DHARMASHASTRA NATIONAL LAW UNIVERSITY

JABALPUR

PROJECT TOPIC:- HISTORY OF GWALIOR FORT

SUBMITTED TO, SUBMITTED BY,

MS. ASMITA JATARIA PRIYANSHI BUDHOLIA
ASSISTANT PROFESSOR OF HISTORY& ROLL NO. 72
MR. ABHISHEK NEGI SECTION B
RESEARCH-CUM-TEACHING ASSISTANT B.A.L.LB(HONS.)

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ACKNOWLEDGEMENT

It is not possible to prepare a project report without the assistance&

encouragement of other people.
On the very outset of this project report, I would like to extend my sincere and
heartfelt obligation towards all the personages who have helped us in this
endeavour. Without their active guidance , help, cooperation and
encouragement, I would not have made headway in the project.
I am extremely thankful to DHARMASHASTRA NATIONAL LAW UNIVERSITY
for giving me such opportunity.
I am extremely thankful to our respected vice chancellor sir Mr. Balraj Singh
Chouhan for giving us such wonderful projects.
I am very thankful to our head of department Dr. V.S. Gigimon for his
throughout guidance.
I extend our gratitude towards Miss Asmita Jataria and Mr. Abhishek Negi for
their valuable guidance.
At last, I would like to thanks my family and friends.

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 ABSTRACT

Heritage Tourism is one of the fastest and prominent sectors in comparison to the
other form of tourisms. Heritage tourism focuses on destinations, natural and cultural
values and goes beyond a simple interest in the past. Heritage and cultural tourism
encompasses a wide variety of landscapes and settings, it explores the cultural and
natural heritages of peoples, highlighting natural physical beauty, urban or industrial
developments. Heritage of destination like Gwalior is rich in heritage and had made
contribution towards its past. The Gwalior fort is facing many challenges at present
but at the same time the scope for opportunities is no less. A proper model should be
followed for the protection, preservation and conservation of this national monument
as this can be a major attraction which can help in placing Gwalior amongst the most
favourable destinations .This paper tries to highlights importance of temples within
the fort, different aspects related to monument, museum architecture, live shows
which can help in the development of the fort. This paper also highlights the
architecture of the fort.

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 TABLE OF CONTENTS

1. ACKNOWLEDGEMENT

2. ABSTRACT

3. INTRTODUCTION

4. MONUMENTS WITHIN THE FORT

5. DIFFERENT RULERS WHO RULED OVER GWALIOR

FORT

6.RESEARCH METHODOLOGY

7.GWALIOR FORT:THE OPPORTUNITIES

8.CONCLUSION

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CHAPTER 1: INTRODUCTION

The Gwalior district, which is in the Gwalior revenue division, lies in the northern part of the
State .It covers an area of 2002 square miles which is a little more than 1.1 percent of the
State. The district has population of 1,629,881, according of the Census of 2011, distributed
almost equally between the rural and urban areas.
Gwalior fort, situated on the top of a hill, finds its place among ‘best fortresses of India’. It is
also considered to be one of the most impenetrable forts in the country. Known for its great
architecture and rich past, Gwalior fort is must-visit attraction when visiting central India.

According to historians, there isn’t any proof to indicate exactly when the fort was
constructed. However, a local legend tells us that it was built in 3 CE by a local king named
Suraj Sen. A saint named Gwalipa came wandering to the fort and met the king, who was
suffering from leprosy. When Gwalipa offered him some water from a sacred pond (now
called suraj kund and located within the fort complex), he immediately became healthy again.
As a thankful gesture to the saint, the king named the fort and the town after him. The saint
then gave the king the title ‘PAL’ the protector and told him that as long as he and his family
continue to bear this title, the fort would remain in their possession. Following this, 83
successors of Suraj Sen controlled the fort. But the 84th king, Tej Karan, did not bear the title
and lost the fort.

The construction of the Gwalior fort took place in two parts, in two different time periods.
During the first phase of the construction in the 8th century during the Tomar rule, the central
part of fort was built. Later in the 15th century , the Gujari mahal and the man mandir were
built by Raja Man Singh Tomar for his favourite queen, Mrignayani. The fort spreads over an

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area of 3 kms and can be seen from every nook and corner of the city, and is especially
popular amongst history enthusiasts who visit the place to revisit the rich past of India.

CHAPTER 2: MONUMENTS WITHIN THE FORT

As we entered the fort there is a building which consists of 82 pillars which is built by
Mansingh Tomar which is considered as Shiv Mandir at the time of ManSingh. There are
two gates for entering into the fort ,one is known as Gwalior gate or elephant gate it is known
as elephant gate because whenever king wants to visit the city he goes from that gate.
Another gate is known as the Urwahi gate.

GURUDWARA IN THE FORT

After the Mughals came to this fort as they didn’t believe in Idol worship they thrown away
the Shiva statue out of the temple. Jahangir later on made that building as a jail, he
imprisoned 52 kings there in which Sikh’s 6th guru, guru Hargovind was also there. He
imprisoned the kings who do not pay taxes or goes against the Mughal rulers. Guru
Hargovind does preachings to the god due to this Noorjahan was very happy with him and
said him that you are free to go anywhere within the premises of the fort and afterwards due
to his good behaviour Jahangir released him but he said I won’t go alone release all other
kings also then all the kings were also freed by Jahangir. In the memory of the guru
Hargovind there is also a gurudwara within the fort named as ‘Data Bandi Chhod’.
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MANMANDIR PALACE

The finest example of Hindu architecture can be seen in the man mandir palace inside the
fort. This palace was constructed by the Maharaja Man Singh in his rule from 1486 to 1516
CE. The main building has two storeys high and there are another three floors underground.
The underground floors are designed to pass sunlight and ventilation inside. These
underground floors were used by the queens. Subsequently, Aurangjeb has used this place as
a prison and here he killed his brother Murad Baksh by poppy poisoning. There are several
underground escape tunnels to allow occupants of the fort to escape during the war. These
underground paths had some exposed openings for light and air however with the closing of
those openings it became impossible for the enemy to direct attack on the fort. Now the
entrances to the escape ways are closed as some of the tourists tried to explore and it may be
dangerous.

The courtyards are well designed with floral patterns by using coloured titles. Raja Mansingh
had 9 wives out of which 8 are of upper castes while the last one belong to the lower caste
and it was a love marriage so he constructed a new mahal for his 9 th wife named Mrignayani.
The mahal is known as Gujari mahal.

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There is a unique communicating system with in the rooms of the Man Mandir Palace two
holes are there in every rooms through the holes at that time whenever king wants to send a
message or anyone they said their message in those two holes then the message is reached to
every room in the Mahal and people got informed about the important announcement.

This is called as SHEESHMAHAL of the Maansingh palace in this room the Raja
Maansingh used to lie with his eight wives and the windows are covered from the glass so
that one can look into it and the walls are decorated with various kinds of stones the stones
are embodied in it but later on when Mughals came they took off the stones and break the
glasses of the windows.

There was also a music room within the fort all the musicians used to play the music and all 8
wives of the king used to sit at the hall above the music room and they listen from the
windows of that hall. There is a reason behind it in later time we have the purdah system
queen can see the musician but the musician have only to play the music if he tries to see the
queen then his head was chopped by the king. There is also a another reason that when
musician see the queen and musician is from another state he went back to the state and told

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their king that the king un the Gwalior had beautiful queens why don’t you attack there and
captured the beautiful queens. So these were the two reasons for this. In the music room there
are carvings in the stone which depicts the gujarati dance form garba.

There is one place known as DIWAN-E-KHAAS in the diwan-e-khaas king used to sit on the
top and all the ministers sit downside if the room and all the queens used to sit behind the
screen there are nine screens for the queens if king had to take a important decision he used to
call his all 9 wives, first wife is called as maharani and she sits on the window which is closer
to the Maharaja if any queen has any message if tolds to the Maharani and Maharani
forwarded it to the king in the assembly.

This animal has body like lion head like elephant and at the foot there is a lotus flower this
animal is mythological this is called as SHARDUT in hindi. It looks like an Indian dragon
and it is a symbol for power.

Sometimes Maharaja was happy but how to explain this to the people he is happy so early
morning before the sunrise he used the flag of dancing peacock and if there was condition of
war then he used the flag of the above mentioned mythological animal and if everything is

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fine he used the symbol of lotus which means piece. So the depictions of these flags also can
be seen on the stone carving of the palace. There was also a library for the king whenever he
has took the crucial decisions then he used to study all the night in his personal library there
was books related to social, political and religious matters this shows that the king is not
uneducated that time and used to take the help of scholars also to take the decisions.

There was a room which is known as open dancing courtyard, when the special guest used to
come they sit above the throne in front of the kings throne but the throne for the guests were
above the balcony of the king because in India we follow atithi devo bhav i.e. the guests were
equivalent to the god and we have to praise them.

SAAS BAHU TEMPLE

The group of two temples standing on the eastern corner of the Gwalior fort popularly known
as sas-bahu temple. The literal meaning denotes mother-in law and daughter-in law, generally
applied for the bigger and smaller temples respectively. The original name of the temple was
derived probably from ‘sahastrabahu’, meaning thousand arms. In due course of time, it came
to be known as ‘saas bahu’. The architectural grandeur glorifies the temple building tradition
of kachchhapaghata rulers.

The construction of the temples was started by king ratanapala and completed during the
reign of mahapala in 1093A.D. The fully developed temple is aligned in north-south
direction, having garbha-graha antarala, mahamandapa and ardhamandapa from south to
north. The exuberantly carved pillars and ceiling of the central hall are flanked by porches on
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three sides. The exterior walls are richly carved with floral, geometric designs, elephants
figures, dancers, musicians and scenes from Krishna lila. The extetior decoration of the
smaller temple is also similar. It possess a vestibule and a small central hall.

The stone inscription fixed on the portico of the bigger temple refers about its constructions,
religious congregation, folk rituals and revenue allotted for the temple.

TELI KA MANDIR

The doorway into the temple is high, and it is ornate. Above the doorway is a relief of
Garuda, the vahana of Vishnu. Inside, there is another doorway above which is a Ganesha
relief. There is a Nandi and lingam inside in the sanctum. The temple entrance and panels
have several inscriptions, three of which are short likely from pre-10th century and others are
longer from 15th-century. The latter inscriptions suggest that the temple was a Shaiva shrine
by the 15th century One of the inscriptions discovered is a metrical hymn about Durga, which
suggests a Shakta tradition influence. The temple lacks a covered mandapa, but includes a
circumambulatory path. This path has four entrances, one from each cardinal direction which
a devotee can use to enter the temple for a darshana.

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The temple is approached through a flight of stairs leading to a banded doorway containing
sculptures of river goddesses Ganga and Yamuna with their waists leaning towards the
center, each with a boy and a girl on the lower part. Above them are amorous couples in
various stages of courtship and intimacy (mithuna). There are male and female dvarapalas
along the outer and inner doorways, both genders carrying weapons and a kind expression of
welcome, and possibly symbolizing the theology in Shaiva and Shakta traditions. Above the
river goddess flanked eastern doorway are piled up chaitya-hall style gavaksha
ornamentation, which reminds one of the Buddhist designs. The doorway leads to the
sanctum sanctorum or garbha griha. There is a decorative sculpture of Garuda at the entrance
to the temple.

KARN MAHAL

The Karn Mahal is said to have been built by Kirti Singh Tomar (~1454), who was also
called Karan Singh. This structure is older than Man Mandir, and is quite a simple structure
from the outside, restored in recent times. There are a few intricate jaalis visible, and also a
few sculptures, but otherwise, there isn’t much ornamentation.

Karn Mahal

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VIKRAM MAHAL

The Vikram Mahal was built by Man Singh Tomar’s son, Vikramaditya. He was an ardent
Shiva devotee, and established a temple to the Lord inside, and thus the palace is also called
the Vikram Mandir. During Mughal rule, the idols were destroyed, but a small shrine has
recently been set up just outside the palace. There is also a small mosque set up here within
one of the smaller buildings of the palace.

Vikram mahal

JAHANGIR AND SHAHJAHAN MAHAL

The Jahangir Mahal and Shahjahan Mahal, built for the two respective Mughal rulers are
impressive structures, each built around a central courtyard which contains a deep water
reservoir. The two palaces are connected to each other, and provide a wonderful view of the
city from the uppermost levels.

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CHAPTER 3: DIFFERENT RULERS WHO RULED OVER THE GWALIOR FORT

Gwalior Fort from 6th Century to13th Century

There are inscriptions in the fort which date back to sixth century and indicate that the fort
may have been constructed in those times. Mihirakula, a Huna emperor ,built a sun temple
here .In 9th centuryTeli ka Mandir was built by the rulers of Gurjara Pratihara dynasty. In 10 th
century ,Kachchhapghatas controlled the fort. These people worked under the leadership of
Chandelas. In 11thcentury, Muslim dynasties began attacking the fort. Mahmud of Ghazni
attacked the fort in 1022AD. Qutubuddin Aibak captured the fort in 1196AD and annexed it
to Delhi Sultanate. Though the sultanate lost the fort but was again captured by Iltutmish
1232.

Gwalior Fort in 14 Century and Further

th

Tomar Rajputs captured the fort in 1398. Maan Singh was one of the famous. Tomar Rajput
who built many monuments inside the fort. Sikandar Lodi attacked the fort in 1505 but could
not capture it. His son Ibrahim Lodi attacked the fort in 1516. In this attack, Maan Singh was
killed and after a long siege Rajputs surrendered. Mughals captured the fort but lost it to
Suris. In 1542, Akbar again captured the fort and made it a prison. He executed his cousin
Kamran in the fort. Aurangjeb also killed his brother Murad and his nephews here. After
Aurungzeb, Ranas of Gohad captured the fort. They lost to the Marathas and Marathas lost it
to British. The British gave the fort to the Ranas of Gohad in 1780.

Marathas again captured the fort in 1784. This time due to the hostility of Ranas of
Gohad, British cannot capture the fort. British defeated Daulat Rao Scindia and recaptured
the fort later. In 1886, India was in full control of the British so they gave the fort to Scindias
who ruled the fort till 1947.

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CHAPTER 4: RESEARCH METHODOLOGY

METHODOLOGY
The methodology adopted for the study was observation and interview method. The Gwalior
fort was visited randomly and tourists were interviewed each time on the aspects like
challenges faced by the fort and the opportunities for improvement. The observation method
was adopted as it suits best in this situation.

RESEARCH QUESTION
The question was to find out the exact condition of the fort in present scenario. The concern
was to find out different ways in which it could be made famous and well preserved for the
future.

LITERATURE REVIEW

Gwalior fort: An Epitome Of Architectural Grandeur- a blog of Kiran Bisht in which she
mentions about the fort and the architectural grandeur of the fort she wrote Gwalior Fort’s
moss-covered domes, giant faded doors, and carved walls, looming over the old city of
Gwalior, have withstood everything that came their way. It’s believed that the fort already
existed in the 10th century, and the inscriptions and monuments found inside the premises
specify that it may have existed as early as the beginning of the 6th century. Standing on a
rocky, long, narrow outcrop of Vindhyan sandstone, which rises 300 feet above the
surrounding countryside, the foundation of Gwalior Fort is quite ancient.

The main monuments inside the Gwalior Fort complex: A blog by Richa Jain she tells about
the main monuments in the form unique monuments inside the fort, with the idols defaced
during the Mughal invasion. Teli Ka Mandir and Sahastrabahu (Sas-Bahu) Ka Mandir are the
two architecturally rich Hindu temples here. Gurudwara Data Bandi Chhor is another holy
place built inside the fort’s complex, and it was where Sikh Guru Hargobind Sahib was kept
as a captive by Mughal Emperor Jahangir. Man Mandir Palace, Gujari Mahal, Assi Khamba
Ki Baoli, and Suraj Kund are other important monuments found in the complex.

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SOURCES OF DATA COLLECTION

The sources which are used in this study are primary as well as secondary sources. Primary
sources are collected by visiting the fort and talk to the people about the history of the fort
and then secondary sources are collected from the available data on the online sources.

TYPE OF RESEARCH
Type of research is historical as it talks about the historical facts and then also talks about the
present condition of the fort.

OBJECTIVES

 To review the present condition of the fort.

 To analyse the historical importance of the fort.
 To study about the different architecture within the fort.
 To study about the different rulers who ruled over there.

LIMITATIONS

 There is no exact knowledge among the masses regarding who built the fort as it is
not mentioned anywhere only people assumed and make stories about the fort that
who built it.
 There is no proper maintenance and lack of funds, to refurnish the internal structure of
the fort.

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CHAPTER 5 : GWALIOR FORT THE OPPORTUNITIES

Museum:
The museum is present near the fort which provides an opportunity to see the artefacts which
have relevance and are a part of the history of the state. The museum should be enlarged by
keeping some articles for sale which are of tourist interest and which would have a higher
satisfaction level for the tourists. The Museum can sell souvenirs and handicraft related
items.

Architecture:

The architecture of the Fort is so massive that it is clearly visible from different areas in the
destination and also during the rail journey approaching towards Gwalior. One can easily feel
the royal and grand structure as one starts approaching Gwalior. It is so prominent that it
creates anxiety in the mind of the traveller as to which fort it could be. Its location in terms of
its visibility from far off places provides an opportunity for the Government to make it more
prominent in eyes of tourists by promoting it and improving its surroundings.

The light and sound show:

The light and sound show already held in the vicinity of the fort should improve in the quality
and variety should be offered to the tourist. The same show is running since the last many
years. There has been no change in the style the show is conducted.

Live show:

There could be a provision of live shows where the local community can be made a part of it.
The locals can depict their art and culture in the form of dance and music. The folk songs and
folk dances of Madhya Pradesh can be performed in front of the tourists and this will also
boost the local’s art and culture. At the same time it will also provide some kind of
community participation in the development of the forts image it will also provide
satisfaction to the tourists.

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Preservation:

In order to pass on the heritage to the future generations what is currently identified as being
culturally significant today, we must imbibe good conservation practices for fort in order to
prevent it from deterioration and extend the life and basic functions of the fort. The various
threats such as environmental threats –moisture, intense solar radiations, prevailing winds,
rainfalls which change the physical attributes of the fort should be taken into account.

Monument:

The condition of the monument is in bad shape. The fort is under the archaeological survey of
India but it has not been well preserved and conserved. Though an entry fee of Rs .5/ is taken
from the Indian nationals but the monument is not under properly managed hands. This
massive monument has the capacity to attract a large number of tourists but as we head
toward the surroundings of the monument are in bad shape. From the main entrance gate to
the other entrance gate there is a long way up the hill which has not been well preserved and
managed. Clean and green environment around the monument would have added to its beauty
but there is a quick entrance to almost everybody in this area .Inside the monument there are
some areas which are not electrified and have dark rooms. The tourists are not able to visit
these areas until and unless they hire a guide or they have some lightning with them. The dark
portion of the monument which lies underground becomes unapproachable causing
inconvenience to the tourist and thus increasing their irritation level and negativity for the
fort. The fort is not clean at some places. The fort is huge and has a significant place in the
history of Gwalior but it has no environment to stay there for long.

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 CHAPTER 6: CONCLUSION

From the above studies it has been concluded that the Gwalior fort hold an important and
significant part in the history of Gwalior. It has great heritage value and it comes under the
category of built heritage. Gwalior fort faces some major problems in present scenario which
are not good for its image. The fort has certain shortcomings which should be covered by the
state government or the Archaeological survey of India collectively. It should be viewed as
an important tourist destination as it has and it is attracting large number of tourist from
different parts of the country but the focus should be to attract more tourists from
international market also. It should bring some amendments in the way the present scenario is
going on and at the same time challenges and opportunities should be sought out. It is great
heritage of the state and it should cater to the tourist need and expectations in the right way.
proper steps should be taken to conserve the beautiful piece of fine architecture so that it can
help to uplift the states image and be fruitful for the community as well.
.

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