Authored by Suraj Saraf, compiled by Amiay Saraf
The sprawling three hundred years old Mubarak mandi palaces in the capital city of Jammu, built majestically on the crest of a high spur on the right bank of river Tawi, overlook the breathtaking belle view of Tawi valley backed by low-verdant hillocks with successive higher ranges spreading renowned Trikuta range, the abode of world famous holy cave of Shri Mata Vaishno Devi and culminating still in the distant back by the mighty Pir Panjal ranges about 150 Kms straight aways. Vast pre-portions, variety of styles numerous architectural elements and myriad artists motifs make these old palaces a tret for the yes and a pride heritage of the Dogras. They are predominantly Dogra Rajput in architecture with interspersed Mughal. Describing them as unique, Indian national trust for Art and Cultural Heritage (INTACH) said, “ The buildings one losing courtyards having been built at different times, represent a mixture of architectural styles and construction techniques some specific to Jammu and others borrow from outside. The set of courtyards (enclosed by ten different mansions) of different sizes and seal with their interconnecting passages and changes in level, constitute a most remarkable example of urban space design. There is a strong influence of Rajasthani architecture idiom in the earlier set of buildings. The later constructions, especially the buildings which presently exhibit a more elective style of Rajashtani features, motifs from the late Mughal period and even European, all tied together with a surface treatment of decorative plaster work from the hills passing over river Tawi. During winter they provide warmth as the face east admitting maximum sun-shine. Some buildings here contained exquisite painted celings and walls and decorations, but there were only a few example remaining, said the INTACH report. In the complex facing river Tawi, at the lower most level Gole Ghar whish is the most magnificent building in Mubarak Mandi. Maharaja Ranbir Singh (1857-1885) built this five storied round structure in absolute symmetry. The walls of the building are beautifully carved. It has three domes in different styled. One of them resembles the one set at Rashtrapati Bhawan, New Delhi. All these have capitals on top like persian domes. The stories consisted of arched entrances. However, in 1990’s a massive fire burned Gole Ghar, still in ruins. Worth mentioning among these gigantic structures are also two splendid huge halls that were previously used exclusively for royal functions. One known as Green hall (being green colored) used to serve as Darbar Hall and the other named Pink Hall for royal marriages etc. These Halls offer an enthralling spectacle marked by flush embellishments. They were the show window of the splendor and might of the Dogra dynasty ruling over the largest princely state in India. Fine and interesting marble adjacent to Pink Hall is another facet of the fantastic adornments.
To underpin the importance of preserving Mubarak Mandi complex one night recall here the observations made by John Malool Russel, professor Art History and Archaeology, Massachusetts (USA) college of Art about preservation of antiquities. “ If you have a piece of art that is one its kind then to lose that work is great loss. Archaeology is the substance of history, the evidence of mankind. Even a little loss is a great loss.”
The portion of the mammoth Mubarak Mandi complex facing rive Tawi was used in old days by the rulers for their own residence. There were several small parks within the buildings adding a refreshing touch of greenery and floral and ornamental grandeur. But they have also been no more though the main park in the courtyard of the entire grandiose edifice survives. It has four fountains with very interesting metallic sculptures. Charles Hugel who visited Jammu in the 1840’s had remarked, “ it is prettily laid out in Indian style in the Indian taste with a pavilion in the centre. Where a variety of animals are kept in separate cages, some on account of their rarity, others for the purpose of being reared.” Among the most aesthetically marked elements in the complex are 75 exquisitely chiseled and carved monolithic pillars in two rows, one forming impressive design on the ground floor and other on the first floor of the eastern wing which is the last of the additions to the complex and which of course also the piece de resistance as regards artist and architectural displays. The bases and capitals of these pillars bear carvings and ingénues devices have been employed to effect intricate design with pillars and arches. In many cases small pillars have been added above the main columns to add to the ornamentations adjusted harmoniously in a fascinating over all pattern. Two gateways between these pillars leading to the interior are marvels of arabesque decorative effects. In fact, an observation of the whole massive front of this portion of the Mubarak Mandi complex, reveals interesting intensive work with pillars and arches canopies large cupolas, windows and niches even false structures creating illusions, expansive pebble work arranged in myriad patterns vying strikingly with the architectural patterns. Whole structure is topped by huge towers ending about the location of Mubarak Mandi palaces highlight the Dogra heritage glory, particularly in relation to the Jammu city surrounding it. Over the years the grand complex has suffered much due to fire and ruins. However, now it is being restored as a heritage tourist complex under a two hundred crore project. There’s a pressing demand in Jammu that Mubarak Mandi complex should be taken over by archaeological survey of India as a monument of national importance for conservation and preservation. Keeping in view the observation made by INTACH about the unique architectural and artists features of the grandiose complex as also its historical as a monument of national importance. And sooner it s is done before the matters go completely out of hand the better. Supporting this demand Th. Gulchain singh charak president Dogra Central Sabha and an M.L.C. He said despite official promises to hand over Mubarak Mandi complex that also houses Dogra Art Museum in its Pink Hall, to archaeological survey of Indi no steps have been taken in that direction. Strongly resenting recent pulling down of a portion of the complex he said this precious Dogra heritage is in shambles. Master pieces of paintings on its walls have faded ceilings of several rooms have fallen and their ruins have been habitat for monkeys. He also pointed out that the complex had been declared unsafe in 1980 and also said that precious archival records housed in one of the buildings of the complex have also been seriously endangered. To underpin the importance of preserving Mubarak Mandi complex one night recall here the observations made by John Malool Russel, professor Art History and Archaeology, Massachusetts (USA) college of Art about preservation of antiquities. “ If you have a piece of art that is one its kind then to lose that work is great loss. Archaeology is the substance of history, the evidence of mankind. Even a little loss is a great loss.”
( The compiler Amiay Saraf is a freelancer from Jammu. Views are exclusively his own) [email protected]
