Jal Mahal is a palace in the middle of the Man Sagar Lake in Jaipur city, the capital of the state of Rajasthan, India. The palace and the lake around it were renovated and enlarged in the 18th century by Maharaja Jai Singh II of Amber.
The Jal Mahal palace is an architectural showcase of the Rajput style of architecture (common in Rajasthan) on a grand scale. The building has a picturesque view of the lake itself but owing to its seclusion from land is equally the focus of a viewpoint from the Man Sagar Dam on the eastern side of the lake in front of the backdrop of the surrounding Nahargarh (“tiger-abode”) hills. The palace, built in red sandstone, is a five storied building, of which four floors remain underwater when the lake is full and the top floor is exposed.[1]One rectangular Chhatri on the roof is of the Bengaltype. The chhatris on the four corners are octagonal. The palace had suffered subsidence in the past and also partial seepage (plasterwork and wall damage equivalent to rising damp) because of waterlogging, which have been repaired under a restoration project of the Government of Rajasthan.

The hills surrounding the lake area, towards the north east of Jaipur, have quartzite rock formations (with a thin layer of soil cover), which is part of Aravalli hills range. Rock exposures on the surface in some parts of the project area have also been used for constructing buildings. From the northeast, the Kanak Vrindavan valley, where a temple complex sits, the hills slope gently towards the lake edge. Within the lake area, the ground area is made up of a thick mantle of soil, blown sand, and alluvium. Forest denudation, particularly in the hilly areas, has caused soil erosion, compounded by wind and water action. As a result, silt built up in the lake incrementally raises the lake bed. On the terrace of the palace, a garden was built with arched passages. At each corner of this palace semi-octagonal towers were built with an elegant cupola.

The restoration works of the early 2000s were not satisfactory and an expert in the field of similar architectural restoration works of Rajasthan palaces carefully examined the designs that could decipher the originally existing designs on the walls, after removing the recent plasterwork. Based on this finding, restoration works were re-done with traditional materials for plastering – the plaster consists of partly organic material: a mortar mix of lime, sand and surkhi mixed with jaggery, guggal and methi powder. It was also noticed that there was hardly any water seepage, except for a little dampness, on the floors below the water level. But the original garden, which existed on the terrace had been lost. Now, a new terrace is being created based on a similar roof garden of the Amer Palace. The building is located near the shoreline of a lake with a maximum depth of 15 ft. Though 4 stories of the building are under the surface of the water, they would be built into the bed of the lake.
In 2004, the Rajasthan Tourism Development Corporation took matters in its hands and decided to try and restore the monument to its original glory. They signed an agreement with Jal Mahal Resorts, granting it a 99-year lease to develop 100 acres along the Man Sagar Lake (in the middle of which Jal Mahal stands) and the palace. The 99-year lease was given out to a business tycoon, Navratan Kothari. For the past 9 years, he has worked on the cleaning of the lake and restoration of the Palace. Now there are many inhabitants of the area and it has created a great job opportunity for the people of Jaipur and Rajasthan. For the future, Navratan plans to build a few hotels around Jal Mahal and make it a very popular tourist destination.

Joint sector project:
The Lake restoration project of the Man Sagar Lake area with an estimated investment of Rs1.5 billion (considered as one of the largest and unique such projects in India) has evolved a plan that has diverse project components. Consequently, there are many project stakeholders and beneficiaries. The project stake holders are: the Government of Rajasthan and their subordinate organizations such as the Public Works Department (PWD), Rajasthan Urban Development Authority (RUIDP), the Jaipur Development Authority (JDA – the nodal agency for implementation of all aspects of the project), the Department of Tourism, Rajasthan Project Development Fund (RPDF) and the Rajasthan Tourism Development Corporation (RTDC) and an Empowered Committee on Infrastructure Development (ECID); the Central Government organizations associated for planning and financing are the Ministry of Environment and Forests (MOE&F) through its National River Conservation Program (NRCP) and ILFS.

The Private Sector Developer (PSD) appointed was M/s KGK Consortium. Under the public–private sector partnership model approved by the EICD, PDCOR had prepared the Detailed Project Report (DPR) for the restoration of Man Sagar Lake, Jal Mahal restoration and lake precincts development. The total project area for restoration and development approved by ECID was 432 acres (175 ha) comprising the lake with 300 acres (120 ha) water spread, the lake precincts area of 100 acres (40 ha), which subsumed 15 acres (6.1 ha) of submerged land) for tourism development under joint sector cooperation and 32 acres (13 ha) for lake promenade and tertiary treatment facility and related works.

The studies indicated two approaches to tackle the environmental degradation that had occurred in the lake, namely, dealing with natural catchment area and concurrently addressing the serious problem of municipal sewerage emerging from large scale urbanisation or human settlement. Keeping this broad planning approach in view, under the lake restoration project, the works undertaken involved were: the re-alignment of city drains, de-silting of the lake, construction of artery road from Amber to Man Sagar Dam (about 2.7 kilometres (1.7 mi)), construction of check dam in a 100 metres (330 ft) length with silt removed from the lake, creation of three nesting islands for migratory birds, lakefront promenade in1 kilometre (0.62 mi)), afforestation and treatment of forest area portion of lake catchment, plantation to stabilise the slopes of bank formation. Afforestation envisaged plantation of local plant species such as Acacia arabica (desi babool) and Tamarix indica (planting close to the water edge where they can grow well), Terminalia arjuna (Arjun) poplar, neem and all species of Ficus, which would provide diversity in vegetation and also better habitat diversity for feeding by birds and wildlife.

In addition, to remove eutrophication of the lake water and improve its water quality, in-situ Bioremediation process with 140 diffusers & 5 air compressors to aerate and create an inversion of the lake bed and stored water was also envisaged. The city sewage, which supplied 7.0 MLD of untreated sewage was treated with Sewerage Treatment Plant (STP) and then led to the lake to maintain its water level, after due removal of nutrients through tertiary treatment. This process involved diversion of the Brahampuri Nala into the Nagtalai Nala by a lined channel to its south. This was then lead through a treatment plant on site to generate secondary level effluent, which was then discharged into an artificial wetland through a hyacinth channel. For this purpose, a Physico Chemical Treatment Plant was also envisaged and the effluent from this plant was taken through artificially created wetlands in an area of 4 hectares (9.9 acres)) (not only to treat the water but also to serve as natural habitat for birds) and through this process the entire eco-system is being re-generated. Vegetation generated in this process is disposed of in a composite pit near the lake.

It is also reported that about 500,000 cubic metres of silt was removed from the lake. This silt was then put to use for strengthening of embankment and building of islands as wintering grounds for migratory birds.

After the above initial restoration works of the lake and its feeder system were mostly completed by the JDA, during 2003, private sector developers were invited to develop identified tourism components on the land adjoining the lake. After following the due process, a joint sector undertaking called the PDCOR was formed between the JDA of the Rajasthan Government and the consortia of private developers with lead provided by M/s. KGK Enterprises. The project for tourism development was entrusted to this joint group. The tourism project entailed the development of Convention Centre and Art Gallery, Multiplex and Entertainment Centre, Craft Bazaar, Arts and Craft Village, Resort Hotels, restaurants, and food courts, public park and gardens including responsibility for restoration and maintenance of the Jal Mahal.
The Jal Mahal palace within the Maan Sagar Lake is accessible from the Jaipur-Delhi National HighwayNo 8, over a road distance of 4 kilometres (2.5 mi)) from Jaipur. Delhi is a further 273 kilometres (170 mi)) away. Jaipur city being centrally located in Rajasthan, the National Highway No.8 not only links to Delhi but also to Mumbai. NH No.11 is a road link of 366 kilometres (227 mi)) from Bikaner to Agravia Jaipur. Flights are available into the Jaipur International Airport. The lake is 8 kilometres (5.0 mi)) from Amer palace on the Amber – Man Sagar Dam road to the north. The Jal Mahal palace is not open to visitors.

Jaigarh Fort is situated on the promontory called the Cheel ka Teela (Hill of Eagles) of the Aravalli range; it overlooks the Amer Fort and the Maota Lake, near Amer in Jaipur, Rajasthan, India. The fort was built by Jai Singh II in 1726 to protect the Amer Fort and its palace complex and was named after him.
The fort, rugged and similar in structural design to the Amer Fort, is also known as Victory Fort. It has a length of 3 kilometres (1.9 mi) along the north–south direction and a width of 1 kilometre (0.62 mi). The fort features a cannon named “Jaivana”(Jaivana Cannon), which was manufactured in the fort precincts and was then the world’s largest cannon on wheels. Jaigarh Fort and Amer Fort are connected by subterranean passages and considered as one complex.
The Jaigarh Fort, located on one of the peaks of the Aravalli range of hills is built about 400 m above the Amer Fort. It provides an excellent of view of Aravalli hills and the Amer Fort down below.

The fort is 10 kilometres (6.2 mi) away from Jaipur city. It stands on a short diversion from the Jaipur-Delhi Highway, which leads to the Jaivaan cannon at the Dungar Darwaza (‘Darwaza’ means “gate”), the same road leads to another important fort called the Nahargarh Fort. It can also be approached from the Amer Fort over a short climb along a steep hill track, arriving at the Awami Gate near the fort museum.
Amer was known in the ancient and medieval period as Dhundhar (meaning attributed to a sacrificial mount in the western frontiers). What is known in the present day as Jaigarh Fort, which was actually the main defensive structure rather than the palace itself. The two structures are interconnected by a series of encompassing fortifications and ruled by the Kachwahas from the 10th century onwards. The history of Amer and Jaigarh is indelibly linked to these rulers, as they founded their empire at Amer.
During the reign of the Mughal Emperor Shah Jahan, Jaigarh Fort, which is located 150 miles south-west of Delhi, became one of the world’s most efficient cannon foundries mainly due to the abundance of iron ore mines in the vicinity of the fort. The cannon foundry Jaigarh Fort had a massive wind tunnel that sucked air from the high mountains into its furnace creating temperatures as high as 2400 °F, the heated air would melt the metal. The molten metal would fill a reservoir chamber and pass into a cannon mold in the casting pit. Most of those cannons were massive, mostly 16 ft long and had to be prepared within a single day. The Rajput also built a large ingenious mechanical device that had a precision gear system driven by four pairs of oxen, the device was used for hollowing out the cannon barrels. When the Mughal war of succession broke out in 1658 Dara Shikohsecured the cannon outpost of Jaigarh Fort until he was defeated and executed by his younger brother Aurangzeb. Later however, the Mughal EmperorMuhammad Shah appointed Jai Singh II as the official Mughal quiladar of Jaigarh Fort according to a Firman, ultimately Jai Singh II is known to have molded the great Jaivana Cannon by utilizing the important foundry and devices inside Jaigarh Fort.

Amer Fort is a fort located in Amer, Rajasthan, India. Amer is a town with an area of 4 square kilometres (1.5 sq mi) located 11 kilometres (6.8 mi) from Jaipur, the capital of Rajasthan. Located high on a hill, it is the principal tourist attraction in Jaipur.The town of Amer was originally built by Meenas and later it was ruled by Raja Man Singh I. Amer Fort is known for its artistic style elements. With its large ramparts and series of gates and cobbled paths, the fort overlooks Maota Lake, which is the main source of water for the Amer Palace.
Mughal architecture greatly influenced the architectural style of several buildings of the fort. Constructed of red sandstone and marble, the attractive, opulent palace is laid out on four levels, each with a courtyard. It consists of the Diwan-e-Aam, or “Hall of Public Audience”, the Diwan-e-Khas, or “Hall of Private Audience”, the Sheesh Mahal (mirror palace), or Jai Mandir, and the Sukh Niwas where a cool climate is artificially created by winds that blow over a water cascade within the palace. Hence, the Amer Fort is also popularly known as the Amer Palace. The palace was the residence of the Rajput Maharajas and their families. At the entrance to the palace near the fort’s Ganesh Gate, there is a temple dedicated to Shila Devi, a goddess of the Chaitanya cult, which was given to Raja Man Singh when he defeated the Raja of Jessore, Bengal in 1604. (Jessore is now in Bangladesh).

This palace, along with Jaigarh Fort, is located immediately above on the Cheel ka Teela (Hill of Eagles) of the same Aravalli range of hills. The palace and Jaigarh Fort are considered one complex, as the two are connected by a subterranean passage. This passage was meant as an escape route in times of war to enable the royal family members and others in the Amer Fort to shift to the more redoubtable Jaigarh Fort. Annual tourist visitation to the Amer Palace was reported by the Superintendent of the Department of Archaeology and Museums as 5000 visitors a day, with 1.4 million visitors during 2007. At the 37th session of the World Heritage Committee held in Phnom Penh, Cambodia, in 2013, Amer Fort, along with five other forts of Rajasthan, was declared a UNESCO World Heritage Site as part of the group Hill Forts of Rajasthan.
Amer, or Amber, derives its name from the Ambikeshwar Temple, built atop the Cheel ka Teela. Ambikashwara is a local name for the god Shiva. However, local folklore suggests that the fort derives its name from Amba, the Mother Goddess Durga.
Amer Palace is situated on a forested hill promontory that juts into Maota Lake near the town of Amer, about 11 kilometres (6.8 mi) from Jaipur city, the capital of Rajasthan. The palace is near National Highway 11C to Delhi. A narrow 4WD road leads up to the entrance gate, known as the Suraj Pol (Sun Gate) of the fort. It is now considered much more ethical for tourists to take jeep rides up to the fort, instead of riding the elephants.
The settlement at Amer was founded by Raja Alan Singh, a ruler from the Chanda clan of Meenas in 967 CE. The Amer Fort, as it stands now, was built over the remnants of this earlier structure during the reign of Raja Man Singh, the Kachwaha King of Amer.The structure was fully expanded by his descendant, Jai Singh I. Even later, Amer Fort underwent improvements and additions by successive rulers over the next 150 years, until the Kachwahas shifted their capital to Jaipur during the time of Sawai Jai Singh II, in 1727.

Take over of Amer Fort by KachwahasEdit :

The first Rajput structure was started by Raja Kakil Dev when Amber became his capital in 1036 on the site of present-day Jaigarh Fort of Rajasthan. Much of Amber’s current buildings were started or expanded during the reign of Raja Man Singh I in the 1600s. Among the chief building is the Diwan-i-Khas in Amber Palace of Rajasthan and the elaborately painted Ganesh Poll built by the Mirza Raja Jai Singh I.

The current Amer Palace, was created in the late 16th century, as a larger palace to the already existing home of the rulers. The older palace, known as Kadimi Mahal (Persian for ancient) is known to be the oldest surviving palace in India. This ancient palace sits in the valley behind the Amer Palace.

Amer was known in the medieval period as Dhundar(meaning attributed to a sacrificial mount in the western frontiers) and ruled by the Kachwahas from the 11th century onwards – between 1037 and 1727 AD, till the capital was moved from Amer to Jaipur.[5]The history of Amer is indelibly linked to these rulers as they founded their empire at Amer.

Many of the ancient structures of the medieval period of the Meenas have been either destroyed or replaced. However, the 16th-century impressive edifice of the Amer Fort and the palace complex within it built by the Rajput Maharajas are very well preserved.

Albert Hall Museum is located in Rajasthan, India. It is the oldest museum of the state and functions as the state museum of Rajasthan. The building is situated in Ram Niwas garden outside the city wall opposite New gate and is a fine example of Indo-Saracenic architecture. It is also called the Government Central Museum.
The building was designed by Sir Samuel Swinton Jacob, assisted by Mir Tujumool Hoosein, and was opened as public museum in 1887. Maharaja Ram Singh initially wanted this building to be a town hall, but his successor, Madho Singh II, decided it should be a museum for the art of Jaipur and included as part of the new Ram Nivas Garden.

It is named after King Edward VII (Albert Edward), during whose visit to the city as the Prince of Wales, its foundation stone was laid on 6 February 1876.
The museum has a rich collection of artifacts including paintings, jewelry, carpets, ivory, stone, metal sculptures, and works in crystal. The collection includes coins from the Gupta, Kushan, Delhi Sultanate, Mughal and British periods.

An Egyptian mummy is the main attraction of this museum.

The Jantar Mantar is an equinoctial sundial, consisting of a gigantic triangular gnomon with the hypotenuse parallel to the Earth’s axis. On either side of the gnomon is a quadrant of a circle, parallel to the plane of the equator. The instrument is intended to measure the time of day, correct to half a second and declination of the Sun and the other heavenly bodies.

There are five Jantar Mantars in India, of which the largest is in Jaipur which features many instruments along with the world’s largest stone sundial. The Vrihat Samrat yantra is a sundial that can give the local time to an accuracy of 2 seconds. It is a UNESCO World Heritage Site.
In the early 18th century, Maharaja Jai Singh II of Jaipur constructed five Jantar Mantars in total, in New Delhi, Jaipur, Ujjain, Mathura and Varanasi; they were completed between 1724 and 1735.

The jantars have like Samrat Yantra, Jai Prakash, Ram Yantra and Niyati Chakra; each of which are used to for various astronomical calculations. The primary purpose of the observatory was to compile astronomical tables, and to predict the times and movements of the sun, moon and planets.

List Of Instruments:

Samrat Yantra

Jai Prakash Yantra

Disha Yantra

Rama Yantra

Chakra Yantra

Rashiwalay Yantra

Dingash Yantra

Utaansh Yantra

The name “Jantar Mantar” is at least 200 years old, finding a mention in an account from 1803.However, the archives of Jaipur State, such as accounts from 1735 and 1737–1738, do not use this as Jantra, which in the spoken language is corrupted to Jantar. The word Jantra is derived from yantra, instrument, while the suffix Mantar is derived from mantrana meaning consult or calculate. The words jantar and mantar (or yantra and mantra) mean calculation instrument.

Hawa Mahal (English translation: “The Palace of Winds” or “The Palace of Breeze”) is a palace in Jaipur, India. Made with the red and pink sandstone, the palace sits on the edge of the City Palace, Jaipur, and extends to the Zenana, or women’s chambers.
The structure was built in 1799 by Maharaja Sawai Pratap Singh, the grandson of Maharaja Sawai Jai Singh, who was the founder of Jaipur. He was so inspired by the unique structure of Khetri Mahal that he built this grand and historical palace. It was designed by Lal Chand Ustad. Its unique five floors exterior is akin to the honeycomb of a beehive with its 953 small windows called Jharokhas decorated with intricate latticework. The original intent of the lattice design was to allow royal ladies to observe everyday life and festivals celebrated in the street below without being seen, since they had to obey the strict rules of “purdah”, which forbade them from appearing in public without face coverings. This architectural feature also allowed cool air from the Venturi effect to pass through, thus making the whole area more pleasant during the high temperatures in summer. Many people see the Hawa Mahal from the street view and think it is the front of the palace, but in reality it is the back of that structure.

In 2006, renovation works on the Mahal were undertaken, after a gap of 50 years, to give a face lift to the monument at an estimated cost of Rs 4.568 million. The corporate sector lent a hand to preserve the historical monuments of Jaipur and the Unit Trust of India has adopted Hawa Mahal to maintain it. The palace is an extended part of a huge complex. The stone-carved screens, small casements, and arched roofs are some of the features of this popular tourist spot. The monument also has delicately modeled hanging cornices.
The palace is a five-storey pyramidal shaped monument that rises to about 50 feet (15 m). The top three floors of the structure have the width of a single room, while the first and second floors have patios in front of them. The front elevation, as seen from the street, is like a honeycomb with small portholes. Each porthole has miniature windows and carved sandstone grills, finials and domes. It gives the appearance of a mass of semi-octagonal bays, giving the monument its unique façade. The inner face on the back side of the building consists of chambers built with pillars and corridors with minimal ornamentation, and reach up to the top floor. The interior of the Mahal has been described as “having rooms of different coloured marbles, relieved by inlaid panels or gilding; while fountains adorn the centre of the courtyard”.

Lal Chand Ustad was the architect of this unique structure. Built in red and pink coloured sandstone, in keeping with the décor of the other monuments in the city, its colour is a full testimony to the epithet of “Pink City” given to Jaipur. Its façade depicting 953 niches with intricately carved jharokhas (some are made of wood) is a stark contrast to the plain looking rear side of the structure. Its cultural and architectural heritage is a true reflection of a fusion of Hindu Rajput architecture and Islamic Mughal architecture; the Rajput style is seen in the form of domed canopies, fluted pillars, lotus, and floral patterns, and the Islamic style as evident in its stone inlay filigree work and arches (as distinguished from its similarity with the Panch Mahal at Fatehpur Sikri).

The entry to the Hawa Mahal from the city palace side is through an imperial door. It opens into a large courtyard, which has double storeyed buildings on three sides, with the Hawa Mahal enclosing it on the east side. An archaeological museum is also housed in this courtyard.

Hawa Mahal was also known as the chef-d’œuvre of Maharaja Jai Singh as it was his favourite resort because of the elegance and built-in interior of the Mahal. The cooling effect in the chambers, provided by the breeze passing through the small windows of the façade, was enhanced by the fountains provided at the centre of each of the chambers.

The top two floors of the Hawa Mahal are accessed only through ramps. The Mahal is maintained by the archaeological Department of the Government of Rajasthan.
The palace is located to the south of Jaipur city, at the main road intersection called the Badi Chaupad (big four square). Jaipur city is well connected by road, rail and air with the rest of the country. The Sanganer International Airport is at a distance of 13 kilometres (8.1 mi) from the city.

The City Palace, Jaipur was established at the same time as the city of Jaipur, by Maharaja Sawai Jai Singh II, who moved his court to Jaipur from Amber, in 1727. Jaipur is the present-day capital of the state of Rajasthan, and until 1949 the City Palace was the ceremonial and administrative seat of the Maharaja of Jaipur. The Palace was also the location of religious and cultural events, as well as a patron of arts, commerce, and industry. It now houses the Maharaja Sawai Man Singh II Museum, and continues to be the home of the Jaipur royal family. The royal family of Jaipur is said to be the descendants of Lord Rama. The palace complex has several buildings, various courtyards, galleries, restaurants, and offices of the Museum Trust. The Maharaja Sawai Man Singh II Museum Trust looks after the Museum, and the royal cenotaphs (known as chhatris).
The MSMS II Museum Trust is headed by chairperson Rajamata Padmini Devi of Jaipur (from Sirmour in Himachal Pradesh). Princess Diya Kumari runs the Museum Trust, as its secretary and trustee. She also manages The Palace School and Maharaja Sawai Bhawani Singh School in Jaipur. She founded and runs the Princess Diya Kumari Foundation to empower underprivileged and underemployed women of Rajasthan. She is also an entrepreneur. In 2013, she was elected as Member of the Legislative Assembly of Rajasthan from the constituency of Sawai Madhopur. The Trust was founded by Brig Sawai Bhawani Singh, the last titular Maharaja.
The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699 to 1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres (6.8 mi) from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and another similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a Bengali architect from Naihati of present-day West Bengal who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

Following Jai Singh’s death in 1857, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted ‘Pink’ and since then the city has been called the “Pink City”. The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present-day Governor of the state) for a time and later was the Ambassador of India to Spain.

While the Jaipur maharanis observed pardah, they enjoyed considerable power and agency. Queens – often the senior-most (Pat-Rani) had a say in the governance of the kingdom or estate in the absence of the ruler. Two queens wielding full authority were Raja Man Singh of Dhoondhar’s Bhati clan wife, and Maharaja Rai Singh of Bikaner’s wife, Rani Ganga Bai. Wives and mothers of Rajput kings and chiefs also took upon themselves the role of counselling the men over issues they felt transgressed warrior codes of behaviour and action.

Women from ruling groups or warrior castes held property in their own names, with full rights over those lands. Many warrior clan women got lands for their maintenance as personal jagirs and haath-kharch ki jagir (personal spending from the province) from both, their natal families, and the families they married into, and administered such lands through personal administrative agents (kamdars, amils, and dewans). From within zenanas, these women remained fully informed about their individual jagirs. Details about crops, law, and order, social problems, appeals from the peasantry, came to them through their stewards or agents, who took instructions directly from the women and were answerable only to them. The women used the revenues from their estates solely as they wished.

Located about 25 km away from Panaji and 10 kms from Margao, Ancestral Goa Museum is an open air museum, presenting a glimpse into the rural life of Goa. Also known as bigfoot, this museum stand beautifully at a small village called as Loutolim. A popular tourist spot, this museum is privately run by the artist Mahendra Jocelino Araujo Alvares.

At this museum, there are a wide range of places to see and various interesting activities to do. The art gallery at the museum presents visitors with the works of local artists as well of those with national fame. The handicraft center here offers you with various kinds of Goan artifacts, which do make for a perfect souvenirs to take back home.

There is also a Big Foot dance floor, Big Foot restaurant, a cross and many more to keep its visitors entertained. With a spring called as Boca da Vaca located in its vicinity along with a bird habitat, a spice yard, rubber plantations, etc. it offers mesmerizing touch of nature. It presents a perfect amalgamation of all the pleasures which are known to human soul. It offers you the soothing touch of scenic beauty as well as the excitement of dancing and partying.

The sculpture of Sant Mirabai, a 14 meters long status which was carved out by MJabout A Alavres in about 30 days is the main attraction here at the Ancestral Goa Museum. The longest laterite sculpture in India, this sculpture boasts of making its place in the Limca book of records for the same. The model village with miniature houses and shops showcasing a village life is also a site worth visiting.

One can visit this museum throughout the week, between 9 am to 6 pm. A minimal fee is also charged as entry fee.

The Taj Mahal is an ivory-white marble mausoleum on the south bank of the Yamuna river in the Indian city of Agra. It was commissioned in 1632 by the Mughal emperor Shah Jahan (reigned from 1628 to 1658) to house the tomb of his favourite wife, Mumtaz Mahal; it also houses the tomb of Shah Jahan himself. The tomb is the centrepiece of a 17-hectare (42-acre) complex, which includes a mosque and a guest house, and is set in formal gardens bounded on three sides by a crenellated wall.
Construction of the mausoleum was essentially completed in 1643, but work continued on other phases of the project for another 10 years. The Taj Mahal complex is believed to have been completed in its entirety in 1653 at a cost estimated at the time to be around 32 million rupees, which in 2015 would be approximately 52.8 billion rupees (U.S. $827 million). The construction project employed some 20,000 artisans under the guidance of a board of architects led by the court architect to the emperor, Ustad Ahmad Lahauri.

The Taj Mahal was designated as a UNESCO World Heritage Site in 1983 for being “the jewel of Muslim art in India and one of the universally admired masterpieces of the world’s heritage”. It is regarded by many as the best example of Mughal architectureand a symbol of India’s rich history. The Taj Mahal attracts 7–8 million visitors a year and in 2007, it was declared a winner of the New7Wonders of the World(2000–2007) initiative.
The Taj Mahal was commissioned by Shah Jahan in 1631, to be built in the memory of his wife Mumtaz Mahal, a Persian princess who died on 17 June that year, giving birth to their 14th child, Gauhara Begum. Construction started in 1632, and the mausoleum was completed in 1643, while the surrounding buildings and garden were finished five years later. The imperial court documenting Shah Jahan’s grief after the death of Mumtaz Mahal illustrates the love story held as the inspiration for the Taj Mahal.
The Taj Mahal incorporates and expands on design traditions of Persian and earlier Mughal architecture. Specific inspiration came from successful Timuridand Mughal buildings including the Gur-e Amir (the tomb of Timur, progenitor of the Mughal dynasty, in Samarkand), Humayun’s Tomb, Itmad-Ud-Daulah’s Tomb (sometimes called the Baby Taj), and Shah Jahan’s own Jama Masjid in Delhi. While earlier Mughal buildings were primarily constructed of red sandstone, Shah Jahan promoted the use of white marble inlaid with semi-precious stones. Buildings under his patronage reached new levels of refinement.

Tomb

The tomb is the central focus of the entire complex of the Taj Mahal. It is a large, white marble structure standing on a square plinth and consists of a symmetrical building with an iwan (an arch-shaped doorway) topped by a large dome and finial. Like most Mughal tombs, the basic elements are Persian in origin.

The base structure is a large multi-chambered cube with chamfered corners forming an unequal eight-sided structure that is approximately 55 metres (180 ft) on each of the four long sides. Each side of the iwan is framed with a huge pishtaq or vaulted archway with two similarly shaped arched balconies stacked on either side. This motif of stacked pishtaqsis replicated on the chamfered corner areas, making the design completely symmetrical on all sides of the building. Four minarets frame the tomb, one at each corner of the plinth facing the chamfered corners. The main chamber houses the false sarcophagi of Mumtaz Mahal and Shah Jahan; the actual graves are at a lower level.
The most spectacular feature is the marble dome that surmounts the tomb. The dome is nearly 35 metres (115 ft) high which is close in measurement to the length of the base, and accentuated by the cylindrical “drum” it sits on which is approximately 7 metres (23 ft) high. Because of its shape, the dome is often called an onion dome or amrud (guava dome).[15] The top is decorated with a lotus design which also serves to accentuate its height. The shape of the dome is emphasised by four smaller domed chattris (kiosks) placed at its corners, which replicate the onion shape of the main dome. The dome is slightly asymmetrical.[16] Their columned bases open through the roof of the tomb and provide light to the interior. Tall decorative spires (guldastas) extend from edges of base walls, and provide visual emphasis to the height of the dome. The lotus motif is repeated on both the chattris and guldastas. The dome and chattris are topped by a gilded finial which mixes traditional Persian and Hindustani decorative elements.

The main finial was originally made of gold but was replaced by a copy made of gilded bronze in the early 19th century. This feature provides a clear example of integration of traditional Persian and Hindu decorative elements. The finial is topped by a moon, a typical Islamic motif whose horns point heavenward.

The minarets, which are each more than 40 metres (130 ft) tall, display the designer’s penchant for symmetry. They were designed as working minarets— a traditional element of mosques, used by the muezzin to call the Islamic faithful to prayer. Each minaret is effectively divided into three equal parts by two working balconies that ring the tower. At the top of the tower is a final balcony surmounted by a chattri that mirrors the design of those on the tomb. The chattris all share the same decorative elements of a lotus design topped by a gilded finial. The minarets were constructed slightly outside of the plinth so that in the event of collapse, a typical occurrence with many tall constructions of the period, the material from the towers would tend to fall away from the tomb.

Exterior decorations

The exterior decorations of the Taj Mahal are among the finest in Mughal architecture. As the surface area changes, the decorations are refined proportionally. The decorative elements were created by applying paint, stucco, stone inlays or carvings. In line with the Islamic prohibition against the use of anthropomorphic forms, the decorative elements can be grouped into either calligraphy, abstract forms or vegetative motifs. Throughout the complex are passages from the Qur’an that comprise some of the decorative elements. Recent scholarship suggests that Amanat Khan chose the passages.

The calligraphy on the Great Gate reads “O Soul, thou art at rest. Return to the Lord at peace with Him, and He at peace with you.” The calligraphy was created in 1609 by a calligrapher named Abdul Haq. Shah Jahan conferred the title of “Amanat Khan” upon him as a reward for his “dazzling virtuosity.” Near the lines from the Qur’an at the base of the interior dome is the inscription, “Written by the insignificant being, Amanat Khan Shirazi.” Much of the calligraphy is composed of florid thuluth script made of jasper or black marble inlaid in white marble panels. Higher panels are written in slightly larger script to reduce the skewing effect when viewed from below. The calligraphy found on the marble cenotaphs in the tomb is particularly detailed and delicate.

Abstract forms are used throughout, especially in the plinth, minarets, gateway, mosque, jawab and, to a lesser extent, on the surfaces of the tomb. The domes and vaults of the sandstone buildings are worked with tracery of incised painting to create elaborate geometric forms. Herringbone inlays define the space between many of the adjoining elements. White inlays are used in sandstone buildings, and dark or black inlays on the white marbles. Mortared areas of the marble buildings have been stained or painted in a contrasting colour which creates a complex array of geometric patterns. Floors and walkways use contrasting tiles or blocks in tessellation patterns.

On the lower walls of the tomb are white marble dados sculpted with realistic bas relief depictions of flowers and vines. The marble has been polished to emphasise the exquisite detailing of the carvings. The dado frames and archway spandrels have been decorated with pietra dura inlays of highly stylised, almost geometric vines, flowers and fruits. The inlay stones are of yellow marble, jasper and jade, polished and levelled to the surface of the walls.
The Taj Mahal is built on a parcel of land to the south of the walled city of Agra. Shah Jahan presented Maharajah Jai Singh with a large palace in the centre of Agra in exchange for the land. An area of roughly 1.2 hectares (3 acres) was excavated, filled with dirt to reduce seepage, and levelled at 50 metres (160 ft) above riverbank. In the tomb area, wells were dug and filled with stone and rubble to form the footings of the tomb. Instead of lashed bamboo, workmen constructed a colossal brick scaffold that mirrored the tomb. The scaffold was so enormous that foremen estimated it would take years to dismantle.

The Taj Mahal was constructed using materials from all over India and Asia. It is believed over 1,000 elephants were used to transport building materials. It took the efforts of 22,000 labourers, painters, embroidery artists and stonecutters to shape the Taj Mahal. The translucent white marble was brought from Makrana, Rajasthan, the jasper from Punjab, jade and crystal from China. The turquoise was from Tibet and the Lapis lazuli from Afghanistan, while the sapphire came from Sri Lanka and the carnelian from Arabia. In all, twenty-eight types of precious and semi-precious stones were inlaid into the white marble.

According to the legend, Shah Jahan decreed that anyone could keep the bricks taken from the scaffold, and thus it was dismantled by peasants overnight. A 15-kilometre (9.3 mi) tamped-earth ramp was built to transport marble and materials to the construction site and teams of twenty or thirty oxen pulled the blocks on specially constructed wagons. An elaborate post-and-beampulley system was used to raise the blocks into desired position. Water was drawn from the river by a series of purs, an animal-powered rope and bucket mechanism, into a large storage tank and raised to a large distribution tank. It was passed into three subsidiary tanks, from which it was piped to the complex.

The plinth and tomb took roughly 12 years to complete. The remaining parts of the complex took an additional 10 years and were completed in order of minarets, mosque and jawab, and gateway. Since the complex was built in stages, discrepancies exist in completion dates due to differing opinions on “completion”. Construction of the mausoleum itself was essentially completed by 1643 while work on the outlying buildings continued for years. Estimates of the cost of construction vary due to difficulties in estimating costs across time. The total cost at the time has been estimated to be about 32 million Indian rupees, which is around 52.8 billion Indian rupees ($827 million US) based on 2015 values.
In 1942, the government erected scaffolding to disguise the building in anticipation of air attacks by the Japanese Air Force. During the India-Pakistan wars of 1965 and 1971, scaffolding was again erected to mislead bomber pilots.

More recent threats have come from environmental pollution on the banks of the Yamuna River including acid rain due to the Mathura Oil Refinery,[citation needed] which was opposed by Supreme Court of India directives. The pollution has been turning the Taj Mahal yellow. To help control the pollution, the Indian government has set up the Taj Trapezium Zone (TTZ), a 10,400-square-kilometre (4,000 sq mi) area around the monument where strict emissions standards are in place.

Concerns for the tomb’s structural integrity have recently been raised because of a decline in the groundwater level in the Yamuna river basin which is falling at a rate of around 1.5 m (5 ft) per year. In 2010, cracks appeared in parts of the tomb, and the minarets which surround the monument were showing signs of tilting, as the wooden foundation of the tomb may be rotting due to lack of water. It has been pointed out by politicians, however, that the minarets are designed to tilt slightly outwards to prevent them from crashing on top of the tomb in the event of an earthquake. In 2011, it was reported that some predictions indicated that the tomb could collapse within five years.

Small minarets located at two of the outlying buildings were reported as damaged by a storm on April 11, 2018.
The Taj Mahal attracts a large number of tourists. UNESCO documented more than 2 million visitors in 2001, which had increased to about 7–8 million in 2014. A two-tier pricing system is in place, with a significantly lower entrance fee for Indian citizens and a more expensive one for foreigners. In 2018, the fee for Indian citizens was 50 INR, for foreign tourists 1,100 INR. Most tourists visit in the cooler months of October, November and February. Polluting traffic is not allowed near the complex and tourists must either walk from parking areas or catch an electric bus. The Khawasspuras (northern courtyards) are currently being restored for use as a new visitor centre.

The small town to the south of the Taj, known as Taj Ganji or Mumtazabad, was initially constructed with caravanserais, bazaars and markets to serve the needs of visitors and workers. Lists of recommended travel destinations often feature the Taj Mahal, which also appears in several listings of seven wonders of the modern world, including the recently announced New Seven Wonders of the World, a recent poll with 100 million votes.

The grounds are open from 06:00 to 19:00 weekdays, except for Friday when the complex is open for prayers at the mosque between 12:00 and 14:00. The complex is open for night viewing on the day of the full moon and two days before and after, excluding Fridays and the month of Ramadan.
Ever since its construction, the building has been the source of an admiration transcending culture and geography, and so personal and emotional responses have consistently eclipsed scholastic appraisals of the monument. A longstanding myth holds that Shah Jahan planned a mausoleum to be built in black marble as a Black Taj Mahal across the Yamuna river. The idea originates from fanciful writings of Jean-Baptiste Tavernier, a European traveller who visited Agra in 1665. It was suggested that his son Aurangzeb overthrew Shah Jahan before it could be built. Ruins of blackened marble across the river in Moonlight Garden, Mahtab Bagh, seemed to support this legend. However, excavations carried out in the 1990s found that they were discoloured white stones that had turned black. A more credible theory for the origins of the black mausoleum was demonstrated in 2006 by archaeologists who reconstructed part of the pool in the Moonlight Garden. A dark reflection of the white mausoleum could clearly be seen, befitting Shah Jahan’s obsession with symmetry and the positioning of the pool itself.

No evidence exists for claims that describe, often in horrific detail, the deaths, dismemberments and mutilations which Shah Jahan supposedly inflicted on various architects and craftsmen associated with the tomb. Some stories claim that those involved in construction signed contracts committing themselves to have no part in any similar design. Similar claims are made for many famous buildings. No evidence exists for claims that Lord William Bentinck, governor-general of India in the 1830s, supposedly planned to demolish the Taj Mahal and auction off the marble. Bentinck’s biographer John Rosselli says that the story arose from Bentinck’s fund-raising sale of discarded marble from Agra Fort.

Another myth suggests that beating the silhouette of the finial will cause water to come forth. To this day, officials find broken bangles surrounding the silhouette.

In 2000, India’s Supreme Court dismissed P. N. Oak’s petition[65] to declare that a Hindu king built the Taj Mahal. (“counsel for the petitioner withdrew the petition”) In 2005 a similar petition was dismissed by the Allahabad High Court. This case was brought by Amar Nath Mishra, a social worker and preacher who says that the Taj Mahal was built by the Hindu King Parmar Dev in 1196.

A theory that the Taj Mahal was designed by an Italian, Geronimo Vereneo, held sway for a brief period after it was first promoted by Henry George Keene in 1879 who went by a translation of a Spanish work Itinerario, (The Travels of Fray Sebastian Manrique, 1629–1643). Another theory that a Frenchman, Austin of Bordeaux designed the Taj was promoted by William Henry Sleeman based on the work of Jean-Baptiste Tavernier. These ideas were revived by Father Hosten and discussed again by E.B. Havell and served as the basis for subsequent theories and controversies.
As of 2017, several court cases about Taj Mahal being a Hindu temple have been inspired by P. N. Oak’s theory. In August 2017, Archaeological Survey of India (ASI) stated there was no evidence to suggest the monument ever housed a temple.Bharatiya Janata Party’s Vinay Katiyar in 2017 claimed that the 17th century monument was built by Mughal emperor Shah Jahan after destroying a Hindu temple called “Tejo Mahalaya” and it housed a Shiva linga. This claim had also been made by another BJP member Laxmikant Bajpai in 2014. The BJP government’s union minister of culture Mahesh Sharma stated in November 2015 during a session of the parliament, that there was no evidence that it was a temple. The theories about Taj Mahal being a Shiva temple started circulating when Oak released his 1989 book “Taj Mahal: The True Story”. He claimed it was built in 1155 AD and not in the 17th century, as stated by the ASI. Samajwadi Party leader Azam Khan stated Taj might be destroyed like Babri Masjidas people believed there was a temple there.Katiyar called for the demolition of the Taj and its replacement by a temple in February 2018. In response Indian National Congress MP Shashi Tharoor called him a troglodyte.

A controversy was created in 2017 when the Uttar Pradesh government did not include it in its official tourism booklet “Utter Pradesh Tourism – Unlimited Possibilities”. The chief minister Yogi Adityanath had earlier claimed it does not represent Indian culture.Amidst this controversy, BJP MLA Sangeet Som had claimed that the those who built the Taj Mahal were traitors and it was a “blot” on the country’s culture. He claimed it was built by a man who jailed his own father and wished to kill Hindus. BJP MP Anshul Verma supported his comments. AIMIM MP Asaduddin Owaisi, Jammu & Kashmir National Conference leader Omar Abdullah and Azam Khan criticised him. CM Adityanath stated Som’s comments were personal and the government will focus on the tourism potential of every monument.

Akbar’s tomb is the tomb of the Mughal emperor Akbar This tomb is an important Mughal architecturalmasterpiece. It was built in 1605–1613 by his son Jahangir and is situated in 119 acres of grounds in Sikandra, a sub of Agra, Uttar Pradesh, India.
Akbar planned the tomb and selected a suitable site for it. After his death, Akbar’s son Jahangircompleted the construction in 1605–1613.

During the reign of Aurangzeb, Jats rose in rebellion under the leadership of Raja Ram Jat. Mughal prestige suffered a blow when Jats ransacked Akbar’s tomb, plundering and looting the gold, jewels, silver and carpets. According to one account, even Akbar’s grave was opened and his bones burned.

As Viceroy of India, George Curzon directed extensive repairs and restoration of Akbar’s mausoleum, which were completed in 1905. Curzon discussed restoration of the mausoleum and other historical buildings in Agra in connection with the passage of the Ancient Monuments Preservation Act in 1904, when he described the project as “an offering of reverence to the past and a gift of recovered beauty to the future”. This preservation project may have discouraged veneration of the mausoleum by pilgrims and people living nearby.
Akbar planned the tomb and selected a suitable site for it. After his death, Akbar’s son Jahangircompleted the construction in 1605–1613.

During the reign of Aurangzeb, Jats rose in rebellion under the leadership of Raja Ram Jat. Mughal prestige suffered a blow when Jats ransacked Akbar’s tomb, plundering and looting the gold, jewels, silver and carpets. According to one account, even Akbar’s grave was opened and his bones burned.

As Viceroy of India, George Curzon directed extensive repairs and restoration of Akbar’s mausoleum, which were completed in 1905. Curzon discussed restoration of the mausoleum and other historical buildings in Agra in connection with the passage of the Ancient Monuments Preservation Act in 1904, when he described the project as “an offering of reverence to the past and a gift of recovered beauty to the future”. This preservation project may have discouraged veneration of the mausoleum by pilgrims and people living nearby.
It is located at Sikandra, in the suburbs of Agra, on the Mathura road (NH2), 8 km west-northwest of the city center. About 1 km away from the tomb, lies Mariam’s Tomb, the tomb of Mariam-uz-Zamani, wife of the Mughal Emperor Akbar and the mother of Jahangir.
The south gate is the largest, with four white marblechhatri-topped minarets which are similar to (and pre-date) those of the Taj Mahal, and is the normal point of entry to the tomb. The tomb itself is surrounded by a walled enclosure 105 m square. The tomb building is a four-tiered pyramid, surmounted by a marble pavilion containing the false tomb. The true tomb, as in other mausoleums, is in the basement. The buildings are constructed mainly from a deep red sandstone, enriched with features in white marble. Decorated inlaid panels of these materials and a black slate adorn the tomb and the main gatehouse. Panel designs are geometric, floral and calligraphic, and prefigure the more complex and subtle designs later incorporated in Itmad-ud-Daulah’s Tomb.