Category Archives: Forts

Gates of Dabhoi – mesmerising Hindu architecture and sculpture

Do you know there are four gates called ‘’bhagol’’; in the town of Dabhoi, in present day Gujarat state near Vadodara, one in each cardinal direction, having indirect entry, located in the middle of each side of a fort wall? These gates are: Hira gate or Hira Bhagol, Baroda or Vadodara gate, Chandod or Nandodi gate and Champaner, Mori, Mahudi or Mahmudi gate. The gates have one of the most beautiful and amazing Hindu architecture and sculpture in India. In fact, one can learn Hindu iconography here. Let us know more about these fascinating gates!

History of Dabhoi

Dabhoi was historically known as Darbhavati, Darbikagrama, Darbhavatipura, and Dabhohi. It is first mentioned in the sixth century astronomical treatise Romaka Siddhanta. It was an important pilgrim site for Hindus due to the Kalika temple and for Jains as well. It is also mentioned in several Jain works, such as Hemachandra’s Yogartrevritti and Ramchandra’s Vikramcharitra.

An old sketch of the Fort of Dabhoi, Hira gate can be seen. Inscribed: ‘Gov’t archaeological survey of W.I.’

The town and its surroundings were under Chavda and later under Chaulukya rulers who built few buildings and temples from the ninth century.The Vaidyanatha-Mahadeva temple, Parsavanath Jain temple, torana in white marble, Vireshwara temple, and Kumbeshwara complex was also built in the 13th century. Of all these, only gates, Vaidyanatha Mahadeva temple, and Parshwanath Jain temples are in good condition. The ruins of other structures and a kund suggest the grandeur of the town in the 13th and 14th centuries. It came under the Gujarat Sultanate later. It was a district headquarter during the Mughal rule in Gujarat. The battle of Dabhoi was fought on 1 April 1731 between Trimbakrao Dabhade and Bajirao Peshwa. Later it was under the Baroda State which merged into the Indian Union in 1947-48.

Gates at Dabhoi Fortress

The fortification of it is ascribed to the Chaulukya king of Gujarat, Jayasimha Siddharaja (1093-1143 AD), who made this his frontier fortress. The architectural style and the exquisite stone carving and iconography on the fort walls and gates suggest that it was conceived and constructed in the same period as Rudra Mahalaya and Zinzuwada Fort. It is mentioned as an important city in the Jain inscriptions of Girnar (VS 1288).

In the 13th century, the town came under Vaghela rule. The information on Dabhoi can be found in prashastis and inscriptions such as Someshwar prashasti, which mentions that the fort surrounding the town was built (1231 CE) during the reign of Vaghela ruler Viradhavala, father of Visaladeva, who made it his frontier fortress. He carried out the construction as a celebration of the birth of his son. The gates of it were said to constructed by his ministers Vastupala and Tejapala.

Hira ”Bhagol” or Hira gate is named after it’s architect, Hiradhar, and is the most richly carved gate. There are six pilasters on each side and Hindu deities adorn both sides of the gate like Lord Shiva, Goddess Lakshmi, Lord Vishnu, depiction of samudramanthan and few legends from the epic Mahabharata. It is in the east, with Vadodara Gate in the west. The Vadodara gate leads to Vadodara as the name suggests and is also adorned with Hindu mythological figures. The Baroda gate as it was called, located on the western side of Dabhoi, was originally constructed of hewn stone and reaches a height of 30 feet. The gate’s walls are richly carved with decorative ornamentation and mythological figures including the incarnations of Vishnu with crocodiles and nymphs. Gate is in the north. It led to Champaner and has five brackets emerging from pilasters with figures of deities like Lord Shiva, Vishnu and Goddess Saraswati. It s also called Mahudi gate. There are yoga poses also on this gate. The gate was decorated c.1220-1230 with representations of various Siddhas and yogis. Nandodi Gate is in the south, a double gate with courtyard in between. It has sculptures of Lord Shiva and Lord Vishnu on its inner walls, the gate has beautiful carved brackets.

Part of Fortress wall with Hira Gate, Dabhoi.

Sculptures at the Hira Gate, Dabhoi.

Sculptures at the Hira Gate, Dabhoi – another view.

Sculptures at the Hira Gate, Dabhoi – another view -2

Vadodara Gate, Dabhoi.

Hira gate elephant sculptures, Dabhoi. pic source-https://www.flickr.com/photos/rietje/24474527773/in/photostream/ by Rita Willaert

Hira gate elephant sculptures, Dabhoi. Pic source – https://www.flickr.com/photos/rietje/24474529233 by Rita Willaert

Vadodari Gate (Bhagol), Dabhoi.

Sculptures at Nandori Gate, Dabhoi.

Diagram, Baroda (Vadodari) gate, Vaghela kingdom, Patan, 1884 sketch.

Beautifully carved brackets, Vadodara gate, Dabhoi.

Close-up of Sculptures, Vadodara Gate.

References –

  1. https://en.wikipedia.org/wiki/Dabhoi
  2. https://historyofvadodara.in/dabhoi-gates/
  3. Images are from Wikimedia Commons and Flickr.

Posted by – Soma Ghosh

Symbol of the trinity : panel in Gwalior fort

            Art is an expression of the human spirit and depicts both sensory and abstract feelings. Art and religion are frequently inter-woven by time, experience and content. Religion finds artistic expression in sculpture,painting and architecture. in India, religion underlies many aspects of human life. Religious worship is an activity to appease powers beyond human control. It is a surrender to existence and a contemplation of the divine, from which arises peace and trust.

    Indian art borrows heavily from religion and through visual form many aspects of the Indian deities like Shiva, Vishnu,Brahma,Buddha, Mahavira have been depicted. Art in India exists from prehistoric times to the present day. It can be found manifest on temples, stupas, chaityas, viharas,sculpture,metal icons, paintings,terracottas,wall paintings,pottery,textiles and jewellery.

     Representation of deities in art is done in interesting ways. symbols and their language has been used for decoration but can also depict the divine. Symbols are used to represent nature, deities and to communicate ideas. Symbols can be used to convey abstractness and myths.

     An excellent symbolic representation can be seen in the famous fort of Gwalior in Madhya Pradesh. The fort at Gwalior has a long history. It stands at 300 feet above the plain lands on Gopachal Hill; it is believed to have been King Suraj Sen of the Kacchhappa dynasty who was cured of leprosy by being directed to a pond by Sage Gwalip after whom the town is named. The King enlarged the water body for common benefit. Gwalior fort is a solid structure, massive, spectacular and very impressive. The fort consists of Badal Mahal, Jehangir Mahal, many gates,water sources including Surajkund, Jauhar taal, Mansarovar,Rani Taal, and Cheri taal. A gurudwara has also been built where the 6th  Sikh guru Hargovind used to meditate.

IMG-20151207-WA0029

Pic : Soma Ghosh

       Man Mandir is however the most awesome  in the entire fort of Gwalior. Emperor Babur visited this palace in 1528. The entrance to the palace is Hathi por, made of four pillars supporting a dome. Two towers flank the entrance mounted by domes. The Man Mandir is the palace of the king which also housed the attendants.

The Maharaja of Gwalior entering his palace,1887.

By Edwin Lord Weeks – http://hoocher.com/Edwin_Lord_Weeks/Edwin_Lord_Weeks.htm, Public Domain, https://commons.wikimedia.org/w/index.php?curid=18647256

        Inside the palace are courtyards in square shape. To the west of the first is a dance and music hall. On the east is a living room which opens to the inner courtyard. This is large and to its east  and west are the rooms for royalty. From the courtyards staircases go downwards to lower rooms. This palace has beautiful pillars,screen work, ornate ceilings, inlay work,coloured tiles and brackets. The pillars in the first courtyard are placed in four tiers divided into four segments from base to the abacus. The inner courtyard is the larger one and two panels of false screen work exist on the northern and southern side. The false screenwork/panel  in the shape of a chakra is very symbolic and representative from a Hindu point of view of the cosmos. These panels on either sides of the pillars are very interesting and the Hindu trinity of Brahma, Vishnu and Shiva is represented here.

     At the centre of the chakra is a lotus which is a symbol of the Brahma, the creator. The lotus also suggests expansion of the soul,rooted in infinite reality and represents concept of primordial birth from the cosmic waters of creation. As per Hindu philosophy the universe or cosmos is always in flux, constantly changing. it is created, maintained and destroyed and created again. The chakra motif which is used can also be understood to refer to the cycles of time.IMG_20151206_155520

Pic : Soma Ghosh

       Vishnu who is also called Padmanabha is believed to rest on the eternal ocean and out of his navel comes out Lord Brahma who takes up creation. It is said that Shiva takes up the duty of destruction at the end of eras or epochs. in this panel Vishnu is seen as a symbol resembling the Srivatsa present in concentric circles in spaces between the lattice surrounding the lotus. Srivatsa is a symbol on the chest of the Vishnu believed to have been created by the blow of Shiva’s trident (trishul) or by the wet hand of sage Bharadwaja. This symbol has been seen in caves, cave inscriptions, stupas,terracottas, seals, pottery and coins. Srivatsa is thus an auspicious mark which also occurs on the chest of Jain Tirthankaras. It has been used as a decorative element from Sunga period.

          In this panel the trident is represented in four concentric circles in triangular shapes to represent Shiva.They are found in circles after the Srivatsa shapes as ejecting triangles. This design with cosmic annotations thus captures the paradigm of the universe. Cosmic reality thus portrayed in Hinduism with the Trimurti principle gets depicted and by looking and meditating on this, one can sense a oneness with self and creation!

References

  • Gwalior Fort : art, culture and history, Kalyan Kumar Chakravarty, 1984,New Delhi: Arnold Heinemann.
  • History of the fortress of Gwalior,Srimant Balwantrao  Scindia,1891, Byculla: Education Society Press.
  • The dance of Shiva, Ananda Coomaraswamy, 1924 New York: Sunwise Torn-Inc.

 

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Soma Ghosh

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