसु शतेषु। अाह्न सज्ञने E Cf R C Agarwal Chittor-ka-ek-aprakashit-Shilalekha Rajasthan Bharati Bikaner IX-2 (April 1966) pp 30-31 it is preserved in the Victoria Hall Museum Udaipur, vide Handbook to the Victoria Hall Museum Udaipur (Jaipur 1961) p 9 Srl No 16 registered at No 9 it measures 12 x 8 and is written jo kutila script and Sanskrit language the epigraph was found in much defaced condition in a Siva temple on the river Gambhir at Shankar-Ghatta near Chittorgadh it records in V S 770/713 A D the construction and consecration of a Sūrya and a ſiva temple by Manabhanga ·25 Gaumukha Tirthasthala APPENDIX-C १ सवत् १३४४ विशाप मुदि ३ २ अद्य श्रीचित्रकूटे समस्त महारा- ३ वर कुन श्री समरसिंह देव कल्या- ण विजयराज्ये त्येव काले चित्रांग- तडाग मध्ये श्री वद्यनाथ कृते सक ६ रा स्तलार राम्बटेन चौकडी दात द्रा द्राम १ कायस्थ-ज्ञातीय पच सागा मुत वीजडेन कारापित ॥ ५ १ cr RC Agarwal, Mewar-ke-kuchh-Mahatvapurna-Shilalekha' Varda Bissau IX-1 (January 1966) pp 63 64 the epigraph stone with 8 lines in Sanskrit language and Nagari script is preserved in the Victoria Hall Museum Udaipur at No 32 it measures 10 X 9 it records in V S 1344/1287 A D a grant to the temple of Vaidyanatha Siva situated in the middle of the Citranga Taok at Chutorgadh Handbook to Victona Hall Museum Udaipur (Jaspur 1961) p 10 Srl No 23

·Annquities of Chitforgadh
26
APPENDIX-D
॥ सवत् १२२१ माग्गसिर (मागशीप) मुदि ६
श्रीफ नवदिवाया देवाधिदेव-श्रीपाश्यनाथ चत्ये
धीप्राग्वाटवमी (शी) य रापि मुरिण भ दसादाम्या
मात्मश्रेयाथ श्री चित्रकूटीय सिलफट (शिनापट्ट)
सहित चदरो प्रदत्त शुभ भवतु ।
CE Prachina-Lekha-Sangraha, Vol I (ed Vijaydharma Surij (Bhavnagar 1929} Sri
No 20 p 6, the epigraph 13-situ in the Phalodi Parasvanátha Derasara near
Merta, it records in V S 1221/1164 A D the dedication of Citrahūta-Śitapatia
as yotively as Ayagapat.

·27 Gaumukha Tirthasthala APPENDIX-E पा- ।। सवत् ५१४ (१५१४) वर्षे मान (ग) शुदि ३ थी भतृ पुरीयगच्छे श्री चूणमरिणभतृ पुर महादुर्ग श्री गुहिलपुत्र वि- २ हार-श्री बडादेव-प्रादिजिन-वामाङ्ग दक्षिणाभिमुखद्वाग्गुफा (गुम्फा) यामेकविंशति देवीनाम् चतुर्णाम् ३ लानाम् चतुर्णाम् विनायकाना च पादुका-घटित- सहकार-सहिता च श्री देवी चित्तोदरि-मूर्ति (ति ) स्था- (पिता) श्री भतृगच्छोय-महा-प्रभावक-श्री-ग्राम्रदेव- सूरिभि । अस्या मूती सा सामा-सु सा हरपालेन मातृ-ला- ५ थेयस = पुण्योपाजना व्यघोयत ।। Cf Jaina-Shilalekha-Sangraha Vol III (ed Vijaymurti) (Bombay 1957) Srl No 642 pp 489-90 Archaeological Survey of Western India Progress Report 1903-4 p 59 it is carved on rock at the Gaumukha-Kunda Chittorgadh in 5 lines in Nagari script Sanskrit language चरण-चिह carved in the centre of the inscription at the end are carved images of tota and $77 dedicated by Harpal son of Soma for the punya of his mother 'श्री जाशि (खि) णि carved below the चरण-चि है। Temple of gif fata on its left and a cave opening on the south-21 devis-four armed then mentions विनायर पादुका, देवी चित्तारि-but no Bhairava dated in vs 15141 1457AD ·Antiquities of Cluttorgadh 28 APPENDIX-F ॥ श्री ॥ ॐ ह्री अहं नम स्वाहा तित्थगरे भगवते जगजीव वियरणए तिलोयगुरु । जो उ करेइ पमारण सो उपमारण सुयधराण ॥१॥ दण अन्नतित्थयपराभव भवभयाउ निबिनो। नेगम अडसहस्सेण परिवुडो कतिउ सेठी ॥१॥ पवइउ मुरिणसुव्वयसामिसगासमि बारसगविऊ । बारसूसम परियाउ सोहम्मे सुखई जाउ ॥२॥ मुनिलगिरिम सुक्कोसलेण वग्धीकउवसग्गेण । पत्त परम ठाण वित्तिघरेण वि वर नारण ।।३।। सुक्कासलमुरिगसुचरियपवित्तसिंहरम्मि मुनिलगिरिम । सपइ चित्तउडस्खे चिरतरवहु वेइ (2) ए थुणिया ।।१।। तीर्थेशोऽहन कीर्तिधर सुकोशलमुनिस्तथा व्याधी । सर्वेऽपि सतु सुखदा श्रीसरतरपुण्यनदि गणे ।। कत्तिधर ऋपि मूर्ति अहन् मूर्ति सुकोशल ऋपि मूर्ति वाघरण और मुनि चिनाक्न १ ॥ श्री० ।। सवत् १५४३वर्षे शाके १४०८ प्र मागशीप वदि १३ तिथौ गुरु-दिने। श्रीचित्रकूट महादुर्गे। श्री रायमल्ल राजेन्द्र विजयराज्ये । सकल श्रीसङ्गन। स-तीथ । श्री सुकाशलपि प्रतिमा कारिता । प्रतिष्ठि- २ ता। श्रीखरतरगच्छे। श्रीजिन समुद्र-सूरिमि ॥ cf Jana Shulalekha-Sangraha Vol III (ed Vijaymurti) (Bombay 1957) Srl No 653 pp 500-501 records in the year V S 1543/1486 A D the consecration of the image of Sukoshala or Rishabhadeva with tirthas this is carved on rock in the Jaina temple at the Galmykha Kunda, Archacological Survey of Western India Progress Report 1903-4 p 59 also see Prachun-Lekh-Sangraha Vol I (ed Vijaydharma Surs) Bhavnagar 1929) Srl No 487 p 142 ·Ubla-Diwala of Nagari (Chittorgadh) The village Nagari is situated about 8 miles (12 kms) to the north of Chittorgidh on the bank of the river Bodach (aoo) This is an ancient site which was originally enclosed, the ramparts being composed of blocks of grey limestone packed dry without mortar with a moat connected by the river Here DR Bhandarkar found inscriptions datable to the period from 4th century BC to 7th century AD The oldest of them recorded the construction of a temple (Pūja- Sıla Prakara) dedicated to Vişnu as Sankarşana-Vasudes al १ (कारितो अय राजा भागव) तेन गाजायनेन पाराशरी पुरेस- २ बतातेन अश्वमेधयाजिना भगव(द)भ्या सक्पण वासुदेवाभ्या ३ अनिताभ्या सर्वेश्वराम्या पूजाशिलाप्रकारो नारायणवाटका । (This slab of stone for worship resting on a platform and the enclosed open space called Narayana-Vataka were built by the doer of the Assamedha Yajña the ardent devotee of Vişnu Sarvatata son of Parasarl of the Gajayana gotra for the worship of Lord Visau as Sankarsapa-Vasudeva) This was the first known Varşnava temple in India Traces of two Buddhist stūpas were also found Other inscriptions recorded the performance of Asvamedha Yajha and a Vajapeya Yajna One inscription again recorded the construction or rather the reconstruction of a Vişnu temple in the year 481 Malaya or Vikrama era DR also found here punch marked coins and coins of the Sibs which read मझिमिकाय शिविजनपदसः ·Antiquities of Chittorgadh 30 Sculptures moulded bricks and terracottas of the Gupta period were also found All these archaeological findings showed that Nagari is an ancient site which flourished from at least the 4th century BC to 7th century AD The Narayana-Vataka which contained the Puja Sila Prakara of the temple of Sankarsana-Vasudeva assignable to c 4th century BC has survived in a ruined condition It is called Hathibada (Elephants Enclosure) since Akbar used this enclosure for stabling his elephants on the eve of his Chittorgadh campaign in 1567 AD It is a vast open, rectangular enclosure measuring 296 X 151 (90 22 X 46 m) externally and 290 X 145 (88 39 X 44 20 m) internally Originally the wall was 9 -6' (2 90m) high It consists of five layers of huge massive blocks of grey limestone packed dry one upon the other without any mortar The blocks are dressed on the sides of the upper and under surfaces only 3 (76 cms) from the edge have been dressed the rest is rough and carved slightly hollow in concave form lewing a slight hollow space in between every two blocks (Fig 6) Probably, thus Fig 6 was done to arrest the air 10 between the blocks in order that it may hold them together the wall has a determined slope on the exterior internally it is perfectly in plumb (Fig 7) It is 3 6 (1 09m) thick at the bottom and 1-3 (38 cms) at the top Fig 7 By far the most important relic of Nagari 13 the Ubha-Diwala which stands isolated and inde pendent in a field at a considerable distance from the Hathibada It is a pyramidal square tower or minar (Plates XIX XX) of 21 courses of huge massive blocks of the same grey coloured limestone placed dry one upon the other without any mortar like the enclosing wall of the Hathibada Originally it measured 37 (11 28m) high The topmost block has now fallen down It 13 14—2 (4 32m) square at the base and 3-3 (1 Olm) at the summit which was 2-6 (0 76m) square at the apex when the fallen block was in position Curiously the structure has no foundations It is solid for 4 (1 22m) from the ground level and slightly hollow above it with the openings ·31 Ubha-Diwala in the courses of blocks, light is admitted into the interior There is no space enough to ascend in a usual way The blocks and beams have been laid across cach other leaving the interior slightly and irregularly hollow Through a small oblong opening one can crawl inside and rise step by step carefully to the top There are no stairs (Fig 8) When Akbar besieged Chittorgadh in 1967 AD, a huge stone lamp (diya diwā dipaka), containing oil and oilseeds, used to burn on its summit to lighten his camp hence it came to be known as the Ubha Dinala (High Lamp) Its original name and purpose has since been com pletely forgotten The stone and technique of construction of the Ubha Diwala are similar to those of the Hatha bada, though here the concave sockets of the latter are altogether absent This proves at least Fig 8 one thing that its stone was not taken from the wall of the Hathibada or a similar structure and the blocks were dressed for its own purpose, though this could have been done contemporarily Its blocks bear much greater slope externally and almost invariably they bear holes DR surmised that these holes were made by Akbar to facilitate its transfer to its present site 3 At present it has no foundations and it seems certain that was transferred from its original site to this place at a later date But who did it and why? Where did u stand originally ? What was the original idea and purpose of its construction ? These questions remain to be answered U A curious aspect of this structure is that the huge beams wbich lie across from edge to edge in the interior have a slight curve on each end (Fig 9) This is mysterious There was absolutely no nced to shape the beams like this simply for spanning It seems that these stones were carved this way to serve some other purpose and were later used to fill in and make up the tower Fig 9 ·Anliquities of Chittorgadh 32 The Ubha Diwala has, thus the following features - It 18 situated isolated and independent in a field at a considerable dis tance from the Hathibada 2 It does not have any foundations at the present site 3 It is square 10 plan and pronouncedly and emphatically pyramidal in elevation 4 It is composed of 21 courses of huge, massive blocks of limestone, exactly similar to those which have made up the enclosing wall of the Hathibada Here too these blocks have been packed dry without any mortar 5 But it does not have any concave sockets on the upper and under surfaces of the blocks as are there at the Hathibada 6 Its blocks have holes and the inner beams have curious curves at their ends 7 There are no stars in the interior but the blocks are laid across each other so as to leave some hollow space inside DR surmised that Akbar transferred it to its present site and, originally it was connected with the temple of Sankarşana Vasudeva as a Garuda Dhvaja The uppermost layer which has now fallen down shows an aperture in the centre of the top indicating that one more course came upon it and this may have consisted of an image of Garuda 4 This statement warrants careful examination in view of the distinctive features of the Ubha-Diwala If really a Garuda-Stambha, Kirtti-Stambha or Dhvaja- Stambha was planned to be erected in front of the temple of Sankarsana Vasudeva as early as that could they have adopted its square plan instead of a round one its composition of several blocks of stone instead of a monolith and its pyramidal form aod the most pronounced batter of external walls instead of a delicate taper ? The wooden piller Yapa which was a necessary accompaniment of yajñas in the Vedic and the later Vedic ages during the 2nd and the first half of the Ist millennium BC and its symbolic representation Skambha were round and made of a single piece of wood The Buddhist Dharma-Stambhas from the Mauryan age to the rise of the Guptas which stood independently eg the typical Asokan lat (c 3rd century BC) or in front of the Stūpas and Saila-Guhas and the Jaina ·33 Ubha-Dinala Manavaka or Manasa or Mana-Stambhas were invariably monolithic columns carved out of a single block of the stone They are round and slightly tapering The earliest Hindu precisely Vaisnava Kırtustambhas and Dhvaja-Stambhas which faced the Vişnu temples eg the Heliodorus column of Besnagar (Vidisha) (c 150 BC) were also monolithic tapering columns The Ubha Dawala is entirely different and it is unique in the whole range But it is the earliest of the Vaişnava kiritistambhas and it marks the starting point when the idea of Skambha or Yopa vis a vis the Vaisnava worship was first concretised Even image had not come into being and everything was in the formative process A few broken inscriptions on a slab found at Nagari record the performance of Vajapeya Yajna and erection of a commemorative Yüp3 6 Paleographically, DR placed them in the 4th century AD The Ubha Diwala cannot be identified as a Yūpa of the Gupta period as as late as that, it could not have been a square pyramidal tower made of multiple courses of blocks In the pre Gupta and the Gupta period it is invariably a round or octagonalised slightly tapering, monoli thic column as is attested by a large number of extant Yüpa stambhas cg two Yupa stambhas from Isapur (Mathura) (c 70 AD) Nandsa Yüpa stambhas (225 AD)? Barnala Yüpa stambhas (227 AD)8 three Yüpa stambhas from Badwa (238 AD) and the Yūpa-stambha of Vijaygarh at Bayana which was also raised in VS 428/371 A D as a commemorative pillar gat gozatzi gaisung falofa, तस्सुप्प्रतिष्ठित राज्यनामधेयेन 10 The Ubha Diwala thus stands unique in the whole evolutionary process from the Rgvedic Skambhall down to the typical Kırttistambha of the Rajput period The Puja Sila Prakara dedicated to Sankarşana Vasudeva was also a unique structure It is noteworthy that the Ubha Diwala is also composed of the same limestone which has made up the Hathibada This stone was brought to Nagar from some nearby hill and as its type affirms stone for the Hathibada and the Ubha Diwala was brought together simultaneously from the same querry Both structures have slope on the external walls and both have been packed dry without mortar The Ubha Diwala has no foundations at its site and it could have originally belonged to the Hathibada It is quite hkely that the Ubha Diwala was originally raised inside the Kathibada enclosure in front of the temple of Sapkarşana Vasudeva to symbolise a Kırttıstambha of which class it should be the first relic It is possible that the builders could not get a huge monolith to carve a single ·Antiquiries of Chittorgadh 34 column and, placed as they were in peculiar circumstances as early as the 4th century BC, they took recourse to the same mode of construction in the Kirttistambha as they were following in the Hathibada Though a surmise the available data points in this direction Akbar could have used it as a High Lamp at its original site as his elephants were already stabled there and it was not necessary for him to transfer it to its present situation It seems that it was transferred there in the 4th century AD to serve as a commemorative Yüpa of the Vajapeya Yajia which was then performed at Nagari This great Yajna could not be done along side the temple within the enclosure of the Hathibada hence arose the need to transfer it to some other spacious place selected for the Yajāa The holes of the blocks and curious curves of the interior beams seem to have been made to facilitate the transfer and also to serve some other purpose which is beyond our comprehension Since there is no record many rituals and practices of the ancient people are enigmatic in the modern context ·35 Ubha-Diwala REFERENCES This inscription was carved at three places on the enclosing wall The first has remained in-situ The second one was discovered in a well at the village Ghosundi six miles from Nagart It is now preserved in the Udaipur Museum of Handbook to the Victoria Hall Museum Udaipur (Jaipur 1961) p 7 Sel No 1 registered at No 20 The white limestone epigraph stone measures 83 x 19 The third one was broken into three pieces which were recovered from the village Ghosundi The text is identical on the three slabs See DR Bhandarkar ASI Memoir No 4 The Archaeological remains and Excavations at Nagarı (Delhi 1977) Pp 117-19 (hereinafter referred to as DR) his article Hathiwada Inscription of Nagari El Vol XXII (1933-34) Pp 198-205 V S Agarwal Prachin Madhyanyika-Ko- Narayana-Vatika (Hindi) Shodh Patrika Udaipur IV 3 (March 1953) Pp 36-42 2 DR 122-23 3 Ibid 132 4 Ibid 132 $ Ibid 120 6 ASI Annual Report 1910-11 p 41 preserved in the Mathura Museum 7 Epigraphia Indica Vol Vili p 36, preserved in the Victoria Hall Museum Udaipur registered at No 43 8 Ibid Vol XXVI p 120 preserved in the Amer Museum Jaipur 9 Ibid Vol XXIII p 46 and XXVI P 118 preserved in the Kota Museum 10 Bharatiya Abhilekha Sangraha (tr and ed GSP Misra) (Jaipur 1974) Pp 316-18 11 Rgieda VI 47-5

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·Unique Brick Temple of Chittorgadh Birk structures have been found at Nagacs (ancient Madhyamika) situated on the river Bedach, about 12 kms from Chittorgadh in Rajasthan They may be assigned to the Gupta period c 4th-5th centuries A.D Brick has not only been used there for masonry but moulded-bricks bearing such designs and motifs as Lahara-Valları, palm--tree lotus, birds and human heads have also been used for ornamentation These moulded orpaments are of excellent quality and almost resemble the best terracottas DR Bhandarkar held the view that this art was brought to Nagarı from the Punjab by the Sibis around 150 B C Nagari is situated in a region where stone for building material was abundantly available and in fact most of the earlier and later constructions are in stone and it is quite likely that the brick-art in the Chittorgadh region had an extraneous inspiration In any case brick-construction with moulded-brick or terracotta ornamentation is as characteristic of the period from 5th to 8th century AD (ie the Gupta and the post-Gupta periods) as is its stone counterpart This is amply illustrated by the temple remains at Bhitargaon, Sırpur Paharpur, Purulia and Kherahat for example In Rajasthan too early brick temples have survived though they are either in ruins or have been repovated with stone The ruined brick Jaina temple at Karsorapur near Bundı can be assigned to c 5th century AD The brick temple at the village Dhamana in Chittorgadh has Ganga-Yamuna motifs on the dvāra sākha and this also belongs to the Gupta period c 5th-6th centuries AD Brick work has also survived in the temples at hansua Nagda and other early sites of Rajasthan mostly in the śikhara though the respective temple has been renovated The brick temple situated on the Fort of Chittorgadh to the south of the Kumbha s Palace complex just attached to it (Plates XXI-XXII is unique in this context It is a sandhara prasada (temple proper with circumambulatory) which faces the East (purvabhimukha) The plan is simple (Fig 10) comprised of a Mulaprasada pradaksina-patha antarala and a sala-mandapa The mula ·Antiquities of Chilforgadh 38 prasada is dvi-inga having a karna between the two bhadras with an antarala on the opening of the square garbhagrha which is altogether simple and at present empty The pitha and mandovara of the mulaprasada are built of massive blocks of stone and are absolutely plain (PI XXIII) without the traditional mouldings such as padyakumbha grāsapatji, gajathara etc In fact neither the pitha is divided into bhitt and other mouldings nor the mandovara into vedibandha jamgha and varandıka More surprising is the fact that the whole of the exterior surface of the mūlaprasada was originally plastered over with a thin layer of cream colour plaster and stone carving did not figure in its ornamental scheme There are absolutely no icons or any other sculptures These factors without doubt take it to the earliest stages of the evolution of the temple in Rajasthan on the one hand and on the other co-relate it with its brick sıkhara which also has plaster ornamentation Fig 10 The covered pradaksina-patha has open vātayanas one on each of its three sides There could have been more beautiful gavaksa openings originally The whole passage is again absolutely plain and simple and there is no ornament The concrete flat roof which is obviously a later probably modern addition and which extends over the mapdapa distinctly separates the mandovara from the sıkhara which thus appears to rise from the roof almost independently This has much disturbed the original personality of the temple In contrast to the plain mulaprasada the mandapa has beautiful stone carvings It is comprised of four ornately finished stone pillars of the sala in the middle (PI XXIV) with raised kaksasanas and asanapaffikas on the three sides The ardha-stambhas (half pillars) of the sides rest on these kaksasanas Two pillars make up the entrance porch All these have been very artistically done Designs are mostly comprised of kirtti-mukha lahara-yalları and ghaça-pallava motifs Besides the Vaisnava icons non-sectarian devangana figures in various beautiful situations (eg P1 XXV) have also been depicted Låvanyamaya mithunas also appear on the shaft of the sala pillars Their detailed ornamenta fion expression of the graceful postures harmonious proportions of the figurative art and balance of the mass of stone place them in the 10th century A D which marks the zenith of sculpturesque decor in Indian Art ·39 Brick Temple There is no samvaraṇa or any other śastȚic super-structure over the mandapa and the single flat roof of concrete which now covers the whole of the sub-structure including the pradaksina patha is obviously modern Over the mūla-prasada rises the brick śikhara of the latida type with jālaka design made in plaster over it (Pls XXVI-XXVII) Śrogas and uruh-śrågas rise and buttress it on all sides each one is crowned by a mini-amalaka of moulded brick The combination of the vertical rise of the sıkhara with these horizontal amalakas which were originally crowned by moulded brick kalasas is perfectly balanced This is probably one of the best examples of fully developed Nagara Latina sikhara in brick work The whole of it is crowned by a huge amalasaraka in which culminates most harmoniously the rise of the sıkhara and which also interlocks the structure below it It may be emphasized that it is entirely built of brick masonry with a judicious use of moulded brick amalakas and kalasas the rest of it having been plastered over thickly in the jalaka design Originally it was in a pleasant cream colour now time has blackened it The Sikhara is hollow inside it is so-called a double-dome (Fig 11) With the rise of the brick masonry wooden pattis (planks) and stone slabs have been Fig 11 used both diagonally at the angles and across the sides at regular intervals of a yard each, to reinforce the masonry and also to distribute the load evenly Four such diagonal and cross phases are visible inside the sikhara which is accessible through a rectangular opening from the roof There is no arch or vault and absolutely no dome and the system of construction is extremely simple yet suffi ciently enduring This is the efficacy of the desi-paddhati There is no epigraph or any other record related to this temple In fact owing to its situation in an obscure corner it is not generally known Brick ·Antiquities of Chittorgadh temples were built at Chittorgadh in the earliest phases of temple construction on this ancient fort and some brick plinths have actually survived at the Gaumukha- Tirthasthala which is by far the most ancient site here These plinths are assignable to the Gupta and post-Gupta period, c 5th-7th centuries A D This brick temple which in all probability was originally consecrated to the worship of the god Visnu appears to be the sole surviving monument of the same period Stylistically the müla-prasada with its brick śikhara can be assigned to c 7th century A D to which the ornately finished stone mangapa seems to have been added around the 10th century AD REFERENCE 1 CE A SI Memoir No Archaeological Remains and Ercavations at Nagarı (Delhi reprint 1977) p 127 ·beautiful design which is absent in the previous panel attendants female attendants in the same niche male in the next and again female in the last Figures have been tastefully carved Toluptuousity of forms and the abundance of flesh which is sought to be expressed Stylistically this art belongs to the Gupta period, € 4th 5th Some Pre-Pratıhara Panels at Chittorgadh Chittorgadh was a great religious centre from the earliest times of growth of civilization and culture in the region and temples of different religions were built here on a large scale Their ruins including sculptures and sculptured panels are scattered all over the Fort eg at the Gaumukha The Sûrya Kunda the Bhimlat the Chitranga Mori and the Kukreshwar A few deep tanks have never been desilted and it is quite likely that waters of various kundas of Chittorgadb eg Gaumukha Citanga Banamata and Kukçeswara are concealing valuable sculptures and epigraph stones A few ancient Panels offer an interesting study and document its history to the antiquity of the Gupta period First one is a huge massive block of red sand Stone probably a lintel which is lying among the debris at the Gaumukha Tirthasthala it is very sparsely carved and there are two papels only One shows (Plate XXVIII) a sthanaka deity, probably Visnu with prominent kuņdala kırıfa and Warayant, the figure has two arms only Obviously the four-armed tcon had not then developed It is attended by grotesque figures one on either side in the same Niuhe while in each semi-circular side niche a male attendant has also been carved Designs are very simple and the icon bears practically no other ornament other panel shows a two armed female deity probably Durga (Plate XXIX) as the pair of lions below its feet denote It is carved in a gavaksa shaped niche with a The There are three sets of Particularly noticeable is the in each figure century AD ·Antiquities of Chittorgadh 42 Preserved in the Topkhana Collection of the Archaeological Survey of India at Chittorgadh on the Fort is a unique panel of yellow sandstone It depicts Tapasvını Parvat in the centre standing on her left leg the right one is bent and rests on its knee (Plate XXX) She is four armed upper two are raised over the head and bear a rosary or a pearl string lower left hand has kamandalu and the right has some thing else which is partially broken Siva with liaga icon sits on the left hand upper corner while asana Parvati occupies the right hand lower corner Parvati with Ganeša is again shown on the right hand upper corner and with kumara (Karttikeya) on the left hand lower corner The panel thus depicts Siva Parivara with emphasis on Parvati s penance of which Kalidasa made a detailed description in the humarasambhava eg यदा फल पूर्वतप समाधिना न तावता लभ्यममस्त काडि क्षितम् । तदाऽनपक्ष्य स्वशरीरमादव तपो महत्सा चरितु प्रचक्रमे ।। (५१८) This panel can also be placed in the Gupta period c 5th century AD The Kaliha Mata temple was originally the Sun Temple built by Raja Manabhanga in the 8th century AD It has been renovated from time to time The original superstructure is no longer extant and at present the garbhagpha is roofed by a modern dome shaped sikhara It is quite plain except for the two panels of grey limestone fixed on its eastern side They are different from the art of the temple in form and spirit and obviously they do not belong to the temple It appears that when the sikhara was restored in the recent times these two panels were found in debris in the neighbourhood and with a view to retrieve and preserve them, they were fixed on the sıkhara The left one depicts a dance scene (Plate XXXI) While the dancer is female the musicians who are accompanying with various instruments as mpıdanga jhanjha manjira and bansı are all male They number six A very crude attempt has been made to restore the face of the female dancer Two small figures are filling the space on the lower corners Sculptures are in high relief and have been Composition is robust and each figure vibrates with life very well done The other panel on the right side shows a dance-cum-bacchanalian scene (Plate-XXXII) There are six main female figures The central one is drinking from a bowi and dancing one is holding a jar, another is trying to hold the undergarment from slipping down Three smaller female figures have been carved on either side The group on the left side is playing with musical instruments The ·43 Pre Pratihara Panels depiction is again extremely forceful and the spirit of the situation has been fauhfully portrayed in the mass of stone This was a popular theme of panel-decoration during the Gupta period A panel carved in rock in Cave No 5 at Udaigırı depicts a similar scene in which a lady is dancing and five ladies are playing on musical instruments Most probably ît depicts Jatimaba or birth-celebration (Janma-mahotsava) The carved panel from Pawaya (Madhya Pradesh) also of the Gupta period now preserved in the Gujarı Mahal Museum Gwalior also depicts a dancing lady accompanied by eight other female figures who are all playing on various musical instruments (Plate- XXXIII) Similar is the scene carved in rock 10 Cave No 7 at Aurangabad of the second half of the 6th century AD Here the central dancing lady is accompanied by sıx ladies playing on musical instruments (Plate-XXXIV) Full of similar gaiety and joyfulness the Kalika Mata panels also appear to depict Jatimaba' Both panels belonged to the same age and style It is likely that these were used on a side of the jagati on which some sort of religious worship was in vogue in an age when temple had not fully developed We know for certain that 'SCENES FROM LIFE (Loka-Jiwana) are tastefully and faithfully carved on the Narathara of the butt of the Hindu temple from the 10th century AD onwards as a rule and later texts invariably mention it But the Visna-Dharmottara-Purana datable to c 650 A D in its chapter on Prasada-Laksanal does not mention a bhitt or its traditional mouldings-which it may be inferred had not then developed It prescribes a grand jagati (plinth) in three bhūmikas (stages) which are called Bhadrapıtha It is quite likely that Loka-Jiwana and Loka-Lila scenes were depicted on a Bhadrapitha 10 this age c 4th to 7th century AD Later these three bhadrapithas were incorporated in the bhitt respectively as gajathara asvathara and uarathara, when the temple developed on the elevational axis These two panels as it seems were used on the bhadrapiſha of a temple prior to the development of Narathara which is the moulding classically reserved for the depiction of Loka-Jiwana and Loka-Lila

·Antiquities of Chittorgadh
REFCRENCE
44
IGOS No CXXX (Baroda, 1958) Chapter-LXXXVI pp 230 42

·On the Samadhisvara Temple of Chittorgadh The famous Samadhıśvara 710TTT (erroneously called Samiddhesvara afazat) temple is situated at the Gaumokha-Tirthasthala on the northern bank of the Gau mukha-kunda just overlooking the western ramparts in the Fort of Chittorgadh (Map Nos 1 and 2 above) It has been built on the rock, part of which envelopes it on the eastern side It is a pascimabhimukha Saiva temple with mukhacatuşkıs (entrance porches) on all the three faces on northern western and southern sides opening into a gūdha-mandapa which is connected to the garbhagsha through an antarala (ante-chamber) Though an ancient temple it has been restored from time to time over a period of about five centuries from 11th to 15th century AD and consequently it has representations of several styles and stamps of scveral epochs Thus for example different types of pillars are there a few bear extremely deep and detailed carvings and seem to have been inspired by the wooden art of Gujarat Some širşas (capitals) are likewise excellently beautiful Some devanganas stand in graceful figures and postures on their pedestals they vibrate with life and depict the art of the 1lth century a few others are on the other hand stereotyped and look like dolls They remind the age of declinc of the art of sculpture in the 15th century The carvings on the Narathara also differ overwhemingly The temple is in a large measure a patch-work It can be studied better with the help of the bistorical data than its stylc of art The Chirana inscription of VS 1330/1273 AD mentions onc Madana the Taliralsa (Governor) of Chittorgadh who worshipped Lord Sadašna at the Śiva temple on the Fort this temple was built by Bhoja Paramara (1018-54 AD) and was famous as TRIBHUWANA-NARAYANA ·Antiquities of Chittorgadh 46 श्रीचित्रकूटदुर्गे तलारता य पितृवमायाता ।। श्रीसमरसिंहराज प्रसादत प्राप नि पाप ॥३०॥ 11 भोजराजरचित-त्रिभुवननारायणरयदेवगहे ।। faraula F Astfagfrazat safafata 117811? There was thus in the Chittorgadh fort a temple of Siva built by Bhoja Madata who was nothing less than the Viceroy of the place worshipped there Obviously It was a grand and the most important temple at Chittorgadh It was famous as TRIBHUVANA-NĀRĀYANA which was Bhoja Paramara s brruda Ojha examined the matter in details 2 He referred to a work entitled Gana-Rarna- Mohododhi by Varddhamana composed in 1197/1140 It is full of eulogiual accounts of Bhoja and his ancestors most probably quoted from the panegyrics composed by some contemporary court poet of Bhoja He has been referred to in this work as TRILOKA-NĀRĀYANA (= TRIBHUWANA-NĀRAYANA) which was his biruda Ojha, therefore rightly concluded that the Tribhuwani- Narayana temple was built by Bhoja and it was named as such after his buruda The same temple was also called Bhoja-Swamia-Jagati' as for example the inscription dated 1358/1301 refers to It records the dedication of some votive article, 1 e image along with a prasastı-pajjika (panegyrıc-slab) in this temple ज० घारसिंहेन भोभोजस्वामिदेव जग(ती) वैलिनिर्मित प्रशस्ति-पट्टिका महिता कु थयसे करापिता द॥घा 3 There seems to be no doubt that the Tribhuwana-Narayana' Siva temple was also called Bhoja-Swamin' Temple or vice-versa and the various references refer to one and the same temple which was built by Bhoja Paramara at Chittorgadh during the first half of the 11th century AD Where was it situated ? The most sacred place for consecraving a temple was naturally the Gaumukha-Tirthasthafa on the bank of the Gaumukha-Kunda and it was here, rather than anywhere else that kings and richmen were building temples as memorials to their pilgrimage to the great Tirtha It was a great centre of Saivism as the surviving relics from the Gupta period onwards have shown This was undoubtedly the most suitable site for the construction and as the later epigraphs show Bhoja s temple was also situated here ·47 Samadhisvara Temple Rawal Samarsingh enclosed the whole area of Gaumukha Tirthasthala on account of its sanctity and built its two gateways (Pratolls) on the northern and eastern sides Two inscriptions were placed on the northern gateway as record of this construction One epigraph slab has survived This panegyric dated in 1331/12744 was composed by one Veda Sarman The opening verse reads ॐ नम शिवाय ।। जधदधिक विलास चारुगौर नखेदुद्यतिसहितमपि स्व सवलोकेप्वपूर्व ।। चरणकमलयुग्म देवदेवस्य पायादभुवन मिदम- पायाच्छीसमाधीश्वरस्य ॥१॥ This invokes Lord Siva as Samadhiswara (Lord of Samadhi) whose temple was situated in close proximity as a matter of fact the panegyric is closely related to this temple of Samadhıſwara and that is why it mentions and invokes Him He was the presiding deity of the site which was enclosed and it was naturally to Him that the poet paid his obeisance The reference 'Devadevasya payad-bhuwanamadam-pāyad-sri-Samadhiswarasya' is unmistakable in its meaning Its verse-60 records the placing of the Praśastt at the Pratoli तावदीशप्रतोल्या नद्यात्कोतिविशाला गुहिलकुलभुवा सत्प्रशस्तिच्छलेन । ६० ॥ अनतरवश वणन द्वितीयप्रशस्ती वेदितव्य ॥ वेदशर्मा कविश्चक्रे प्रशस्तिद्वितयीमिमा ।। The second slab mentioned hereis is missing But another prasasti composed by the same Veda Sarman was placed in a Saiva Matha near the temple of Achale shwar at Abu in 1342/12855 It contains some very useful references योऽकापदिकलिगत्रिभुवनविदित श्रीसमाधीश चक्र- स्वामिप्रासाद वृन्दे प्रियपटुतनयो वेदशर्मा प्रशस्तिम् ।। ते पापि व्यधायि स्फुटगुणविपदा नागरज्ञाति भाजा विप्रेरणाशेषविद्वज्जन हृदयहरा चित्रकूटस्थितेन ।। ६० ॥ This records that his previous prasata at Chittorgadb was related to two famous temples one of Samadhıśa or Siva Samadhıswara which was famous in the world or more correctly which was famous as TRIBHUVANA (1 e TRIBHUWANA VIDITA) and the other of Visnu as Cakraswamin Temple marked x in Section A on Map No 2 above could have originally been the Cakraswamın temple referred to in this inscription Standing on an extraordinarily imposing plinth it has an ·Antiquities of Chittorgadh 48 intelligent stellate, viz CAKRA plan and exquisitely carved Vaişnava sculptures and even in this completely ruined condition it is representing a fully developed temple in a beautiful architectural style The other temple of the site referred to in the epigraph is the Samadh Śwara temple The allusion TRIBHUWANA VIDITA ŚRI SAMADHISA (7997- विदित-श्री-समाधीश) is extremely significant This shows that the Samadhiswara Śiva temple was also known as 'Tribhuwana' or Tribhuwana Narayana' and it was the same temple which was built by Bhoja Paramāra These epigraphs thus help us to ascertain the situation of the temple at the Gaumukha Tirthasthala and identify Bhoja s temple viz Tribhuwana Narayana' also called Bhojaswămin Jagatı as the SAMADHIŚWARA temple (Plate XI above) This is further confirmed by other inscriptions Two large praśastis placed and preserved in the Samadhıswara temple supply valuable data in this connection The earlier one consisting of 28 lines in Sanskrit language dated VS 1207/1150 AD us carved on a slab of black marble measuring 1 8 x1 3 6 It records the visit of the Calukya King Kumarapala to Chittorgadh and the donations made on this occasion to the temple of Samadhıswara which is undoubtedly the same temple where the prasasti is placed It eulogizes Kumarapala and his ancestors and also alludes to the temples palaces lakes tanks and other beautiful relics of Chi itorgadh It describes the Gaumukha-kunda poetically and bestows upon its water the sanctity of Gasga - अगाधगभीरस्वच्छ स्वमिव मानसम् । निम्मल सलिल यनपिहित प (द्म) जे नीला-राग (भू)श्रियम् ।। विमुच्य व्योम पातालरसा यत्र f7HTTTT 1911 9(arfa) It records that the Samadhiswara temple was situated just on the northern bank of this Kunda उत्तरतटद्राक्षीनानामर समचित । श्री समिद्धेश्वर देव प्रसिद्ध जगतो This Jagatı' (precisely temple) was famous in the world It is noteworthy that kumarapala has been recorded to have worshipped the deity of this temple and his consort viz Sıva and Gauri and made some donations The prašasti was composed curiously by a Digambara Jaina monk and the panegyric refers to the temple as Srimat Samadhisa-Maheswara ·49 Samadhishara Temple The second prasasti, also carved on a black marble slab measuring 4 -2' x2-8 consists of 53 lines in Sanskrit verse It is also preserved in the temple and belongs to it It records restoration of the temple of Samadhiswara by Mokal, father of Maharana Kumbha invs 1485/1428AD It names the deity of the temple as Samadhisa (समाधीश) and Samadhiswara (समाधीश्वर) over and over again e श्रीमत्समाधीशमहेश्वरस्य शिल्पी श(स)माघीशप्रसादत्त and of whrch Samiddheswara (समिद्धेश्वर) is only an ungrammatical and corrupt form That Mokal restored the temple has also been attested by the Kumbhalgarh Prasasti of 1517/1460 नृप समाधीश्वर सिद्धतेजा समाधिभाजा परम रहम्यम् । आराध्य तस्यालयमुद्दधार श्रीचित्रकूटे मरिणतारणाक ॥२२२॥ This associates the nomenclature with 'SIDDHI SAMADHI and PARAMA- RAHASYA rather than with Samidha which is irrelevant in the context The Kirttistambha Prasasti preserved in the hartti-Stambba situated on the north eastern corner of the Gaumukha-Tirthasthala, dated 1517/1460 further helps us to identify the situation of the Samadhıswara with complete and unmistakable certainty In verse-33 it mentions - वीत्तिस्तभमकारयत्सरणधीरभ्र लिहान । समाधीशा सवसुपवराजहरिति क्रीडानिवास श्रिय ।। This makes out that the kirttıstambha was built in front of the Samadhiswara Temple असमाधीशा। Two short epigraphs, in fact, architects notings dated 1499/1442 and 1515/1458 also mention the Samadhiswara सवत् १४६६ वर्षे फाल्गुन सुदी ५ महाराजाधिराज राणा श्री कु भवरण विजय- राज्यदेव श्रीसमाधे(धी)श्वर सूत्र- धार जइता पुत्र नापा पुजा प्रणमत । श्री समाधि(घी)श्वर श्रुत महामेरु and ·Antiquities of Chittorgadh 50 They confirm that the two were situated in close proximity and the architects were paying obeisance to the Lord Samadhiswara This epigraphical data confirms that King Bhoja Paramāra built a Śiva Temple in the Chittorgadh fort about the middle of the 11th century AD It was called TRIBHUWANA-NĀRĀYANA after his biruda It was also called BHOJA-SWÄMIN DEVA-JAGATI Some time later about the middle of the 12th century AD it was famous as temple of Śiva "SAMADHIŚWARA' Its situation on the northern bank of the Gaumukha-Kunda remains incontrovertible It is by this name Samadhıswara that later inscriptions mostly refer to it Samiddheswara is its corrupt form It 18 The Samadhıswara Śiva image is unique and calls for elucidation noteworthy that six stairs descend below from the antarala into the garbhagrha which is situated at a much lower level than the general floor level of the temple Attached to the castern wall facing west is the huge image of Siva of about 7 height It has three faces but it is NOT Trimurti depicting Brahma Visnu and Mabesa instead it is Mahesamūrti of Siva with three faces the central and left being pacific and right one terrific All three heads bear jatamukutas and all three faces have a third eye in the centre of the forehead The right face representing ghora' or 'Aghora' aspect of Siva also has a ringlet of snakes and a skull on the jatamukuta Its other features are similarly terrific The image corresponding to three heads has six hands One right hand is raised in sarpa-mudra other hands have aksamala matulunga kapala sarpa etc The sculpture is not well done and is a poor-work from artistic point of view and it has also been much defaced but the three faces appear to represent Saumya Ghora and Uma (Saku) aspects in the centre and on left and right sides respectively It is not Sadasiva-Mürti which is a five-faced icon bearing sakti sola khadvānga abhaya and parasu in right bands and naga aksamala damaro nilotpala and matulunga in left hands 8 The Chirawa inscription shows that Madana worshipped Sadasiva in this temple It is likely that originally there was a Sadaşıva-Mürti in the garbhagpha Sadasiva is the highest and the Supreme Being according to the Saiva philosophy formless beyond the comprehension of any one subtle, luminous and all-pervading not contaminated by any gunas and above all karmas It is from this Supreme Being that all else have their origin being and end at his will For the purpose of creation the Supreme Being attempts to cause the movement of the BINDU (sperm) and it is in this state that he is considered as SAKALA-NIŞKALA 9 The Sıva was therefore Samadhiswara or the Supreme Being in the Cosmic Samadhi The original murti seems to have been desecrated during the Khalji occupation (A D 1303-10) and Mokal restored it again It appears that the 15th century kon was also somehow destroyed and ·51 Sanadhifuara Temple the present murti is only its modern replica It is noteworthy that popularly now it is called 'ADBHUTJI ((Hafl) and 'ADBADJI (977771) which name is also attached to a ruined 15th century Śiva temple near the Suraj-Pole which also contains a three-faced icon almost similarly This is how the popular artist represented the classical things MA Dhaky held the viewlo that this was originally a Jaina temple in fact, a humara-Vihara built by Calukya Kumarapala He made its stylistic study and placed it in the Maru Gurjara style of western India of the Solankı period Iconographically too he cited a large number of Jaina images of Tirthankaras Yaksas and Yaksinīs (Sasanadevas and devis) stationed on the narathara (narap tha) kumbhaka of the vedibandha and jamgha of the Gūdha-Mandapa and the Mulaprasada 11 This warrants careful study of the available data kumārapala visited this temple in 1150 A D and, most probably he restored it and made some donations which facts are recorded in his above-cited Prasasti It is natural that he restored it in the style which was in fashion in the region during the period with which he and his artisans were conversant There is nothing unusual or surprising if parts of the temple e g pillars, capitals and sculptures betray influence of the Solankı style It is certainly there But a few basic facts of the matter have been missed It is unmistakably recorded in his Prasasti that when he visited the temple most probably after its restoration he worshipped Lord Siva and his consort - सस्मरु पूव्वयमि शिव प्रपूज्य त (त्प)- (म) गमत्प्रभु प्रणम्य (तावुभौ ) भक्त्या सि (शि) रसा तस्वा त पूजार्थ हर पादयो । The inscription is dated jo 1207/1150 when Kumarapala did not profess Jainism at least outwardly It is only later in 1216/1159 that he cmbraced Jainism as is attested by Moha-Parajaja-Nataka of Yaśabpåla Mantri wbich correctly Tecords the day, month and year of his conversion to Jainism 12 As such, he could not have afforded to build a Jaina-Vihara in 1150 A D Then it must be poted that there are no distinctive characteristics of Jaina Temple architecture in fact Indian Temple Architecture is classified stylistically more oiten than not on a regional basis and basically it is never a sectarian ·Antiquities of Chittorgadh 52 division We have the same style of Jaina Saiva, Vaişpava, Saura and Śakta temples at Khajuraho and the same style of rock-cut 1 e Saila-Krat (917a) and *TANKOTKĪRNA' (610) Jaina Vaişnava and Sarva temples at Ellora for example By and large iconographic details help us to identify the presiding deity The Samadhiswara temple has Jaina icons on the Narathara, Kumbhaka of the Vedibandha and the Jamgha It may be noted that narathara is reserved for the depiction of Loka Jiwana and Loka-Lula A large number of mithunas in Lavanya-maya (graceful) Asakta (amorous) and Maithuna-Rata (coitus) postures have also been depicted here on the Narathara without the least hesitation as it was part of the Loka-Jiwana and a popular motif of Indian Art 13 Chittorgadh was a great centre of Jainism which in a large measure regulated the life of the people hence it is quite likely that Jaina subjects were also shown along with SCENES FROM LIFE In fact the architect was free to depict anything from the common hfe of the People on the Narathara and if he happened to be Jaina there was nothing Sastric to prevent him from depicting Jaina subjects on the Narathara Broadly following subjects have been depicted on the Narathara of the Samadhiwara temple (1) Hunting scenes (Mrgaya) which was a popular pastime of the ancient and medieval people (11) Battle scenes which were so common in ancient and medieval ages (111) Processions and Durbar scenes and scenes relating to Royalty (1) Religious scenes, e g worship of stūpas lingas jinas and other deities discourses ascetics etc etc (v) Devanganas in dance and erotic postures and (v1) Scenes from common life eg bullock and camel-carts artisans at work etc It is remarkable that in spite of the fact that Jainism gives basic emphasis on Ahimsa (non-violence) hunting and battle-scenes are freely depicted on Jaina temples and in spite of celibacy as the fundamental constituent of Acara lively erouc scenes are freely carved thereon This is depiction of Loka-Juwana and it has no sectarian or religious implication These scenes are in fact common to temples of all religions ·53 Samadhishara Temple The general features of the vedibandha and jamgha of the mandovara of the Nagara Prasada have been discussed in the Aparajılapsecha datable to the late 12th century A D in the minutest details 11 Particularly its Sutra-127 entitled 'Nagara-Prasada Vibhakti Stara-Pramana-Lalsanam' names the icons which should be depicted on the Jamgha ऐप्वप्टी च दिक्पाला प्राच्यादिषु प्रदक्षिणम् । नटेश पश्चिमे भद्रे ह्यधक सह दक्षिणे ॥२३॥ चण्डस्य चात्तरेदेवी दष्ट्रानन सुशोभिता । वीतरागे च शासनदे यश्चय दिशा प्रति ॥२४॥ वारिमार्गे मुनी दास्तु प्रलोनाश्च तप सु च । गवाक्षाकारभद्रे तु कुर्यान्निगमभूपितान् ॥२५॥ नानाभरणक स्तम्भस्तिलरच्याद्यभूपिता ब्रह्मविष्णुमहेशाद्या इल्लिकावलणयु ता ॥२६।। इति जड्वा ।। Thus Vitaragas ie Jinas and Sasanadevis have also been ordained to be depicted along with other Saua and Vaisnava icons This was not a mere theoretical formula of art at Chittorgadh which was as great a Jaida Tirtha as it kas a Saiva centre and integration of ideas and forms was continuously in progress This historical and stylistic analysis substantially disproves the theory that the Samadbiswara Temple was originally a Jaina temple viz kumara-Vihara and confirms that it was a Śaiva shrine through out 16 ·Antiquifies of Chittorgadh S4 REFERENCES 1 Vir Vinod 391 2 Chittor-ke-kile-par-Malwa-ke-Paramaron-ka-Adhikar (Hindi) and “Paramara-Raja-Bhoj-ka-upnam-Tribhuwan-Narayan (Hindi) cf Ojho- Nibandha-Sangraha Voll 169-173 and 178 197 3 RC Agarwal, Menad-ke-kuchh-Mabatyapurna-Shulalekh (Hindi) Varda Bissau IX-1 (January 1966) 64-65 Vir-Vinod 392–396 5 Ibid 397-401 Indian Antiquary XVI 35 6 Epigraphia Indica (EI) II 421-424 7 Cf Harbilas Sarda Maharana kumbha (Ajmer 1932) 215 8 TA Gopinatha Rao Elements of Hindu Iconography (Delhi, 1971) Vol II Part II 361-378 He has also discussed the philosophy in details 9 Ibid, 372 10 Śrs-Chitrakaca-Kumara-Viharam ? (Gujarati) Swadhyasa Baroda, V-4 (August 1968) 511-520 he also raised this matter in Kumarapala-anekumaraviharo (Gujaratı) Pashik Ahmedabad (October 1970) 53-67 11 Ibid 516-520 12 Kumarapala Caria-Sar graha (ed Muni Jina Vijaya) (Singhi Jain Series No 41 Bombay 1956) Preface pp 8 18 etc 13 For details of this matter the authors The Art of Khajuraho (Abhinav New Delhi 1980) may be referred to 14 Ed P A Mankad, Gos No 115 Baroda 1950 Sütsas 123 to 127 pp 307-322 15 Ibid 318 16 Reference may also be made to RV Somani s article Samiddheswar-Mandir-ka Nirman-Kal (Hindi) Varda Bissau XIV-2 (April June 1971) pp 1-6 and M A Dhaky s rejoinder Varda Bissau XV-3 (July- September 1972) 58-66 Somani uses the wrong nomenclature Samiddhes wara through-out He cites several inscriptions which refer to the Samadhis wara Temple but his argument that it was never called Tribhuwana-Narayana has not been substantiated In fact he is not able to establish locus of a ·55 Samadhiswara Temple reference without which the actual situation of the temple on the Gaumukha- Kunda either in the case of Tribhuwana Narayana and Bhojaswamin-Jagati or in case of Samadhrswara is not intelligible to him He cites an inscrip tion of V S 1041 (?) which, allegedly refers to Samiddheswara but he does not reproduce the epigraph or its full text allegedly for administrative reasons (2) Nobody else has seen or used this inscription so far, and its knowledge is exclusively limited to him There cannot be any administrative reason preventing the publication of an important evidence The very statement that an image of MADHAVA (1 e a Varşnav3 icon) was con Secrated in the temple of Samiddheswara' (re in the Gaiva temple) is a misnomer What does it mean? Was the Vaşnava icon used in the Saiva shrine for ornamentation ? Then, is the reading of the year 1041 correct ?? Could it not be 1091 ? Unless and until the inscription is published with the fascimile authentically its mere citation to establish such an important statement that the temple existed before Bhoja Paramara is not reliable Veracity of Somani s statements in respect of inscription of Rajasthan has been often questioned eg by Dashratha Sharma, Varda IX-4 (October 1966) 32 apropos of Somanis article on an inscription of V S 1295 cf Ibid IX-3 (July 1966) 4 6 and by B L Sharma Varda XVI-2 (April-June 1973) 51-52 apropos of Somani s article on Ghatiyala inscriptions Cf Ibid XV-2 (April- June 1972) 4 7 and his own statement can not be accepted as evidence Similarly his refutal of Dhakys view is more intuitive than historical Dhaky cited juna images also on kumbhaka of the vedibandha and jamgha (Swadhyaya op cit 516-20) and even gave their photographs (Plates 2 to 5) But Somani did not refer to them Dhaky s stylistic analysis is irrefutable and the Solanki influence is certainly there Ignorance of the stylistic study of the Temple Architecture has led Soman to brand Dhaky s View as figment of imagination Latter s rejoinder has set the record straight

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·'Kumbhaswamin-Alaya' of The
Kırttıstambha-Prasasti
The Kirttistambbal of Chittorgadh (Plate-XXXV) which is considered,
erroneously to be a military relic symbolising a mundane thing and is popularly
known by the misnomer Vijaya-Stambha (Victory Tower) 2 was completed and
consecrated in VS 1505/1448 A D3 A long prasasti which was begun
by Kumbhas Pandit-scholar Atri and finished by his son Mahesh was placed
in position in its 9th storey on 5th Vads of Marga-Sirsa V S 1517/1460 A D
Though a grand panegyric it is an extremely important historical document
giving almost a complete view of Kumbha s many-faceted personality his versatile
genius and above all bis prolific cultural pursuits It has come down to us only
in fragments yet there is enough to reconstruct a History of his reign
Three of its verses are very important and interesting in this connection
कैलाशाचलसु दर हिमगिरिप्रख्य च सर्वकप
नानाहेमघटावतसकिरणमरोहसत थिय ।
सर्वोरुतिलकोपम मुकुटवच्छ्रीचित्रकूटाचले
कु भस्वामिन आलय व्यरचयच्छीकु भकर्णी नृप ॥२८॥
कैलाशस्य प्रतिनिधिरिद शकरस्याट्टहास
ज्योत्स्नाराशि किमु हिमवत कणिका भूघरस्य ।
इत्थ नानाविषयविषय चित्रकूटस्य शृगे
रम्य हम्यं व्यरचयदिलाधीश्वरश्चक्रपाणे ॥२६॥
तदतिके देवग्रहा महोच्चानलकृतान् हेमघटावतस ।
अकारयच्चादिवराहगेहमनेकधा श्रीरमरणस्य मूर्ति ॥३१॥

·Antiquities of Chittorgadh 58 These can be translated as follows It is This abode of Kumbhaswamin Lord Vişnu was built by Kumbha beautiful like the Kailāśa the high abode of gods and full of wonderful things like the Himalaya By the lustre of its golden ornaments it excels the beauty of the mythological mountain Meru It is so high as to look like the 'Tilaka (sacred mark on the forehead) of the world and the Mukuta (tiara) of Chittorgadh (28) Is it representative of the Kailasa ? Does it denote the laughter of Siva? A compendium of moonlight is it part of the Himalaya ? This beautiful abode full of different subjects 10 images of different gods, was built for Vişnu by Kumbha on the Chittor mountain (29) Near it were a number of lofty temples ornamented with golden sıkhacas and a temple dedicated to Adivaraha where he consecrated various images of Lord Vişnu (31) These verscs are generally said to refer to the kumbhaswamio temple (which is also erroneously called the kumbhasyama Temple) situated near Kumbha s Palace at some distance, to the north of the hs Though of gigantic dimensions both on the horizontal axis and the vertical it is a patch-work and its architecture has more than enough evidence to show that it is an earlier construction kumbha did not begin it he only restored and rebuilt it and dedicated it to his Lord Visnu Some features of the temple eg curious plan of the interior and three mandapas conjoined in a continuous series of 20 pillars of different conformation proportion of Saiva and Vaışnaya icons in the temple comparatively plain bhift jamgha and pradaksinā-patha and a disproportionate and confused superstructure amply confirm that the present structure does not belong to a single unified and homogeneous plan and design His two other temples at Achalgarh (Abu) and Kumbhalgarh which also bear the same nomenclature KUMBHASWAMIN are in contrast each a homogeneous architecture with Sastric proportions MA Dhaky surmised that this temple was originally built in the early 8th century A D by Raja Manabhanga who is recorded to have built here a Sürya temple (now called the halika-Mata) and a Tſipura-Vijaya temple dedicated to Sıva 5 The Kumbhaswamin is the same Tripura-Vijaya temple Kumbha restored at The Sikhara was built anew A new samvarana was placed on the mandapa Original Saiya icons and sculptures (which had been desecrated and damaged) were replaced by Vaisnava icons But some of them still remain and affirm that this was origioally a Saiva temple The style of the old part belongs to the first half of the 8th century AD That the sanctum circumambulatory and the jamgha of the mandovara are similar to those of the Kalika Mata temple supports Dhaky s thesis ·59 Kumbhaskamin-Alaja It has been suggested that it was originally an Adivaraha Temple of the Peatıhara age (late 9th century AD) probably built by Bhoja Pratihara (Amoghavarşa) entitled 'Adivarāha whose inscription recording the establishment of a Pathasala or Pattsıla (see Chapter-1 above) has been found at Chittorgadh Icon of Adivaraha has in fact, been carved on one side of the Mukha-catuski An image of Varahavatara along with other avataras is also there in the pradaksina-patha But documentary evidence in exher case is not forthcoming The komabhasprāmin is a sandhara prasada in which all types of stones grey and yellow sandstone basalt granite, black slate and white marble have been used Like the building material there are stylistic variations Bhity is perfectly plain and there is no grasapatti, gajathara aśvathara or narathara The jamgha is also devoid of ornamental sculptures which were so commonly used since the 10th century A D There are a few Vaisnava icons only Plain surfaces predominale on the exterior this aspect unmistakably indicates towards its early ongın Open vatayapas have been provided in the pradaksina-patha which is also plam except for a few icons at the cardinal points Here the patchwork complexion is more noticeable than anywhere else Square jālies of simple perforated geometrical designs each panel having nine compartments are used bere They are typical of Kumbha s age and are found in almost all structures which were built or restored under his instructions e g in the Kirttistambha and the Srngara- Caurt The interior is composed of 20 pillars arranged in continuous series giving it a longitudinal instead of the usual octagonal conformation These pillars are of different stodes designs and types and they belong to different styles Neither do they belong to the original tenzple, nor were they made by the sculptors of Kumbha It seems that when kumbha set to restore the temple the casiest and the most expeditious course open to his architect was to use material of the ruined temples which were available in the area in such abundance that a workable selection could be made This also happened when Mokal restored the Samadhaswara temple in 1428 which 100 contains pillars bases capitals and other architectural parts of different styles Chittorgadh was a great Tirtha both for Brahmanical and Jaina worship and more than a hundred temples were id consecration when Alau'd-Dio Khaise captured 11 18 1303 It was during the ten years period of Khalji occupation that most of them were razed to the ground Some parts as pillars, however, remained and they could be put to use again It was particularly the case with those pieces which did not bear sculptures of divinities but ornamental designs only or mostly They survived intact Some ancient pillars were exquisitely designed and carved they attracted and appealed ifresistibly It was this way that Jaita chose 10 use four ancient pillars probably ·Antiquthes of Chittorgadh 60 belonging to the Calukya school of Art, as their wooden-exquisiteness testifies on the 8th storey balcopies of the Kirttıstambha They were also taken from some ruined temple It seems that only four were there hence Jaita had to use four other pillars of average quality along with these four classics, two in each balcony, on the four sides Five panels showing Kțsna-Rukmani, Rohini-Damodara Madhava-Tulsi Rama-Laksamana and Kyspa-Lila bearing inscriptions on their pedestals dated in VS 1505/1448 AD were placed by Kumbha in the empty niches of the Mandapa This was also a patch-work as many other panels sculptures and icons could not be replaced and they remained mutilated and ignored Vastu-texts were particular about Mana-Pramana (measurements and proportions) of the Prasada to the point of minutest details But it was not possi ble to follow their dicta in a restoration work when the sub-structure was already there in all its essentials and one was required only to fill in the blanks make at up and finish The so-called Kumbhaswamın Temple of Chittorgadh has come to be consequently too big a structure which is much out of proportions to be aesthetically appealing It is not possible that the intelligent scholars Atri and Mahesh who composed the KP could have called this patch-work temple a Tilaka of the world (सर्वो:तिलकोपम) and Mukuta of Chittorgadh (मुकुटवत्-श्रीचित्रकूटाचले) In fact it is the Kırttıstambha lofty and stupendous which occupies an imposing position in the Fort towering effectively over the city below and it is the hirttistambha which could be called Tilaka and Mukufa It is the Kırttıstambha which is seen from afar when one approaches the Fort The reference fafifigen in denotes a building which was full of all wonderful things like the Himalaya 1e the highest mythological abode of all gods The reference also indicates in the same direction The humbhaswamin does not at all contain them The Birttistambba, on the other hand is full of the wonderful things like the Himalaya the wonderful subjects denoted in these references are the contents of the Kirttistambha viz the sculptures of gods goddesses and other divinilies (as various forms of Visnu and Siva and their consorts, Vayu Dhanada etc) devaogapas (as Lalita and Lila) rivers (as Ganga and Yamuna) seasons (as Sisira and Hemanta) Krşņa and Sukla paksas the four Vedas yugas (as Kaliyuga and Dwapara) ayudhas (as Trisula and Sakti) yaksas kingaras even bhūtas vaitalas and dakinis nartakis tapasvins and common denominations of the contemporary society- all 10 sculptures in beautıful personified forms. There are hundreds of them systematically and orderly stationed at various ·61 Kumblashamin-Alayo levels in and on its nine storeys In view of the variety and vastness of characterisation they are the wonderful subjects which have been alluded to in the EP as सप and नानाविषयविषय and it is to the Airttistambha itself and not to any other building that they refer This is attested by the explicit reference in the AP verse-186 नानानिर्मितनिजरावतरणमरोहसत श्रिय (The Kırttistambha is full of incarnations ie sculptures of various gods and it excels the mythical Meru on this count) Almost similar is the reference in the ke verse-28- नानाहेमघटावतसविरणमरोहसत श्रिय (It excels the mythical Meru by the lustre of its various golden Ornaments de the sculptures bearing the golden polish) When the composer noted किरणेमरोहसत fer and made a reference to the beautiful Meru he wanted to denote the Kurtiistambha and not the patchwork kumbhashámın Temple In several other inscriptions contained in it the korttıstambba has actually been referred to as MERU and MAHAMERU 7, eg स्वस्ति श्री सवत् १५१५ वर्षे चैन सुदि ७ रवी महाराजाधिराज श्री बुभवण श्री समाधिश्वर श्रुत महामेरु श्री कीतिस्तम्भ कारापित श्री श्री महाराणा थो कुभकरण श्री महामेरु श्री कोत्तिस्तम्भ कारापित सूत्रधार And When the pratastikara noticed कुलस्वामिन-मालय-ध्यरचयत्-श्रीकुमकोनप he was explicit that this was built nay created and brought into form anew, ie from foundations to the śikhara and it was not a patch-work restoration hence the use of the verb 294a! This is true only in respect of the Kirttıstambha and not to any other structure It was called भस्वामिन-पालय (The abode of the Lord of kumbha vr. Visou) on account of the simple fact that it housed his Ista-Deva Lord Vişnu who in his Janardana form was the presiding deity of this great structure It has been camed as such in the P Verse-33 almost in the same continuation गोतिस्तम्भम्कारयत् असमाधोशा (He built the Kirtistambha in front of the temple of ·Antiquities of Chittorgadh 62 Samadhisvara śiva) and it has been specifically mentioned as fara f74 (the place for the play of Laksmi consort of Visou) & Kumbha was an ardent devotee of Vişnu Vişnu was his Isla-Deva The Kırttıstambha was built for his işta-Deva, hence in the prasasti it was called kumbhastamin-Alayam To designate a temple or a religious structure on the name of the builder with the suffix Swamin (Lord) was an ancient custom The reference of the KP cited above (Verse-31) that there were several other lofty temples in its neighbourhood तदतिवे-देवगृहान्-महोच्चान्-अलकृतान् and a temple dedicated to Adivaraha where Kumbha consecrated various images of Vişnu अवारयत्-च-पादिवराहगेहम्-अनेकघा-थीरमरणस्यमूर्ति is extremely sigoificant Where and in the neighbourhood of which structure were these lofty temples - 15 almost a decisive question This indicates that an Adıyaraha temple was already there in the neighbourhood of this structure and Kumbba had a number of Vişnu images consecrated in this Adıvaraha Temple By no stretch of imagination this could have referred to the so-called Mira Mandır which adjoins the kumbhaswamin temple because Kumbha is not recorded to have built or consecrated any image in the former It is in the latter only re the kumbhaswamp Temple that he consecrated images of different incarnations of god Viştiu and it is to this that the Adıvaraha temple reference obviously denotes That it was originally the temple of Adiyaraha us also ihus confirmed There is no other temple in the vicinity which could answer this description The humbhaswamin temple stood in the nerghbourhood of a building which was so high and imposing as to look like the TILAKA of the world and the MUKUȚA of Chittorgadh This points to the KIRITISTAMBHA, in whose nerghbourhood existed many lofty temples one dedicated to A divaraha where Kumbha installed a number of Visnu images asfat reference is too obvious to be mistaken All this shows that the reference of Kumbhaswamin Alayam in these verses of the Kirttıstambha-Praśastı does not denote the present kumbhaswamin Temple as it is popularly understood but the hirttistambha itself ·63 Kumbhaskamin-alasa REFERENCES 1 Hereinafter referred to as the hs and hirttistambha-Prasasti is the KP 2 This aspect of the matter has been discussed in detail in the authors monograph "CHITTORGADH SIRTTISTAMBHA OF MARARANA KUMBHA (10 print) 3 Kırttıstambha-Prasasti (hereinafter referred to as the LP) Verse-186 4 Harbilas Sarda Maharana kumbha (Ajmer 1932) pp 212-22 S Śrt-Citrakūta-kumasa-Viharam (Gujarati) Swadhyaja Baroda Vol 5 No 4 pp 511-15 the Epigraph which contained these references has published by RC Agarwal cf Rajasthan-Bharii, Vol 9 No 2 (April 1966) DP 30-31 6 RC Agarwal Varda Bissau Vol 9 No 4 pp 11-14 7 This aspect of the study has also beers dealt with in details in the authors monograph 'CHITTORGADH ARTTISTANBH4 OF MAHARANA AUMBHA (in print) 8 kumbha styled himself Ādivaraha and Parambhagwat his two most frequently used birudas probably imitation of the illustrious Gupta Emperor Chandragupta-II Vikramadiya who had a colossal image of Adı varaha caned af Udaigiri (Cote No 5) in early Sth century AD for his having similarly rescued the earth from the chaos, re bringing about a cultural tentaissance Bhoja Pratshara Amoghavarsa also assumed the buruda Adivaraha and he too had an image of Adıvaraha carved in late 9th century AD inside the Lalsamana Gatc of the Gwalior Fort It is quite Iikely that Kumbha had an Adıyaraha image consecrated in the Kumbba swamin Temple in pursuance of this tradition 9 As for example Vallabhats-Swamin Visku (present Caturbhuja) Temple of Gaattor of 875-76 AD Tribhuvananarayana-Swamin (or Bhoja-Swamin) Temple of Chittorgadh (present Samadhiswara) of early Ilth century AD Cahadadeya-Swahiin Temple of Iswal of late 12th century AD and Udharana-Saamın Temple of Nagda of 121h century AD

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·On the Muslim Monuments of Chittorgadh There are several buildings in the Chittor Fort which possess typical Muslim features like arch, vault and dome plaster-work and glazed-uile decoration Almost all are built of rubble and the use of dressed stone is minimal Even where pillars were seeded plers of rubble have been used Of course, some other palaces eg Kumbha s Palace also contain arch and dome But the distinctive characteristics of their style are the predominance of jharokba-windows projecting gorgeously from the facades abundant use of pillars and brackets including struts, and chhains and chhaparkbats arranged effectively on the superstructure They belong to a class and style different from that of the former Wabout the projecting onel-windows (jbaroh has and vårayanas) finely chiselled pillars brackets and chhajjas, and chhatrıs and chbaparlhats, the Muslim buildings of Chutorgadh are easily distinguisbible in the vast array of typical Rajput palatial mansions The so-called NAULAKHA-BHANDAR and the wall which has in its middle the beautiful Jaipa temple called SRNGARA-CAURI are the first of this Series (Plate-XXXVI) The NAULAKHA-BHANDAR is the western-most bastion of a wall called BANBIR S-WALL crudely and haphazardly built of rubble without plaster It runs from west 10 cast from this bastion to the road in front of the FATEH PRAKASH PALACE containing, to the east of the SRNGĀRA-CAURI several vaulted halls which Bow house the Archaeological Survey of India office and Museum Pillars, lintels and other temple-parts and sculptures have been ſed into this wall indiscriminately An inscribed slab is used upside-down which shors that this was done during the Muslim period Pillars are laid across the wall so that only their bases are visible Sculptures have also been used similarly only for the value of their stage The rubble skeleton of the wall bas no architectural merit at all and it is entirely ugly and repulsive ·Antiquities of Chittorgadh 66 To call this bastion NAULAKHA-BHANDAR (= TREASURY OF NINE LAKHS) is a misnomer It is a double-storeyed building with a hall inside and a set of apartments now mostly ruined, on the northera side The hall has walls of dressed stone and a vaulted ceiling Though the exterior is designed 10 accordance with the architectural dictates of a medieval bastion, the interior has a different spirit and probably it had a different usage too It gives the impression of a Muslim maqbarah (tomb) than anything else The entire complex with arches and vaulted and barrel-vaulted ceilings, extending from the western edge to the FATEH-PRAKASH shows that it owes its origin to the Muslim period Built of rubble and temple material it appears to be a defensive wall 'Alau d Dio Khalji captured the fort of Chittor in 1303 A D and placed it in charge of his eldest son the Heir-Apparent Khidr Khan Chittorgadh was accordiogly re-named Khidrabad The Khaljis held it for nearly ten years Maldeo Sonagra theo held it for the Delhi Sultans for a pretty long time Hammır recaptured it in about 1335 AD The fort thus remained under occupation of the Muslim governors for nearly 30 years There actually was the need all through this period to cordon off the neighbouring Hindu pilgrimage area of the Gaumukha-Tirthasthala Obviously, no Muslim governor could have afforded to stop the Hindu ritualistic worship on auspicious occasions eg on the eve of the fair which was held here appually on Caitra-Aştamı On such occasions when the Hindus assembled in large numbers the Muslim governor could have felt insecure aad had a defensive wall raised around his official residence In such a situation as this a defensive enclosure was a security need against a surprise attack, even without this apprehension How the bastion was named NAULAKHA-BHANDAR and the wall BANBIR S WALL is only a matter of surmise The nomenclature in enber case is not sustained by any evidence or justified by any usage By no stretch of imagination, the bastion could bave been used as a Treasury it more appears to be & mortuary-bafl yız a Tomb Banbir had no object or purpose to raise this defensive wall It is a ghastly-looking structure and it may also be conjectured that soon after the Rajputs reoccupied the Fort, it was named after Banbir, a villain of Mewar History In fact it looks like a villain amidst the beautiful temples of its neighbourhood There is no doubt that the feelings of the People - both of approval and disapproval - have been permanently tagged to architectural history This has also happened at Fatehpur Sikri, the seat of Akbar the Great, where palaces are named after his aaya-ratoas (Nine-Jewels) One is called the Palace of Ab ul Fadi and ·67 Alha-Kabra the other that of Faidi Akbar's personal residence attached to his Harem (Sera glio Radiwas) is called Birbal s Palace and so on All these are popular misnomers which have largely contributed to obscurc history at Chittorgadh as well as at Fatehpur Sikri The so-called BHAMA SHAHS PALACE (Plate-XXXVII) situated just opposite the Bırla Dharamshala within this complex is also a Muslim residential building Though the later restorations have made it a patch-work, the original fabric is recognizible It is a three-storeyed building the middle one having a broad arch in its centre This arch has an emphatic ogee The third storey has rectangular openings Vertical and horizontal projections make up the design The whole structure is crowned by a single broad semi-circular dome The con struction is of rubble its plaster has peeled off (Plate-XXXVIII) It is, pure and simple a Muslim building and stylistically it goes back to the early 14th century AD Bbama Shah had nothing to do with it and this cannot be connected to him in any way Like the so-called BHAMA SHAHS PALACE there is near the eastern ramparts the Palace of Gora Badal, consisting of two domed structures built on the chabár-taq (four-arches) system This is also a pure Muslim structure As it appears the Muslim buildings in the Chittor Fort have been renamed on popular heroes of Chittor and Mewar as it happened at Fatehpur Sıkrı Reference may be made in this connection to the epigraph dated VS 1392/ 1335 A D in the Jaina Temple at Karera It reads as follows (१) सवत् १३६२ वर्षे पोप सुदि ७ रवी श्रीचित्रकूट स्थाने महाराजाधिराज geara (२) श्रीमालदेव पुत्र श्री वरणवीर सत्क सिलहदार महमददेव सुहड सीह चउडरा सत्क पुत्र (३) दिवगत तम्य सत्ल गोमट्ट कारापित ॥ It records that during the reign of Banbir son of Maldeo, the military commandant of the Fort Mohammed Dera (7a) who was son of Subada Simha Chaundara (and bence was a convert) died and a tomb (GOMATTA = Gumbad) was built in his honour (to enshrinc his mortal remains) at Chittorgadh on 7th of ·Antiquities of Chittorgadh 68 Pausa Sudi, Sunday in the year V S 1392 That GOMATTA () 15 a Sanskritiscd form of Gunbad (Gumbad fra") is attested by references in such works as thc Chhital-Charit, es गोमट सरपूजा पाताग (Gumbad 1 c dome of the shape of musk-melon) Later this word is used for a domed tomb It is this way that we have the Lal Gumbad (The Red Tomb) the Dadi-ka-Gumbad (The Tomb of the Grand mother), the Chhote khao ka-Gumbad (The Tomb of the Junior Khan) the Shish-Gumbad (The Tomb of Mirrors or glazed tiles) and the Bara-Gumbad (The Great Tomb) for example at Delhi The record that a tomb was built at Chittorgadh during the reign of Bandır son of Maldeo is significant As it seems the so-called NAULAKHA BHANDAR is the tomb viz the Gowatta which has been referred to in the epigraph or course, its dome is no longer extant The wall to which it 19 attached at the western most point also seems to have been named simultaneously after Bandır, son of Maldco referred to in the above epigraph The most interesting of these buildings is the so-called Palace of “ALHA KABRA' Nobody knows the meaning of this nomenclature, or how it came to be known as such It is uointelligible "Alha-habra may be a corrupt form of *Allah-o-Albar' or 'Albar-hubra or most probably Il shu hubra' (the one worshipped viz, Allah is great) which all indicate towards its origin Attached to the Palace of Bhama Shah it is a large assembly hall composed of heavy rubble piers (Plates XXXIX XL) which support ogec arches cross-vaults making up the a a a Fig 12 ·69 diha-habra ceilings (Plate-\LI) The building is obviously a Jami Masjid having its sestern side closed to malc for the Qiblah wall and its facade on the castern side which has now been destroyed The Qiblah sfonc bearing a carved arch is still lying near the Mihrab It is a five arched Parcamokhl Masjid seven aisles deep huilt of rubbic (for plan see Tig 12) The main entrance is given in the centre of the south side (Plaic-LII) It is composed of ino pilasters supporting brackets and a lintel-all of finely chiselled stone The entire bays 'A' and 'B have been converted into raised platforms fittingly attached to the main cntrance of Jami Masjid having stone pillars which bear hirtumulhas on the bases The corresponding entrance on the northern side is also similar though there are no raised platforms attached 10 it like the southern pic Prers support broad arches of the true (radialing) tipe They have cmphonic ogee (Platc-\LIII) This is an importint feature Ogec is there in tlic arches of the Cannat al Islam Masjid Dethl (1192-1200 AD) gatenay of the Ardhai-Din La Jhompra Masjid Ajmer (1211-21) and also in the ornamental arches of the Tomb of Ilutmish (c 1236) Though it is not there in such ahalii buildings as the *Alat Darwazah and the Jam at Khanah Masjid at Delhi ogee is most pronounceu in the 15th ceatury buildings of Jaunpur and Chanderi Though built of rubble the arch of this masjid looks scry bejuttful by the sheer dint of the ogee feature and it seems that the indigenous buildcr had a decided preference for it on account of this over all impression The Hall is divided into squarc bays each one having its own ceiling which is made up of cross vaults resung on respective arches This is a typical Muslim feature the most pronounced examples of which are cxtant at Tughlaqabad and Firuzabad at Delhi as the entrance of the citadel wherein the Tomb of Ghryathu d Din Tushluq Shah is situated and the dåláns of the Kotls Firoz Shah 5 This feature takes the building closely nearer to the Sultanate monuments of Delhi of the Whalji and the Tughluq periods than to any other structure at Chittorgarh and testifies that it owes ils origin to a Muslim patron Curiously, it has no dome or any other super-structure Some thing should have been there on the western-most arsle eg on the nasc But this portion too has fallen down The Mihrab has been hurriedly restored otherwise the whole section is in ruins and we are left guessing The building thus, has the following distinctiic features Iis western side is closed to mask the Qiblah and its orientation is thur of a Jamı Masjid with entrances on the south and north sides ·Antiquities of Chittorgadh 70 2 It is a rubble and plaster construction made up of heavy rubble piers There is little dressed stone and it has a spirit of its own 3 It is made up of broad arches with emphatic ogee 4 5 Each square bay has its own ceiling made up of cross-vaults The south and north gateways have each a pilaster-lintel and brackets entrance Like a Jami Masjid it has an open and spacious interior to be able to accommodate a large congregation 6 The original plaster has peeled off and at present only rubble is seen Restoration work has much damaged the original fabric but its spirit is not at all missed it is exactly similar to what we perceive in the 14th century mosques of Delhi of the same material Unmistakably, it belongs to their style and class This is corroborated by the epigraphical evidence Four fragmentary Persian inscriptions are found at Chittorgadh * The first one dated in A H 704 (1304 AD) mentions one Māmriz Alp Khan The second one is dated A H 709 (1310 A D) this and the third one which bears no date but belongs to the same period contain eulogies of the hhalji Sultan The fourth one is the most impor tant Though this is also fragmentary and bears no date it RECORDS THE CONSTRUCTION OF A JĀMI MASJID 7 This proves that a large congrega tional mosque, viz Jami Masjid was built here around 1310 A D during the Khalji occupation The Hall which at present bears the misnomer ALHA- LABRA' is certainly the Jamı Masjid which has been referred to in the inscription Two Persian inscriptions found at Chittorgadhe show that a number of other buildings were also raised here during the Tughluq period prior to its capture by Hammir c 1335 A D The first one which is fragmentary belongs to the reign of Ghiyathu d-Din Tughluq Shah (1320-25) and mentionts one Asadu d- Din Arsalan as the builder of some edifice VA DĀD RĀ BUNYAD Arsalan was appointed Naib Barbak in 720/1320 and he was governor of Chittorgadh The other one now built up in the back wall of the tomb of Ghaibı Pır belongs to the reign of Muhammad bin Tughluq It records - Kard Sultansara, Khush Manzar Bahar khalq Khudā ba-khub Akhtar Asad al-Din Mulk ba-Khidrabad Een Chūnın khush Muqam Kard abad ·71 Alha-labra (This beautiful Royal Inn 13built for the use of the faithful at an auspicious hour by Asadu d-Din the Governor of khidrabid-Chittorgadh) The inscription txears the date 9th Shanval 725/18th September 1325 A D These buildings, however are no longer identifiable During the course of more than six centuries they has changed their face nomenclature and usage ·Antiquities of Chittorgadh 72 REFERENCES 1 It is noteworthy that material of immense historical value including pillarbases shafts capitals door-jambs lintels vedika pillars 7sapapattıkas and other temple parts, inscribed stones and sculptures lies concealed in this wall It is in fact, a rare treasure Even in fragments this is representative of the vast array of temples which adorned the area in 1303 AD when the Khaljis captured Chittorgadh These were razed to the ground Their material was lying around and it was picked up and fed into this wall indiscriminately At present the wall is entirely purposeless and in fact meaningless at least west of the Śrogāra Cauri Temple It is worthwhile that for the value of the invaluable historical material which it contains it is demolished and History is redeemed Likewise it is desirable that the following tanks of Chittorgadh which have never been desilted are cleaned and the historical material which is lying hidden under 40 or 60 deep water 13 recovered as it has been done from the Gangola Tal of the Gwalior Fort The Gaumukha-kunda The Bhimlat The Chitranga-Mori Sarovara The Annapurna and Barmata Tanks and the Kukreshwar-kunda PC Nahar Jaina Lekha Sangraha Part-II (Calcutta 1927) Srl No 1955 P 242 3 4 Chhitai Charit of Narayanadas (ed Agarchand Nahta and H N Dwivedi) (Gwalior 1960) p 17 It is a 15th century work For details see tbis author s The Art of Chanden (New Delhi 1979) pp 56-59 Figs 7-9 and Plates VII XVIII XXIX and XXX See this authors s History of Sultanate Architecture (New Delhi 1978) Pls XLI and LX Curiously the cross-vault technique has also been followed in a hall at the Man-Mandır Gwalior c 1500 çf Ibid PI CLV S 6 Indian Archaeology A Review 1955-56 p 32 7 Ibid p 32 Vir Vinod I 285 mentions that Muhammad bin Tughluq built a mosque on the Chittor Fort The epigraphical evidence however places at in the reign of Alau d-Din Khalji 8 Epigraplua-Indica (Arabic and Persian Supplement) 1955-56 pp 67-70 pl XVII ·INDEX

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·A Abu 47, 58 Abu I Fadl 66 Achaleshwar (Abu) 13 47 Achalgarh 58 Adbhuti 51 Adhai din-ka-Jhompra 69 Adinatha 10 Ādivaraha 58 59 62 Akbar 30-32, 34 66 67 Alai-Darwāzah 69 "Alau d-Din Khalji 59 66 Alha-Kabra 68 70 Allata s Aparajitaprechá 12 53 Asadu d-Din Arsalan 70 71 Atri 57 60 Aurangabad 43 Besnagar 33 Bhairava 10 Bhama Shah 67 Bhama Shah s Palace 67 68 Bhimlat 5 7,8 41 Bhitargaon 37 Bhoja Paramara 5, 45 46, 48 50 Bhoja Pratihara 5 59 Bhojaswamin Jagatı 46 48 50 Bhumara 16 Birbal 67 Brahma 17 18 50 Brhat-Samhita 7 Bundi 37 C B Cakraswamin 47 Chanderi 69 Chaurası Deva-Sarovara 7 Chhutai Charıt 68 Chirawa 5 45 Chitranga Mori 57 Chittorgadh 1-5 9 20 29-31 37, 40 42 45–48 52 53 57 60 65-71 Citrangada (Citranga) 3 4 41 Citrakūta 1, 34 Badwa 33 Banbir 66 Banbir son of Maldeo 67 68 Banbir s Wall 65 66 Banmata 41 Bara Gumbad 68 Barnala 33 Bayana 33 Bedach 1 29 37 D Dadt-ka-Gumbad 68 ·Antiquities of Chittorgadh 76 Gujarat 5, 45 Gwalior 43 Dasapura 1 Dhaky MA 51 54 55 58 Dhamana 37 Dhanada 60 Dhandhuka 5 Dharani-Varaha 2 Delhi 66 68 69 Deogarh 16 Durga 41 H Hammir 66, 70 Haramelhala 2 Haribhadra Sürı 2 Haribhadra-Sūri-Prabandha 2 3 Hathibada 30, 31, 33 34 Heliodorus 33 Himalaya 58 E Ellora 52 I F India 1, 29 Isapur 33 Fajdi 67 Fateh Prakash 65 66 Fatehpur Sikri 66 67 Firuzabad 69 J Jaimal-Patta 5 Jaita 59 60 Jam at-Khanah Masjid 69 Jaunpur 69 G K Gada-Ratna-Mahodadhı 46 Ganesa 10 42 Ganga 8 17, 37 48 60 Gaumukha 5 7-10,12 13 19 20 40 41, 45, 46 48-50 66 Gauri 48 Ghiyathu d-Din Tughluq Shah 69, 70 Gora-Badal 67 Kailasa 9 42 58 Kassorapur 37 Kalika-Mata 1 42 43 58 Kansua 37 Karera 67 Khajuraho 52 ·77 Inder Mauryas (Moris) 1, 4 Mewar 5 66, 67 Moha-Parājaya-Nataka 51 Mokal 9 49 59 Muhammad bin Tughluq 70 Muhammad Deva 67 Malaraja 5 Muñja 5 Kherabat 37 Khidrabad 66 71 Kbidra Khan 66 Korttidhara 10 Korttistambha 8, 10, 13 20, 32, 49 57 59-62 Kotla Firoz Shah 69 Kukreshwar 41 Kumara (Karttıkeya) 42 Kumarapala 3 5 8, 9, 48, 51 Kumārapāla-Deva-Caritası 4 kumarapala-Prabodha-Prabandha 4 Kumarasambhava 42 Kumbha, Maharana 8 20, 37 49 57 62 65 Kumbhalgarh 49 58 Kumbhaswamid 57-62 N Nagarı 1, 29 30 33 34 37 Nagda 37 Nandi 18 Nandsa 33 Narayana-Vataka 29, 30 Naulakha Bhandar 65, 66 68 L 0 Laksmı 62 Lal-Gumbad 68 Ojha G S 46 M P Madana 45 46 50 Madhyamika 1 37 Magha 2 Mahasati 8 Mahesh 57 60 Mahuka 2 Maldeo Sonagra 66-68 Malwa 1 5 Mamrız Alp Khan 70 Mana 1 2 Manabhanga I 42 58 Manasarovara 1 Mandsaur 1 Maihura 33 Paharpur 37 Parasar: 29 Parsvanatha 4 Parvati 42 Pawaya 43 Phalodi 4 Prabandha-Cintamani 2 Prabandha-Kosa 2 Prabharaka-Carita 2 Punjab 37 Peratana-Prabaodha-Sangraba 2-4 Purulia 37 ·Antiquities of Chittorgadh 78 Q Suraj-Kunda 5 41 Suraj-Pole 51 Surya 1 2 58 Quwwat ul-Islam Masjid 69 T R Tod Col James 1 Tribhuwana-Narayana 5 45-48, 50 Tughlaqabad 69 Rajasekhara Suri 2 Rajasthan 1 37 38 Ramchandra 3 Rāvana 9 Revanta 17 U Ubha Diwala 29 33 Udaigırı 43 S V Sadāśiva 45 50 Sajjana 5 Sakambhari 5 Saktikumara 5 Samadhiswara 5 8 9 13 18-20 45 47-50 52 53 59, 62 Samarsiogh (Rawal) 47 Samkshipta kumarapala Deva Caritam 3 Sankaraşana Vasudeva 29 30 32, 33 Saraswati 18 Sarnath 16 Sarvatata 29 Shantinath 3 Shish-Gumbad 68 Sibis 29, 37 Sırpur 37 Siva 1 4 5 9 17 18 42 45-48 50 51 60, 62 Soma-Tilaka Sür: 4 Śrogara-Cauri 65 Suhada Simha Chaupdara 67 Sukošala 10 Vaidyanatha Sıva 4 7 Varahamshira 7 Vavu 60 Veda Sharma 13, 47 Vidisha 33 Vigraharaja lv 5 Vijaygarh 33 Vişnu 1, 13 18 29, 40 41 47 50 58 60 62 Visnu Dbarmottara Parana 43 Vyaghri 10 Y Yamuna 17 37 60 Yasahpala 51 Yasodharmad!

·PLATES

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·I
Bhimlat Sarovara Chittorgadh
JI
Chaurasi Desa Sarovara Chittorgadh

·111
Gaumukha kunda
Chittorgadh
IV Situation of the Gaumukh Tirthasthala
Chittorgadh
When
م بم
V
Northern Gateway of the
Gjumukh Tirthasthala

·VI Ruined
Cakraswamin
Temple near the
Kirttıstambha(x)
VII
Its
Mūlaprasada

·VIII
Dvara-sakha
end
IV
Section B of the Gaumukha Tirthasthala

·X
Section-B of the Gaumukha Tirthasthala
Section-B of the Gaumul ha Turthisthala

·****
Steg
XII Dvara-sakha of the Temple !
XIII
Door-jambs from Sarnath
XV
XIV Rathikas on Eastern Bhadras Temple I
Temple

·XVI Dvara sakha Temple 'K
XVII
Eastern s de Temple
YVIU
Southern side Temple K

·XXII Mūla-prasada
XXIV
Mandapa
XXV Sculpturesque Decor

·am Olfer
XXVI Śikhara
{
t
XXVII
Sikhara
whe

·wa sita
ten
whe
XXXV The Kirttıslambha of Maharana humbha

·*+ HCA
XXXVII
Bhama Shah s Palace
XXXVI
Naulakha Bhandar and the Banbir > Wall
XXXVIII
Bhama Shah s Palace
XXXIX
Construction of the Jamı Masjid (Alha Kubra)

·XL Construction of the Jamı Masjid (Alha kubra)
XLJ Cross-vaults of the ceiling
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ILII Southern Entrance of the Jāmi Masjid
XLIII Ogee of the Arches of the Jami Masjid

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