84 khambo ki chatri

In the praise of the Bundi state, which was written by the famous Hindi poet Matiram of the Middle Ages, that the world-born Bundi, Dham, Satjug in Kalajug itself. Resting there. This Bundi state was wrapped in the region of the Athawala mountain ranges at the southeast end of Rajasthan. Nature has many rivers and green Sahaki hills scattered their beauty here freely, while the state was an astrological history of communal and cultural co-ordination under Hada Rajputs, while also depicting the fame here in the Diki Shaurya Lolup culture, multicolored, creative measures. The Rajput king of this place had been honoring his commander-in-law for centuries by appointing only his son's mother (Dhanabhai). Which was essentially a Gurjar caste. Such a relationship of Rajput kings is a unique and different tradition of the entire Rajputana and Central India and in the Rajput states of Uttar Pradesh, it surprises the history scholars.
The famous ruler of this place, Rao Raja Anirudh Singh, commemorated his Dhabhai Deva in 1683 AD. In the construction of a memorial called Chhatri of eighty-four pillars at the entrance of Bandi Nagar, it not only presented another record of traditional harmony but also earned the credit of informing future generations in the soft artistic interest of the people of this plateau region. The inscribed lines in the Dingle language on the bluestone inscription under the glint of Vaman in the back part of the iconic Shivalinga of this umbrella are expressing the words of this umbrella construction in words. The village named Devpura, adjoining the urban population, is settled on both sides of the main road as soon as it moves from Bundi Nagar towards Kota Road.
The umbrella of these eighty-four pillars is visible in the opposite direction of the Bundi Government College. It is situated on a platform 18 feet high. Which are 50 feet long and so wide. It is accessible by stairs at the top. Gokhades built on the first ladder are beautiful dholes with stone cuttings, pruning. Bel-boote is carved out with carvings on the right side of the Gokhara. This is the first impression of the similarity of Bundi art with the engravings of the Mughal period. Similarly, three gokhadas are built on one side on either side of 23 stairs built up to the top of the platform. First right hand box But a human riding an elephant is carved on solid stone. About a hunter tied Vikral Singh on the first left hand Gokhara. He has raised his right hand for self-defense, as the lion of a special breed in the Bundi forests was also anxious to pounce on the hunter. It is known that the Meena and Hada Rajput dynasties of the captives had a special attraction towards and hunting. On the second Gokhara, a warrior riding on both sides holding the rein of an equestrian is standing on the ground with this gesture, as if he is waiting for orders. Shri Krishna Natwar is very big in the form of Nagar in the posture of Banshi playing around the third Gokhara.
A cow standing near each figure, distraught with sweet melody Three paintings have been engraved on the outside of this Gokhara. In which a hypnotized cow stands near Krishna, playing Banshi respectively. A calf is running with a cow and a cow is engraved to feed its calf. On the outside of this Gokhara is the Son Chih, in which Shri Krishna is playing a cow, a cow with a running calf, and a portrait of the body in the Rati picture while playing Banshi respectively. Two elephants stand face to face in the bottom row on either side of the stairs of the base platform. These have pairs of two confirmed ashes in the top row, they stand facing each other. The lord of both stands below holding their rein. At the top, two cows stand face to face with their calves. The base is a small pillar about 5 feet from the stairs of the platform.
Its edema part is quadrilateral in which pictures are engraved in each direction, these include Shiva lingam when looking at the main idol of Ganesha, and Saraswati playing Veena on the front and Brahma with four arms on one side. Above these 23 steps, there are three small steps and one Gokhar rising respectively Are built. There is another Sodhi on top of them, after which the base reaches the zircon part of the platform. The real beauty of this umbrella above the base platform is to visualize the heart on a marble platform. Pillars have been raised in all the four corners and attractive plaques on the plaque above. Below is a series of duck engraved. It is known that from here, till a few years ago, the ducks called Banganga could be seen moving in large numbers. Which was a special attraction for tourists in the princely era. On top of this, Shivling was established in the middle. There has always been a tradition of establishing lingam alone in the Bundi state on monuments. In this, in the royal traditions of Bundi, arrangements have been made to offer Jaladhara (Jaleri) on the Shivling. As a result, this umbrella is similar to the monuments established in Kshar Bagh. It is an honorable fact to be established as a memorial with a Shivling. The Shivalinga is decorated with balloons and mosaic samples of small marble tiles on the front of the Shiva platform. Has been added as. The specialty around the Shivalinga lies in 12 pillars here. Those that are flat have arches on their left pillars. Which are made like gates. Outside it also, 12 pillars have been moved up and connected in such a way that these arches form the approach by forming a gate. There is no place for Shiva's Ardhanarishwar form or Nandi's presence. Some tourists give it the name of Shiva temple, but the important fact is to listen to the presentation of this illusion being done. Various artistic figures carved on them were articulated by the Bundi Mughal influence. The painting style also expresses the attractiveness of preserving in the stone. Present in the pictures with a heroine sitar playing. This heroine is combing her hair. A dancer is in a dancing pose, with many women shaking their thunder at the deity. Of these pictures, The visions are seen in the form that the heroine inviting a deer invites a deer.
In addition to this emotional heart, the heroine of other scenes also seems to be depicted based on the poet's imagination from the point of view of bodybuilding. In addition to the appropriate symbols of Shringar Rasa, Veer Rasa has been used in engraved art. There is a riot of two wrestlers, war with swords in two heroes, the live sign of war on elephants, etc. Apart from these, the mutual war between elephants of interest of Raj families has also been done. On the roof, fishes and asfaris have been made in attractive colors. The brownest color is used in these paintings. Green, yellow and black has also been used relatively. Even in flowers, brown color is used. Behind the Shivling there are stairs on the left hand to go to the umbrella. There is ventilation for light and air on the stairs and an inscription of an umbrella is installed on one side of the wall of the stairs. On the way up the stairs, there is a flat roof of lime, on which there is a 16 pillar umbrella and on the four corners of this flat roof, there are 4 small umbrellas. Lime has been coated outside the dome of the uppermost umbrella. Thus 84 pillars of this umbrella are beyond. Another feature of the umbrella is its formation entirely by stone.