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Mandav
History of Mandu
Mandu is a
celebration in stone of life and joy, of
the love of the poet-prince Baz Bahadur
for his beautiful wife, Rani Roopmati. The
balladeers of Malwa still sing of the
romance of royal lovers. High up on the
crest of a hill, Roopmati's pavilion still
gazes down at Baz's palace, a magnificient
expression of Afghan architecture. Perched
along the Vindhyan ranges at an altitude
of about 2000 feet, Mandu, with its
natural defences, was originially the fort
capital of the Parmar rulers of Malwa.
Towards the end of 13th century, it came
under the Sultans of Malwa, first of whom
renamed it Shadiabad - the city of joy.
Its rulers built exquisite palaces like
the
Jahaz and
Hindola Mahals, ornamental canals,
baths and pavilions. Each of Mandu's
structure is an architectural gem. some
are outstanding like
Jami Masjid, and
Hoshang Shah's Tomb, which
provided inspiration for the master
builders of world famous Taj Mahal
centuries later. Under Mughal rule, Mandu
was a pleasure resort, its lakes and
palaces the scene of splendid and
extravagant festivities. The glory of
Mandu lives on, in its palaces and
mosques, in legends and songs.
How to reach
?
Air - the nearest airport is Indore,
about 100 km away which is connected to
Delhi, Bombay, Gwalior, and Bhopal.
Rail - convenient railhead is
Ratlam (124 km) and Indore (94 km) on the
Delhi-Bombay mainline.
Road - regular bus service connect
Mandu with Indore, Dhar, Mhow, Ratlam,
Ujjain, and Bhopal.
Accommodatio n
STD Code +91-07292
|
Hotel/Rest House/
Dharamshala |
Facilities |
Rates (Rs) |
Phone No. |
|
Single |
Family |
|
Tourist
cottages (MPT) |
A/B/G/V/S |
350-750 |
450-850 |
263235 |
|
Travellers
lodge (MPT) |
A/B/G/V |
290 |
390 |
263221 |
|
Hotel Roopmati |
A/B/G/V/S |
330-550 |
425-750 |
263270/ 263279 |
|
Taveli Mahal
Rest House (ASI) |
A/B |
Reservation By
|
263225 |
|
SADA Rest House |
A/B |
Reservation By
SADA |
- |
|
PWD Rest House |
A/B |
Reservation By
Collectorate Dhar |
- |
|
Forest Rest
House |
A/B |
Reservation By
Collectorate Dhar |
- |
|
Jain
Dharamshala |
A/B |
Reservation By
Jain Dharamshala Mandav |
263229 |
|
Jhira Bagh
Palace
jhiraplc@vsnl.com
http://travel.vsnl.com/jhirabaghpalace
DHAR. |
A/B/G/V/S |
2100-2500 |
2650- 3650 |
235097/ 232580 |
A - Accomodation B -
Boarding G - Guide V - Vehicle S - STD
Phone
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The Darwazas
The 45 km parapet of
walls that encircle Mandu are punctuated
by 12 gateways. Most notable of these is
Delhi Darwaza, the main entrance to the
fortress city, for which the approach is
through a series of gateways well
fortified with walled enclosures and
strengthened by bastions such as the
Alamgir and Bhangi Darwaza, through which
the present road passes. Rampol Darwaza,
Jehangir Gate and Tarapur Gate are some of
the other main gateways.
The Royal
Enclave (Jahaj Mahal)
This 120 mt long
"ship palace" built between the two
artificial lakes, Munj Talao and Kapur
Talao is an elegant two storeyed palace.
Probably it was built by Sultan
Ghiyas-ud-din-Khilji for his large harem.
With its open pavilions, balconies
overhanging the water and open terrace,
Jahaz Mahal is an imaginative recreation
in stone of a royal pleasure craft. Viewed
on moonlit nights from the adjoining
Taveli Mahal, the silhouette of the
building, with the tiny domes and turrets
of the pavilion gracefully perched on the
terrace, presents an unforgettable
spectacle.
Hindola Mahal
An
audience hall, also belonging to
Ghiyas-ud-din's reign, it derives its name
of "swinging palace" from its sloping
sidewalls. Superb and innovative
techniques are also evident in its
ornamental facade, delicate trellis work
in sand-stone and beautifully moulded
columns. To the West of Hindola Mahal
there are several unidentified buildings
which still bear traces of their past
grandeur. Amidst these is an elaborately
constructed well called Champa Baoli
which is connected with underground
vaulted rooms where arrangements for cold
and hot water were made.
Other places of
interest in this enclave are Dilawar
Khan's Mosque,the Nahar Jharokha
(tiger balcony), Taveli Mahal, the
two large wells called the Ujali
(bright) and Andheri (dark)
Baolis and Gada Shah's Shop and
House , all worth a visit.
Hoshang Shah's Tomb
India's first
marble edifice, it is one of the most
refined examples of Afghan architecture.
Its unique features are the magnificently
proportioned dome, marble lattice work of
remarkable delicacy and porticoed courts
and towers to mark the four corners of the
rectangle.
Shah Jehan sent four
of his great architects to study the
design of and draw inspiration from the
Tomb. Among them was Ustad Hamid, who was
also associated with the construction of
Taj Mahal.
Jami Masjid
Inspired by the great
mosque of Damascus, the Jami Masjid was
conceived on a grand scale, with a high
plinth and a huge domedporch projecting in
the centre, the background dominated by
similar imposing domes with the
intervening space filled up by innumerable
domes. One is struck by the huge
proportions and the stern simplicity of
its construction.
The great court of
the mosque is enclosed on all sides by
huge colonnades with a rich and pleasing
variety in the arrangement of arches,
pillars, number of bays, and in the rows
of domes above.
ARCHAEOLOGY-CUM-TRIBAL CULTURE MUSEUM
A
museum hosting archaeological antiquties
as well as tribal cultural artefacts with
a reference unit and arrangement for night
lighting is being setup in Chhapan
Mahal, Mandu, is being setup in
consultation with the State Archaeological
Department.
Chhappan Mahal Museum
Chhappan Mahal is a
forgotten mausoleum constructed in
sixteenth century AD. It embodies the last
and most mature phase of Mandu's medieival
architecture. In Hindu calendar Vikram Era
1956 (AD 1899) the Puar rulers of Dhar
started the restoration work of this
monument to give relief to the
drought-affected population. In memory of
Vikram Era fifty-six (Chhappan in Hindi),
this monument has come to be called
Chhappan Mahal.In Ad 1989,the wife of the
erstwhile deceased Puar ruler of Dhar,
Anandji Rao Puar IV, and the Chancellor of
Maharaja Sayaji Rao University of Baroda,
Ms. Mrinalinidevi Puar donated this
property to the Collector for setting up a
museum. Exactly 100 years after the
historic Vikram Era 1956, in Vikram Era
2056 (AD 1999)
District Archaeology
Association and State Archaeology
Department took the initiative for setting
up this museum. Before the setting up of
this museum, this monument was restored to
its original form with labour working
night and day over six months. In the four
galleries of the museum, Drishyika,
Mandapika, Aranyika and Poorvika, an
attempt has been made to represent the
invaluable historical heritage of Dhar
district dating from stone age to the
twentieth century. This heritage includes
the one and a half millennium old Bagh
cave frescos, stone age relics, Bhil
culture, the glory of King Bhoj and
Dharanagari, the acme of the Sultans of
Malwa, the immortal love of Roopmati and
Baaz Bahadur and the martyrdom of Rana
Bakhtawar Singh.
Ashmadha- Fossil
Museum
Priceless plant,
animal, andarine predating even the
Jurassic era scores of millions of years
ago abound in the Manawar and Gandhwani
Tahsils of the district. These exquisite
and rare fossils have attracted repeated
expeditions of palaeologist from accross
the globe. At the initiative of the
district administration, this unique
museum has been set up in the picturesque
fringe of the Kakrakhoh falls close
to Mandu.
Ashmadha,
literally- "seated in stone", is a treat
for the thinking being. The Museum is
being opened to public very shortly.
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Dhar
Fadke
Studio
In 1933 Shri
Raghunath Krishna Fadke was came to Dhar
from Mumbai. He is a well Known
Murtikar. He was called here by Dhar
Maharaja to prepare some Murti's
in Chhatri of Maharaja. Shri
Fadke had established his studio On
Khanderao Tekri Which was called as
FADKE STUDIO later
On. Shri Fadke was given
PADMASHRI for his famous
Murti "Tatwa Chintana" in 1961. In
1971 he was also awarded with Doctorate.
He was died in 1972. Statues Made by him
were established at Dhar, Indore, Dewas,
Ujjain, Mumbai. Presently also several
statues made by him & his successors were
plased at FADKE STUDIO.
This Statues gives the feeling that as if
they were real & will Start to talk with
us.Nearly 25,000 people visit to
FADKE STUDIO per year.
Following are the
some plases in Dhar for visit.
![]() Bhoj
Shala
![]()
Killa (Old Fourt)
![]()
Kalica Mata Mandir (Temple)
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Ladh Masjid
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Man-Tung-Giri (Jain Tirtha)
![]()
Nityanand Ashram
![]()
Bandichod Dargaha
![]()
Maulana Kamalludin Chisti Dargaha
![]()
Vijay Mandir
![]() Bada
Ganpati Mandir
![]()
Puratatva Sangrahalay
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Mohankheda -
Jain Tirth
Mohankheda-Holi Jain
Tirth is situated 47 Kms From Dhar On
Indore-Ahemadabad Highway. This Tirth was
established by Poojya Gurudev Shri
Rajendra Surishwarji Maharaj Sahab around
1940. This Tirth was given New & artistic
look by Acharya Dev Shri Vidhyachandra
Surishwarji Maharaj Sahab. This Tirth have
Shodh Shikhari Jinalaya, 16 feet
heighted Bhagwan shri Adinathji's Pratima
and Samadhi Mandir of
Shri Rajendra Surishwarji,
Shri Yatindra Surishwarji &
Shri Vidhyachandra Surishwarji Maharaj
Sahab.
This Tirth was
wel connected by Bus From Indore, Dhar,
Ujjain, Ahemadabad, Baroda, Ratlam,
Bhopal, Surat. Nearest Railway Station is
Meghanagar, nearly 65 Kms from Mohankheda
On Mumbai-Delhi Railway Line. Mohankheda
Tirth is managed by Shri Adinath Rajendra
Jain Shwetamber Cheritable Trust.
Telephone Nos. of Trust are
232225,234369,235348,235059,232347 & STD
Code is 07296.
For More Information
Click here
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Amjhera
Village Amjhera lying
in the south-east corner of Sardarpur
Tahsil is about 23 km. from Sardarpur and
about 40 km. to the north-west of Dhar.
All the three places are connected by road
on which buses ply.
The village appears
to have been of some importance in old
days as it has a number of temples of
Shaiva and Vaishnava sects, tanks,
Chhatris, satistones, wells a
mosque and a fort with palaces inside.
As many as five
Shaiva temples dedicated to Mahadeva,
Chamunda and Ambika and two Vaishnava
temples of Lakshmi-Narayana and
Chhturbhujanatha are in the village.
Two tanks known as
Brahma Kund and Surya Kund and located in
one group near the village. A group of
three cenotaphs, built in memory of former
Rajput Chiefs, is also situated close to
the village. Of five cenotaphs of another
group two are built in stone and the rest
in bricks.
Sati
stones, 25 in number, are seen in one
group at the locality. The date of these
monuments is not known. Amjhera was the
head-quarters of a Mahal under
Sarkar Mandu during the reign of Akbar.
The fort of Amjhera
built of rubble stones and bricks in lime
was probably constructed by Raja Ram Singh
Rathor of Jodhpur in the 18-19the Century
A.D. The fort has three old palaces all of
the same period. Of these three only the
Rang-Mahal deserves mention as it contains
mural paintings depicting court life. The
fort was held by Raja Bakhtawar Singh in
1857. This Raja boldly revolted against
the British rule whose officers caught and
hanged him to death at Indore during the
days of the great revolt of 1857. Thus the
Raja immortalised the village Amjhera by
sacrificing his life at the altar of
Independence of India. Confiscating his
estate the British Government made it over
to the Sindhia.
The village was
populated by 4298 persons in 1971 as
against 3,392 in 1961.
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Badnawar
This headquarters
town of a tahsil of the same name lies
about 50 km. north-west of Dhar, the
district headquarters town with which it
is connected by a road on which buses
play. Badnawar might be a corrupt form of
Wardhanpur or Hatnawat named after King
Hastin.
The place is
evidently an old one as it has yielded old
monuments, the earliest of which is of the
11-12th Century A.D. and it has a
magnificient Shaiva temple repaired later
on. Besides this, there are three other
temples of a later period including one
called Udanya temple. A few images have
been found here bearing dates Vikram
Samvat 1219, 1229 and 1336 corresponding
to A.D. 1162, 1172 and 1279, respectively.
The town has an old mosque constructed in
A.D. 1688 and the remains of the fortress
or garhi mentioned by Abul Fazi.
During the reign of
Akbar Badnawar was the headquarters of a
Mahal in Ujjain Sarkar of
Malwa Subah.
According to the
Census of 1971 the town was populated by
9,130 persons as against 2,661 in 1901.
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Bagh
Caves
These
remarkable and interesting rock-cut
shrines and monasteries are situated in
the Narmada valley among the southern
slopes of the Vindhya hill in Kukshi
Tahsil of Dhar District. These are about
152 km. by road from the nearest railway
station Mhow, on Ajmer-Khandwa narrow
gauge section of the Western Railway.
Buses play on the road and taxis are
available at Indore and Mhow to reach the
caves. From Dhar these are about 108 km.
to the south-west and from Kukshi about 18
km. to the north.
These caves
belong to the Budhist faith and it is not
certain as to how and when these caves
began to be called Bagh Gumpha. In modern
times these caves were first discovered in
1818. It seems that after the extinction
of Buddhism in Central India by the 10th
Century A.D. these caves remained effaced
from human memory. During the intervening
centuries the caves often became the abode
of tigers (Bagh) and this association of
tigers with the caves gave then the
present name. The village situated at a
distance of about 8 km. and the river
flowing nearby the cave came to be known
as Bagh village and Bagh river. The other
view states otherwise. It believed that
either the name of the river or of the
village has given its name to others.
Until
recently these caves were roughly assigned
to the Seventh Century from the style of
architecture and painting but a
copper-plate grant inscription since
discovered pushes back the date of at
least some of them to the 4th or 5th
Century A.D.
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Paintings
Bagh caves are
mostly important and famous for its
paintings. Here we can see the traces of
the fully matured pictorial art of the
country which have their parallels only at
Ajanta in Maharashtra. Bagh caves will for
ever be remembered for the famished glory
of the painting which has left its shadows
traces on the walls and ceilings of these
caves. Their colours are faded and subject
matters are disfigured. The visitor who
pauses, ponders over and dives deep into
significance with patience and
imagination, looks upon these
wall-paintings as the highest achievements
in the world of art of that time.
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