Indian history embellishes itself with the certitude that the Rajputs of Mewar stood up against any and all foreign intruders, into the revered grounds of Hindostan.
Have you ever seen the fire, blazing red, burning bright with the trail of warmth it leaves behind? Fire is considered a symbol of unison, of marriage, the altar being the holy epitome of the ceremony.
However, when you ask the residents of Mewar, the fire represents the valour of their womenfolk, their queens and damsels and signify that the maidens too, combat a battle with the ones who breach the impregnable walls of their territory, a deadlier battle in which the lusts of the advancing army remain unsatisfied and their sick ambitions are drastically defeated.
The Rajput valour adorns the Indian principality of Rajasthan.
Their warriors are recognised for their unbelievable strength and integrity in battle. Their women are known as ‘sati’, the faithful one who fights beside her man, until deathbed!
Indian history embellishes itself with the certitude that the Rajputs of Mewar stood up against any and all foreign intruders, into the revered grounds of Hindostan.
From Mahmud of Ghazni to the Mughal Emperor Babur, none could step into the Indian soil without waging a fierce battle with the warriors who protected its domain.
Towards the southern central part of Rajasthan, comprising the gallant districts of Bhilwara, Udaipur, Chittorgarh, Pratapgarh, Rajsamand, Jhalwara and extended parts of various districts of Gujarat, the kingdom of Mewar was an influential state that dominated the political scenario of the era.
It was protected by the Aravallis to the northwest, the Rajputs of Ajmer to the north, the Sultanate of Malwa to the southeast and the Hadotis to the eastern frontier.
This position was both militarily and commercially, strategically important to its kings.
Bappa Rawal is considered the founder of the magnanimous citadel. Way back in 730 AD, he asserted his independence on the region and took on the title of Rawal, thus commencing the reign of the legendary Suryavanshis over the area.
Historical texts and the sacred Ekalinga Purana credit Bappa Rawal with establishing the famed Eklingji temple in this region. Legends and folklores form a significant part of Bappa’s reign. It is widely promulgated that when Bappa went to visit a saint, he spit on the king, asking him to receive it in his mouth. However, the king, in disgust, allowed the spit only to fall at his feet and thus, the saint’s blessings of immortality remained ineffective.
However, since the spit fell at his feet, he is attributed to have become invincible to any weapon that opponents might hurl at him.
With this holy guardian, he went on a rampage against the invading Arabs, who had devastated the Mauryas of Mewar.
With his efficient generalship, the confederacy led by Bappa Rawal, won a decisive victory against the Arab commanders.
Indian history is not to be blamed for eclipsing the valiant efforts of the Rajputs, often victories, against foreign invasions.
Why are these victorious battles lost in the pages of history?
Colonial historians are the cause. In an attempt to divulge the religious sects, they brought out various distorted versions, where successful Mughals and the Muslim invaders were visualised as ‘aliens’ and the Hindu kings were synonymous with ill treating their Muslim subjects, often being portrayed as powerless puppets, taking no note of the battles they won!
The Rawal dynasty decimated with Alauddin Khilji annexing its territories in 1303, assassinating the last Emperor, Maharawal Ratnasimha , the consort of the legendary Padmini or Padmavati, who committed Jauhar as an aftermath and Chittor was left deserted.
After the Guhilots, ruled the Sisodias, whose kings were equally known for their valour and defending their citadel.
Chittor’s history forms an undaunted fraction of the Indian historiography. Jauhar had been committed once again, in 1535, when Rani Karnavati was defeated by Bahadur Shah.
In 1567, with another siege laid by the Mughal emperor Akbar, the Mewar Suryavanshis migrated to a place higher up and named it Udaipur. Rana Udai Singh built the Udaipur as we know it today.
The most significant point in the architecture is about the Mughal styles intermixing with the traditional Rajput and Indian ones. Udaipur has various palaces to its name.
Today, this city alone, forms one of the most visited tourist destinations in Rajasthan, known for its epitome grandeur. Attributed the sobriquet of the City of Lakes, it has almost seven major and numerous minor water bodies. The luxurious city palace stands tall, along the banks of the Pichola Lake.
Although the Rajputs could never formally annex Chittor again, its astounding marvel awes spectators till today.
Notable among these are the imposing Vijaya Stambha, built as a minaret, after a decisive victory against Mahmud Khilji, way back in 1440 CE, the Kirti Stambh, constructed in the Solanki style of architecture with intricate carvings of Digambaras and an Adinatha statue, the revered Kalikamata temple and the nearby wildlife sanctuaries which include the Bassi, the Sitamata and the Bhainsrorgarh retreats.
There are immense instances of Jain architectural works in Rajasthan, the most noteworthy among all being the Dilwara Jain Temple atop Mount Abu.
Besides historical marvels and deserted palaces, there are numerous boat rides and folk artistic cultural practices that a tourist can immerse himself in.
Commencing with the Bharatiya Lok Kala museum, that houses the Rajasthani culture, food patterns, dresses, tribal jewellery, turbans, dolls, masks, musical instruments and musical devotional bhajans by Meerabai,the legendary devotee of the Krishna, paintings and puppets of the Rajputana era in Udaipur, one can entertain himself at the Sajjangarh Palace, viewing the breathtaking sunset, beyond the mounds.
Mewar is an oasis amidst the desert. The principality is known for the cornucopia of forts that jot the landscape along with the quaint lakes and baolis.
The exquisite efficacy of the Kingdom of Mewar can be best delineated by what Frank Genhry ingeminates.
“Architecture should speak of its time and place, but yearn for timelessness…”