Period Rooms in Mehrangarh Fort
1. Sheesh Mahal
The Sheesh Mahal (Palace of Mirrors) was beforehand a bit of the private apartment suite of Maharaja Ajit Singh of Marwar (r. 1707-1724). It is situated towards the backside of a corridor (presently the materials display) which was once utilized as private quarters by the Maharajas of Jodhpur.
Under the curves in Sheesh Mahal are painted gesso boards delineating divine beings and goddesses, for example, Brahma, Shiv-Parvati, Devi and Ganesh on their royal positions. Krishna is envisioned playing the flute and lifting Mount Govardhan. Slam and Sita show up with Hanuman.
The wooden roof and the European glass crystal fixture suspended on it are later options and were included in the nineteenth century. The first eighteenth-century roof is shown on the floor.
2. Phool Mahal
The Palace of blossoms is a radiant eighteenth-century chamber worked by Maharaja Abhay Singh (1724-49) as a corridor of the private crowd. The roof is in gold filigree and reflect, and the dividers, painted in the nineteenth century, delineate the different temperaments of the Indian traditional ragas, Royal Portraits and the manifestations of Vishnu and Goddess Durga.
With its sensitive hues, brilliant sheen, resplendent roof, and recolored glass windows and screens, the Phool Mahal is without a doubt the most terrific period room in Mehrangarh.
3. Takhat Vilas
The bed-office of Maharaja Takhat Singh (1843-73) is embellished from the roof to floor with artistic creations on an assortment of subjects; from Hindu divine beings and goddesses to European women. Indeed, even the 'cover' on the floor is painted. Particularly critical are the finish works of art on the wooden roof. Takhat Singh, an incredible supporter of human expressions, was the remainder of Jodhpur's Maharajas to entirely dwell in Mehrangarh.
4. Sardar Villas
Sardar Vilas is an eighteenth-century royal residence room which experienced remodels in the nineteenth and twentieth hundreds of years. Shown here are sets of wooden entryways and windows that were once part of the castles of Mehrangarh. Impeccable instances of nineteenth-century woodcraft from Marwar, these are brightened with ivory, veneer, and paint.
5. Jhanki Mahal
Jhanki Mahal royal residence was built during the rule of Maharaja Takhat Singh of Marwar (r. 1843-1873). It is said that this royal residence was worked to permit ladies of the zenana to see formal procedures in the yards beneath ('Jhanki' signifies 'glimpse'). The jaalis and little windows permitted them to look down without being watched.
Jhanki Mahal now houses the supports assortment. A portion of these supports or swings ('jhulas') were utilized for newborn children, while others were proposed for icons that were set in these swings on celebration days.
6. Dipak Mahal
Dipak Mahal is a piece of the Khwabgah patio that worked in the eighteenth century by Maharaja Ajit Singh of Marwar (r. 1707-1724 and later redesigned by Maharaja Takhat Singh (r. 1843-1873). It was before the primary regulatory focus of the fortification where the Diwans and different authorities who directed authoritative issues of the realm sat. The seat at the back was planned for the Maharaja or a high official while different authorities involved seats on the floor.
7. Moti Mahal
The Pearl Palace is one of the most established enduring period rooms in the stronghold. It was worked in the sixteenth century by Sawai Raja Sur Singh (1595-1619) as a Hall of Public Audience. The dividers of the room are glossily cleaned with 'chunam' and beautified with specialties in which lights once glimmered. The roof is wonderfully decorated with a mirror and plated.
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