Jaipur Sightseeing Notes
Jaipur offers a dazzling immersion into the riches of traditional India. Located in Rajasthan in northwestern India, Jaipur, nicknamed the “Pink City,” is the highlight of the Golden Triangle. While many travelers visit Jaipur as part of an Indian tourist travellers "in the know" plan extensive stays in Jaipur so that they can explore the region at their leisure.
Palace hotels, once home to India’s royal families, and painted elephants parading along the streets are all part of the colorful exoticism of Jaipur. Within an hour’s drive of the city are sensuous, embellished palace rooms to view, tribal villages to visit, handwoven and embroidered Kashmir shawls to buy and a world of modern Indian design to uncover.
Founded by Maharaja Sawai Jai Singh II in 1727 as a planned city, Jaipur has always had a tradition of lavish palaces, handcrafted jewelry, sculpture and art. Block-printed cottons, handmade papers, hand-bound books and enamelwork are among the crafts still produced in the city today. Jaipur is also the place to scour bazaars and emporiums for the cashmere shawls, block-printed quilts, diamond rings, and fine textiles that turn up—at much higher prices—in trendsetting stores from Madison Avenue to Melrose Place.
Architecture and History
Jaipur offers a dazzling immersion into the riches of traditional India. Located in Rajasthan in northwestern India, Jaipur, nicknamed the “Pink City,” is the highlight of the Golden Triangle. While many travelers visit Jaipur as part of an Indian circuit that includes a stop at Ranthambhore Tiger Reserve, a visit to Agra to view the Taj Mahal and a swing to Udaipur and its lake palace, many experienced travellers plan two- or three-week stays in Jaipur so that they can explore the region at their leisure.
Palace hotels, once home to India’s royal families, and painted elephants parading along the streets are all part of the colorful exoticism of Jaipur. Within an hour’s drive of the city are sensuous, embellished palace rooms to view, tribal villages to visit, handwoven and embroidered Kashmir shawls to buy and a world of modern Indian design to uncover.
Jaipur owes its name, foundation and planning to the great warrior-astronomer Maharaja Sawai Jai Singh II (1693-1743). In 1727, with Mughal power on the wane, Jai Singh decided the time was right to move from his cramped hillside fort at nearby Amber. He laid out the city, with its surrounding walls and rectangular blocks, according to principles set down in the Shilpa-Shastra, an ancient Hindu architectural treatise. In 1728 he built Jantar Mantar, Jaipur's remarkable observatory.
In 1876, Maharaja Ram Singh had the entire old city painted pink, a colour associated with hospitality, to welcome the Prince of Wales (later King Edward VII), and the tradition has been maintained - the current maharaja is a great polo chum of Britain's Prince Charles.
Jaipur exists for the visitor in two parts, the Old City contained within the original walls and the newer part of the city that embraces leafy garden precincts and broad avenues such as Civil Lines.
Jaipur is considered by many to be one of the best planned cities. It has been claimed to be the first planned city in India. It was at that time one of the best planned cities in Asia. Jaipur(Amber)'s Kings are not considered to be good Rajputs but were certainly good rulers. In an era when most of the Rajputs were busy fighting with each other, Jaipur's kings diplomatically broadened their control sphere maintaining good relations with Mughals. But certainly they lacked the well known Rajput pride. The city was planned according to Indian Vastu Shastra (Vedic or Pouranic) Planning for the comfort and prosperity of the citizens. The directions of each street and market are east to West and North to South. The Eastern gate is called Suraj (Sun) Pol, while the Western gate is called Chand (Moon) Pol. There are only three gates facing East, West, and North including the Northern gate (known as Zorawar Singh gate) which faces toward the ancestral capital of Amber, while many gates face South. Although the present city has expanded from outside of its walls, the original planning was within the walls. The gates used to be closed at sunset and opened at sunrise. Almost all Northern Indian towns of that period presented a chaotic picture of narrow twisting lanes, a confusion of run-down forts/temples/palaces and temporary shacks that bore no resemblance at all to the principles set out in Hindu architectural manuals which call for strict geometric planning. Thus, for Sawai Jai Singh II and the Bengali Guru Vidyadhar (who was a 'Shaspati' - Hindu Priest Architect), the founding of Jaipur was also a ritual and a bronze opportunity to plan a whole town according to the principles of Hindu architectural theory. The town of Jaipur is, in fact, built in the form of a eight-part Mandala known as the 'Pithapada'. Nine signifies the nine planets of the ancient astrological zodiac. It is also known that Sawai Jai Singh II was a great astronomer and a town planner, and hence the 'Pithapada'. Also, the commercial shops are designed in multiples of nine (27), having one cross street for a planet.
The Pink City is partially encircled by a crenellated, battle-scarred wall, and the major gates of Chandpol, Ajmer and Sanganeri have been carefully restored. The entire city is a feat of town planning; the Old City is still loosely divided into traditional artisans' quarters. Avenues divide it into neat rectangles, each one specialising in different crafts: the main bazaars are Johari Bazaar, Tripolia Bazaar, Bapu Bazaar and Chandpol Bazaar.
SIGHTSEEING
The City Palace Complex
The former ruling family still lives in seven-story Chandra Mahal (Moon Palace) built by Sawai Jai Singh II, but the outer and inner courtyards have been converted into a museum. The first courtyard is where you'll find Mubarak Mahal (Welcome Palace), a "reception center" constructed by Maharaja Sawai Madho Singh II, grandfather of the present maharaja. Mubarak houses the textiles and costume section, where regal costumes provide insight into the tremendous wealth and status that the family enjoyed, as well as the extraordinarily high level of craftsmanship available to them over the centuries. These include embroidery so fine it looks like printwork, some of the best bandhani odhnis (tie-dye scarves/veils) to come out of Sanganer, Kashmiri shawls, gossamer muslin from Bangladesh, and silk saris from Varanasi. The Armoury, with a selection of exquisitely crafted yet truly vicious-looking daggers and swords, is housed in the adjacent palace -- if Mughal history, with all its valor and intrigue, has caught your imagination, ask one of the attendants to point out the items belonging to the emperors Akbar, Jahangir, and Shah Jahan. The next courtyard reveals the raised Diwan-i-Khas (Hall of Private Audience), built in sandstone and marble. Look for the sun emblems decorating the walls -- like most Rajput princes, the Kachchwaha clan belonged to the warrior caste, who traced their origins back to the sun. To the west is Pritam Niwas Chowk (Peacock Courtyard), with its four beautifully painted doorways -- from here you can search for signs of life from the royal residence that towers above. Move on to Diwan-i-Am (Hall of Public Audience), which houses a simply fantastic collection of miniature paintings, carpets, manuscripts, and photographs -- look for the self-portraits of eccentric Ram Singh II, who found expression for his vanity in a passion for photography.
Most startling are the sliver urns. In 1902 when Maharaja Madho Singh II went to England for King Edward's coronation, he had two enormous solid silver urns made to carry enough sacred Ganges water with him to bathe every day for four months. The urns measure five feet high and are considered to be the largest silver objects in the world.
The Friends of the Museum section sells lovely art and crafts; it's a good place to pick up a quality miniature painting or Kundan jewelry. Trying to see everything is time-consuming, but for many this is the real highlight of their visit to Jaipur.
Jantar Mantar
The Jantar Mantar is a most fascinating collection of architectural astronomical instruments, built by Maharaja - meaning King - Jai Singh II at his then new capital of Jaipur between 1727 and 1734. It is modelled after the one that he had built for him at the then Mughal capital of Delhi. He had constructed a total of five such labs at different locations, including the ones at Delhi and Jaipur. The Jaipur observatory is the largest of these.
The name is derived from yantra, instrument, and mantra, for formula or in this context calculation. Therefore jantar mantar means literally 'calculation instrument'. In local Rajasthani dialects, it is often seen that 'ya' syllables are casually pronounced as 'ja'. For instance, 'yatra' (journey) will often be referred to as 'jatra'. Moreover, the way locals interpret the name is not as its literal meaning, it is suspected that by 'jantar-mantar' they mean 'magical words', 'abracadabra' or 'tantric incantations'.
While this observatory has religious significance, since ancient Indian astronomers were also the Jyotisa masters, it seems wrong to interpret the name as Yantra Mandir, which would mean 'temple of instruments'.
The observatory consists of fourteen major geometric devices for measuring time, predicting eclipses, tracking stars in their orbits, ascertaining the declinations of planets, and determining the celestial altitudes and related ephemerides. Each is a fixed and 'focused' tool. The Samrat Jantar, the largest instrument, is 90 feet (27 m) high, its shadow carefully plotted to tell the time of day. Its face is angled at 27 degrees, the latitude of Jaipur. The Hindu chhatri (small domed cupola) on top is used as a platform for announcing eclipses and the arrival of monsoons.
Built of local stone and marble, each instrument carries an astronomical scale, generally marked on the marble inner lining; bronze tablets, all extraordinarily accurate, were also employed. Thoroughly restored in 1901, the Jantar Mantar was declared a national monument in 1948.
An excursion through Jai Singh's Jantar is the singular one of walking through solid geometry and encountering a collective astronomical system designed to probe the heavens.
The instruments are in most cases huge structures. They are built on a large scale so that accuracy of readings can be obtained. The samrat yantra, for instance, which is a sundial, can be used to tell the time to an accuracy of about two seconds in Jaipur local time.[1] The Giant Sundial, known as the Samrat Yantra (The Supreme Instrument) is the world's largest sundial, standing 27 meters tall. Its shadow moves visibly at 1 mm per second, or roughly a hand's breadth (6 cm) every minute, which for most people is a visibly profound experience.[2]
Today the observatory is seen mainly as a tourist attraction. However, local astronomers still use it to predict the weather for farmers, although their authority is becoming increasingly questionable. Students of astronomy and vedic astrology are required to do some of their lessons at the observatory, and it can be said that the observatory is the single most representative work of Vedic thought that still survives, apart from the texts. Many of the smaller instruments display remarkable innovation in architectural design and it's relation to function, for instance - the Ram Yantra.
Amber Fort
Amber Fort is located in Amber, 11 km from Jaipur, Rajasthan state, India. It was the ancient citadel of the ruling Kachhawa clan of Amber, before the capital was shifted to present day Jaipur. Amber Fort is known for its unique artistic style, blending both Hindu and Muslim (Mughal) elements, and its ornate and breathtaking artistic mastery. The fort borders the Maota Lake, and is a major tourist attraction in Rajasthan. In recent years the Government are finally investing in its conservation and many impressive improvements have been achieved. If wishing t reach the Fort by elephant please be aware of new regulations that limits the number of elephant rides and the requirements to be there early in the morning.
Origins
Amber was originally built by the Meenas in the town they consecrated to Amba, the Mother Goddess, whom they knew as `Gatta Rani' or `Queen of the Pass' Built over the remnants of an earlier structure, the palace complex which stands today was commenced under the reign of Raja Man Singh, Commander in Chief of Akbar’s army and a member of the Emperor's inner circle of nine courtiers, in 1592. The initial structure of the fort was entirely completed by his descendant, Jai Singh I. Amber was modified by successive rulers over the next 150 years, until the Kachwahas shifted their capital to Jaipur during the time of Sawai Jai Singh II.
Structure
An interior view of a room in the palace covered in thousands of tiny mirrors. The structure which is known today as "Amber Fort" was initially a palace complex within the original fort of Amber that is today known as Jaigarh Fort. Connected to Amber via fortified passages, Jaigarh Fort is located on a hill above the Amber complex, and is constructed of red sandstone and white marble. It overlooks Maotha Lake, and was reputed to be the treasure vault of the Kacchwaha rulers.
Like the entire fort complex, Amber Fort is also constructed of white and red sandstone. The Fort is unique in that its outside, an imposing and rugged defensive structure, is markedly different from its inside, an ornate, lavish interior influenced by both Hindu and Muslim (Mughal) styles of ornamentation. The walls of the interior of the fort are covered with murals, frescoes, and paintings depicting various scenes from daily life. Other walls are covered with intricate carvings, mosaic, and minute mirror work.
Amber Fort is divided into four sections. Each is accessible via large staircases from a central location, or from a broad pathway leading to each of the sections. The pathways are currently used to transport tourists via an elephant ride. The main entrance of Amber Fort, Surajpol, leads to the Jaleb chowk, the main courtyard of the Fort where the staircase to the palace is located. In ancient times, Jaleb Chowk was the area where returning armies were paraded back home.
Just prior to the palace entrance is a narrow staircase leading to the Kali Temple, also known as the Shila Devi Temple, made popular for its enormous silver lions. The origins and purpose of these large lions is still unknown. The Kali Temple is known for its silver doors with raised reliefs. According to legends, Maharaja Man Singh I had worshiped Kali for a victory over the rulers of Bengal. The legend says that Kali appeared in the Maharaja's dream and ordered him to recover her statue from the Jessore seabed (now in Bangladesh) and place it in an appropriate temple. The accuracy of the legend has not been verified. However, it is said that the Maharaja recovered the statute from the bed of the sea and created the temple. A tourist curiosity is an image of Ganesha at the temple entrance, carved entirely from a single piece of coral.
Sheesh Mahal (Mirror Palace) -- covered in mirror mosaics and colored glass -- would have been the private quarters of the maharaja and his maharani, literally transformed into a glittering jewel box in flickering candlelight; guides will point out the "magic flower" carved in marble at the base of one of the pillars around the mirror palace -- recognizable by the two butterflies hovering around it, the flower can be seen to contain seven unique designs (a fish tail, a lotus, a hooded cobra, an elephant trunk, a lion's tail, a cob of corn, and a scorpion). Above is Jas Mandir, a hall of private audience, with floral glass inlays and alabaster relief work. Opposite, across the garden, is Sukh Mahal (Pleasure Palace) -- note the perforations in the marble walls and channels where water was piped to cool the rooms
Close to Amber Fort is the worthwhile Anokhi Textile Museum (Closed Mondays)
Anokhi's roots lie in Jaipur, a city whose founders were enlightened patrons of the arts and crafts. Skilled craftsmen were invited to settle here and were ensured a secure livelihood. In the Jaipur tradition, Anokhi tries to maintain an open and honest relationship with its craftspersons. It helps them to work in conditions of their own choosing and commits itself to providing them with sustained work.
The hand block is carved out of wood and is the simplest of printing devices. Dyeing with vegetable colours is the oldest of colouring techniques. As pioneers of hand block printing for the export market, Anokhi has built on these for the last thirty years. It constantly seeks to create an environment in which traditional textiles have their place and value and to build a symbiotic relationship between the market and the design product - between skill and tradition.
Anokhi's designs blend contemporary sensibilities with traditions of excellence. Its designers seek the bold and the striking, the graphic and the colourful, using modern printing techniques to keep pace with a demanding and fast moving world market, keeping the spirit of resurgence always alive.
For many years, Anokhi has also been developing products in specialised areas such as appliqué, embroidery, patchwork and bead work, which now constitute a significant part of its product range. Together with garments - Indian and Western in design - home textiles, sarongs and accessories, Anokhi offers a diverse and colourful selection of products.
In an attempt to maintain the highest standards of quality necessitated by its customer profile world wide, all the fabric procurement, finishing, checking, and packaging is done at Anokhi’s office at a farm on the outskirts of Jaipur. Anokhi has a state of the art work unit, with more than 200 sewing machines, dry cleaning plants, and checking and packaging units. The company deals with more than ten different printing units and two dyeing units which have largely hereditary practitioners of their respective craft.
Anokhi has three hundred employees working on its premises at Jaipur and another fifty who work at the Anokhi stores in Jaipur, Delhi, Mumbai, Bangalore, Kolkata and Chennai. In all through its activities, Anokhi provides a livelihood for more than a thousand people.
Frommer's Review
“While you are in the Amber Fort area, take time to stop at this little gem, a largely undiscovered (and undermarketed) venture by the highly successful boutique chain of the same name. Anokhi began as an arts-and-crafts movement 30 years ago, and in this beautifully designed museum you can admire the textile traditions the movement has helped preserve. Each room is dedicated to a different style of fabric printing, displayed in glass cases along with artisans' implements. Curator Emma Ronald is very hands-on (an approach that is drastically lacking throughout much of India) and goes to great lengths to bring innovative and interesting exhibitions to the museum; in winter, the top-floor gallery usually hosts loan exhibitions from around the world. Best of all, for those interested in a more hands-on understanding of block-printing, there's a full-time artisan who demonstrates the craft, as well as a woodcarver who makes printing blocks (Thurs-Sat only). End your visit at the pleasant cafe (great for organic coffee and biscuits), and then arm yourself with a credit card at the exquisite museum shop, which has a great range of goods, from books to homewares”.