Deleting Scribbles of the Past…
account of Restoration at Amber Fort

Rashika Ojha looks at the Amber Fort at Jaipur and feels that this is a museum of inscriptions. She goes through history and the contemporary interpolations to reveal how the fort functions as an text book of bygone days and contemporary times.

Passing through the narrow pass of the Aravalli hills, one is caught by the romantic view of a typical Rajput Palace. This beautiful sight is of the Amber Fort that rambling over a rugged hill, reflected in Maotha Lake below, stands as a symbol of the glory of the Rajputs of Jaipur. This grand architectural piece was built up over several generations and till today protects the lost glory in the arms of its strong and towering walls punctuated by look out posts.

The Amber Fort traces history of Jaipur as it marks the arrival of the Kachchwaha clan in the Aravallis in the 12th century. The Kachchwaha belonged to the Kshatriya, or the warrior caste of Hindus, but they traced their origins back to the sun, via Kusa who was the twin son of the god Rama. Located up on the hills that surround Jaipur, rises above the waters of  Maotha Lake, boasts of a massive complex gateways, courts, stairways and pillared pavilions, and palaces that recall the glory and wealth of Jaipur.

The Amber Fort exemplifies a blend of different traditions that was obvious with the strengthening of relations between the Rajputs of Amber and Mughals. This commemorating piece thus is seen as an important example of the confluence of different cultures that were blending peacefully to contribute significantly in the history of India.

The fort’s first courtyard is a wide expanse, dominated by two buildings- the pillared red sandstone Diwan-e-Aam (the Hall of Public Audience) and the intricately painted double-storeyed Ganesh Pol gate. Both the buildings are a fine blend of Mughal and Hindu style of decoration. The Ganesh Pol has floral patterns that reflect Mughal patterns or Indo-Islamic patterns. The chinar, the jaali work, the honey comb pattern (muquarna) of Ganesh Pol around a painting of Ganesh represents the level of respect and tolerance among Hindus and Muslims.   Another very important reference is of the usage of water and the construction of the charbagh in the fort.           

The Amber Fort’s pièce de resistance, though, is the exquisite Sheesh Mahal- the Mirror Palace- which is, as you’d imagine, liberally mirrored. Patterned mosaics, coloured glass and mirror decorate the Sheesh Mahal from floor to ceiling, creating a palace of almost unbelievable beauty and an example of the blending traditions. The grandeur and the past of the Amber palace complement each other and establish it as the everlasting echo of the glorious past of Jaipur. But this celebral past is a story of victories and losses. Looking through the latticed windows of the high amber fort one looks at a lot more than just the narrow valley below.

Realization of power and its translation into architecture is undoubtedly there but the decline is louder. The change of the capital to Jaipur and the missing royal outfit in the fort has delivered it into hands of restoration. Restoration works at Amber Fort are vigorously going on and one cannot rest assured that the priceless gem’s beauty will be intact. Completely strange hands that have not worked with hand tools but are more depended on the power of machine will refurbish the citadel. Art will definitely suffer decline at the Amber Fort and this worry is the greatest.

This monument has an account of several couples who have scribbled their love stories onto the walls of the fortress and felt that their love too has become glorious. Many of us scribble though it is not defined as the right way to treat a monumental piece but this is how people try to make themselves a part of the bygone era. The manner in which Kings and Queens inscribed their glory because as the words of T.O. Mordaunt expresses “One crowded hour of glorious life, Is worth an age without a name”.

These many stories will be deleted with the restoration process and also the glorious stories of the Kachchwaha Kings and Queens. The scribbled stories of the palace may be protected as they are personal stories but scribbles of the lost times in expression through art and architecture might not survive longer.