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Conservation of Mubarak Mandi Complex, Jammu -

Issues and Strategies

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SAJTH, July 2015, Vol. 8, No. 2

Heritage Conservation of Mubarak Mandi Complex, Jammu:

Issues and Strategies

SAKSHI SAHNI*

*Sakshi Sahni, Assistant Professor, Guru Ram Das School of Planning, Guru Nanak Dev
University, Amritsar, India.

ABSTRACT
Heritage is a cultural legacy or tradition passed on within a community from one generation
to another. The successful preservation of any historic building depends on its use and the
daily care and maintenance that come with it. Conservation deals with managing the
structural well being of a building, minimising alteration and extending its life for future
generations (Forsyth, 2007) The Mubarak Mandi complex, Jammu is one such complex
requiring conservation. It consists of various historical buildings. Over the decades, its glory
has been lost due to reasons like earthquakes, rains and neglect by the State Government and
lately it was felt by the State and Central Government to restore and reuse the complex for the
tourists which was being run as important offices of State Government. The Project became
quite important for the state but the pace at which it is conserved is pretty slow and may take
quite a long time. This paper makes an attempt to study the past history of the complex, the
important monuments present in the complex, the issues within the complex and lastly
investigates the ways in which the funding can be generated for the complex. The objective of
the paper is to identify and highlight the rich cultural heritage of the complex which can be
reused into revenue generating tourist attraction point. The scope does not include the reuse
plan as it has been already identified by the Tourism Department and is in the process. The
recommendations in the end identify the various methods in which funds can be generated to
develop and conserve the complex for tourism potential.
Keywords: Heritage, Conservation, Public Private Partnership, Tourism

Introduction
The aim of Heritage Conservation is to retain the cultural significance of the
buildings or areas for the future generations to enjoy and relish the past glory. The
conservation of historic buildings is a complex series of action taken co-ordinately
by several professionals in order to prevent the decay of a building while preserving
and enhancing the cultural values embedded in it. (Fielden, 2003)1 Conservation of
Urban Heritage began in India in 1774 in the legal framework of India. In April 1906,
Lord Curzon established Archaeological Survey of India (ASI) (Zetter and Watson,
2006).ASI looks after the maintenance of ancient monuments and archaeological
sites. It regulates all archaeological activities in the country as per the provisions of

1 Forsyth Michael, (2007), Structures and Construction in historic building

conservation, Department of Architecture and Civil Engineering, University of Bath
Blackwell Publishing Ltd.
© South Asian Journal of Tourism and Heritage
130 SAKSHI SAHNI

the Ancient Monuments and Archaeological Sites and Remains Act, 1958. It also
regulates Antiquities and Art Treasure Act, 19722. ASI conducted surveys in 1911
identified 1321 historical monuments sites and buildings3. Hence, Conservation in
India is an age old concept.
Jammu has a rich Heritage and is also known as ‘city of temples’ due to many
shrines of Hindu temples covering like Bawe Wali Mata Temple, Raghunath Mandir,
Peerkho Cave, Ranbeereshwar Temple. The monuments of heritage importance in
Jammu are Amar Mahal, Bahu Fort and Mubarak Mandi Complex. Amar Mahal being
the palace of king is reused as Museum and is open for tourists while as Bahu fort is
getting renovated under ASI with temple of Bawe wali Mata inside the fort. Jammu is
an important place of pilgrimage, partly due to many temples and so far being the
main railhead and base point for pilgrims visiting the shrine of Vaishno Devi and the
Amarnath cave. The yearly tourist figure for the year 2010 visiting Katra Vaishno
Devi Shrine is 8749326 (Tourism Department, Jammu and Kashmir) and is expected
to reach 1 crore by end of 2012 which shows huge tourism potential in the State. In
this context of huge tourist influx visiting Jammu tourist potential to be developed
showing the rich heritage of Dogra rulers.
Mubarak Mandi Complex Jammu has been selected as a case study to mark the
cultural significance of the Dogra rulers. The Conservation work of this complex has
already been started with the establishment of Mubarak Mandi Heritage Society in
2006 after the need for the Conservation of Mubarak Mandi Complex, was felt. With
the support of INTACH since 2005 many document, vision plans, reports have been
submitted to the State Government, the result of which is the renovation work has
started in the Mubarak Mandi Complex. The complex reuse plan is in process by the
Tourism Department.

Mubarak Mandi Complex

Mubarak Mandi Complex is located in the walled city of Jammu, also known as
the city of temples is the winter capital of Jammu and Kashmir. It is located on both
banks of the river Tawi. The old city is confined to the right bank and the later
expansions of the city (new Jammu) have largely taken place on the left bank of the
river. The complex is situated on the hillock, overlooking the river Tawi at north of
city of Temples. The complex is located where CBD ends which shows that often
congested and compact city structure of old city is relieved at its top by the public
spaces of Mubarak Mandi Complex. The site is surrounded by bazaars like Pucca
Danga on western side and Panjtirthi on eastern side.

2 http://asi.nic.in/asi_cons_prev.asp
3 http://dda.org.in/planning/docs/10_Conservation_.pdf
 HERITAGE CONSERVATION OF MUBARAK MANDI COMPLEX 131

Figure 1: Location and Aerial view of Mubarak Mandi Complex

Source: Conservation and sustainable Development, MM Complex, INTACH

Mubarak Mandi is a Royal Dogra Palace from the time of Maharaja Gulab Singh,
the then ruler of Jammu State. Dogra rulers constructed a royal palace in the second
quarter of 19th century. All the succeeding rulers kept on adding buildings as mark
of their consolidation of their rule over region. The Royal palace was built as a group
132 SAKSHI SAHNI

of buildings arranged over courtyards4. It comprises of decorative palaces of the

royal family, large halls, galleries, palaces defined for the official functions and
public events, Secretariat or Army Headquarters. The entire complex is linked with
large and small courtyards. These courtyards were accessed by two royal gateways
linking the outer main city and small gateway to link the residences around the
complex.. A blend of British Architecture with Rajasthani & Mughal style makes it a
place worth seeing. There are many architectural features, murals, paintings, relief
and motif works inside the royal residences5. The Complex depicts the Dogra
heritage with typical Jharokhas and arches .There is a blend of colonial influence
with columns and pillars. The complex is an excellent masterpiece of Jammu
heritage, which is not very known.

Need for Conservation

After Independence, the elected Govt. for the state of J&K started functioning
from this complex and many divisional level offices were functioning here like
Divisional Commissioner’s office. There were high courts and district courts. Since
then it is called Old Secretariat. With the passage of time, buildings have been
dilapidated and are in deteriorated condition because of lack of maintenance;
thereby the character of the area with its great heritage was getting lost. The ancient
pahari paintings on the walls of these buildings have faded. Electric wires were
nailed on the Basohli paintings on the walls. The deteriorating condition of buildings
of palaces has brought change in character of the area due to construction, addition
and renovation in the interior as well as on facades thereby disturbing the
architecture because of addition of modern style. Unwanted vegetation i.e. weeds
and wild growth has disturbed area’s aesthetic look. An initiative and as a first step
was taken by shifting many of the offices from this complex which had hampered
the condition of the complex to a large extent. Hence to preserve the heritage, all the
above factors were taken into consideration and Mubarak Mandi Heritage Society
was established in 2006.Many cultural festivals are organized here. Fortunately the
success in the events like Jammu Mela in 2005 has made it more likely to use the
complex of many more socio-cultural events for the local people.

Historical Evolution
The history of the physical growth of the complex has been divided into four
phases

4 Mubarak Mandi Heritage Complex , Project Profile, Chief Engineer , PWD and R&B ,
Jammu 2005
5 DPR, Development of Mubarak Mandi as Tourism Destination& Socio- Cultural

Cum Heritage Centre, Jammu , Govt. of J&K, Deptt of Tourism , Dec2005

 HERITAGE CONSERVATION OF MUBARAK MANDI COMPLEX 133

Phase-I (1700-1800)
The site was selected in 1717A.D. by Raja Dhruv on the lofty bank of river Tawi
Dhaunthali height6.In 1710 A.D. Magar month, laid the foundation of the palace with
the construction of Maharani Charak Mahal I & II, Golghar, Royal Old Palace and
Toshkhana along with Temple and deoris to enter into the palace. The Rani Charak
Mahal shows the Rajasthani architecture with Jharokhas and wooden carved
boundary.
Phase –II (1800-1947)
Figure 2: High Court and Darbar Hall before 1898 fire

Source: Conservation and sustainable Development, MM Complex, INTACH

Maharaja Gulab Singh and Ranjit Dev added the high courts, sub-courts,
Deewan-e-aam, Dogra Art Gallery in 1820-1857. After the death of Ranjit Dev, old
palace was invaded by Kanhaya Misldars and they ransacked the palace of its
treasury and Toshkhana and carried Gold ,jewellery and property worth crore of
rupees. It remained 10 years under Sikh Diwans, the officers of Ranjit Singh till it
was re occupied by Gulab Singh. In 1820, Gulab Singh got it repaired, renovated and
embellished with floral designs, murals and provided it with painted over murals.
Marble palace, Pink Hall, Sheesh Mahal were made in 1917. Maharaja Pratap Singh
renovated Darbar hall and Army Head Quarters.
Though the Architecture is pre-dominantly Hindu, it has interspersed Islamic
influence of Late Mughal period with a blend of modified European Style and
Rajasthan features

6 Bilawria Anita(2005)’ Mubarak ho!’ in Mirror Reflection, p. 38

134 SAKSHI SAHNI

Figure 3 and 4: Architectural Style of Darbar Hall Complex

Source: Primary Survey, April 2012

After 1947, and accession of J&K to Indian Union Act, the state of Maharaja
headed by Sheikh Abdullah. In absence of any buildings suitable enough to house
the officers and secretariat, the popular Govt. took all buildings on rent. The State
Government offices in the complex were shifted and the complex was vacated in
order to carry out the restoration work.
 HERITAGE CONSERVATION OF MUBARAK MANDI COMPLEX 135
1. Components of the Complex

Figure 5 : Mubarak Mandi Complex

Source: Gandotra Lokakshi, Unpublished B. Arch Thesis, GNDU Amritsar

The buildings in the complex are of great historical importance. The group of
these buildings reflects combination of various architectural styles. The complex is
linked through Deoris or gateways on its three sides. The architecture is of
Rajasthani, Mughal and 17th Century European style.
136 SAKSHI SAHNI

Open Spaces and Built up relation

Figure 6: Open Space and Built up relation

Open spaces may surround a building, may be included within the building or
may have several buildings surrounding it. In Mubarak Mandi Complex, one finds
courtyards as well as open spaces surrounding buildings. The courtyards are of
three types, public, semi private and private. Public Courtyard includes public
offices like Darbar hall, Army head Quarters. Semi Private Courtyard was Palaces of
the queens Number of users were restricted. No male member even from royalty
was allowed to enter the courtyard. Private Courtyard included a courtyard within a
palace and number of users were few – the king, courtiers and attendants.
 HERITAGE CONSERVATION OF MUBARAK MANDI COMPLEX 137
Components
High Court and UPSC Office
 Location – It is located on South Western side of the complex
 Ancient Use – The building was built by Maharaja Pratap Singh to serve as a
Royal darbar before independence and afterwards was used as holding of
assemblies and meetings. There are two green halls, which were probably used
for official meetings or also as entertainment like dances etc. Attached to them
is Army Headquarters.
 Architectural Style - The High Court and UPSC Office exhibit a more elected
style combining Rajasthani features with Motifs from Late Mughal Period. The
building has different elements like
1) Jharokhas –
 Recessed windows were provided to protect from sun and rain
 Sometimes the recesses were covered from above, openings were ornamented
recesses were used for sitting and peeping out called Jharokha or balcony.
 Rajasthani Jharokhas in different styles were provided.
Figure 7: Jharokha of High Court Building

Source: Primary Survey, April 2012

2) Arcaded Corridors
Arcaded corridors or walkways surrounded the court in palaces and thus acted
as shady connectors from one place to another.
Figure 8: Arcaded Corridors

Source: Primary Survey, April 2012

138 SAKSHI SAHNI

3) Gateways
 Gateway is used to give a sense of arrival and territoriality.
 In the complex, there are gateways leading from the city to the complex and
from the central Courtyards to the gateways leading to the inner courtyards.
4) Courtyards
 Courtyards have been integrated and adhered in all parts of the buildings of
Durbar Ghar complex.
 These keep interiors cool, admit adequate light and ventilation.
These courtyards create a small enclosure and form a common sitting space.
Decorative Elements - The façade is well decorated with pebble stone
plastwork which appears to be unique to this region. There are also carved stone
columns, jharokhas and other traditional embellishments which make buildings
quite remarkable7.

Figure 9: Layout Plan of UPSC building

Source: INTACH

Layout Plan – The layout Plan shows both the buildings has a Verandah 10’
wide all along the facade which is discontinued in some parts by staircases.The two
parts of the S-W facades are joined at upper floor making way for the Deodi at
Ground floor.The building of High Court building (right block)measures 184’’ X
60’.and the ht. of the building is 42’.

7Project Profile of Heritage Conference Centre Mubarak Mandi Complex, Jammu,

SKICC
 HERITAGE CONSERVATION OF MUBARAK MANDI COMPLEX 139

Figure 10: Land use inside the UPSC Building

Source: Primary Survey and Computed 2012

Present Use - The restoration work is going on in this building by ASI. The
reuse plan of the building is in process
Figure 11 and 12: After the Restoration work, High Court Building

Source: Primary Survey, April 2012

140 SAKSHI SAHNI

Session Courts
 Location - The building is situated at one of the main entrances of the complex
from Panjtirthi side at the North West side of the complex.
Figure 13: Session Court Building

Source: Primary Survey, April 2012

 Ancient Use – It was used as a session court
 Architecture Style - The building of session court has colonial type of
architecture and has pointed arches.
Arches
 Arcades or a series of arches is a distinctive element utilized in the complex for
providing shade and as an aesthetic feature on building facades.
 Present use – It is used as a Govt. library
 Issues- The entrance collapsed a few years ago. The building is a two storeyed
building with larger rooms. A balcony made of concrete slab supported on
cantilevered steel girders, has been added in recent times along the front face of
the building. The additions and alterations done to this building are
inappropriate.
Divisional Commissioner’s Block
 Location – This block forms another boundary of the complex with the city. A
major entrance through the deoris leads from the Pacca Danga neighbourhood
of Jammu into the main public courtyard.
 Ancient Use – Divisional Commisioner’s Office
 Architecture Style – Jharokhas
 Building Material- Cement, Concrete
 Present use – Vacant
 Issues - The building has 4 floors above the ground and a basement running
along its whole length. Nearly half of this block was demolished recently and a
modern block constructed in part of space so created. The modern replacement
 HERITAGE CONSERVATION OF MUBARAK MANDI COMPLEX 141

makes no attempt to relate to adjacent buildings and has created an awkward

and ugly precedent.
Figure 14: Divisional Commissioner's Block

Source: Primary Survey, April 2012

Recommendations by INTACH
 Structural Retrofitting is required
Golghar
 Location – Situated on the riverside at the most dramatic location in the
complex, on the south eastern side
Figure 15: Golghar

Source: INTACH
 Ancient Use – It was probably for entertainment of the royals and their guests.
 Architecture Style – Golghar have dome on it which present Islamic Influence.
This structure was influenced by Roman Opera house architecture.
 Domes
 These were provided for aesthetic as well as for climatic reasons as well.
 These induce movement of air and create venture effect.
 Dome was also the only answer to structural problem of covering large
spaces.
142 SAKSHI SAHNI

 Present use – Vacant

 Issues - This building has partly four storey above ground. Golghar suffered the
worst damage after being gutted in the fire in 1984 – most roofs collapsed and
walls standing precariously. Golghar is extremely vulnerable to high wind and
earthquake and can collapse at any moment
Recommendations by INTACH
 Clamping of two walls of Gol Ghar: The two walls of Gol Ghar located on its
northern side is almost free standing. These have a height of nearly 30 feet and
any serious lateral movement can cause serious of damages to the walls, the
structures and the terraces below
 Careful removal of hanging stone/bricks/concrete: At several locations in
Gol Ghar, , stones or chunks of bricks are hanging precariously. Some of these
are extremely dangerous and slight movement caused by lateral movement in
ground or even by monkeys, sudden flutter of pigeons can bring these down and
damage the underneath portion.
 Debris Removal: At many places in the complex, particularly Gol Ghar, the
ground is filled up with architectural debris, soil and vegetative growth.
 Removal of bats, wasps, monkeys, pigeons etc.: In Gol Ghar there are few
pigeon’s nests. Sudden fluttering of pigeons does cause vibration which can be
dangerous for the structure. These are present in most areas as they can have
an easy access due to broken window panes or wire mesh.
 Emergency Propping – With the help of wooden members to stop the outward
movement of walls
 Filling of Cracks - Structural cracks on external walls, jharokhas, windows
needs to be filled to prevent easy inlet of water, birds, small insects, wasps etc.
Rani Charak Mahal
 Location – It is also located on the south eastern side of the complex
 Ancient Use – Usage, originally as the residential quarters of Rani Charak
 Architecture Style – Since Rani Charak hailed from Rajasthan and it is probably
at her instance that there is strong influence of a developed set of Rajasthani
architecture with jharokhas as wooden carved balcony.
 Decorative Elements- Exterior treatment of gravel obtained from the river in
the palace. The external finish has plasterwork decorated with river stone
pebbles and other decorative elements include Jharokhas and a remarkable
balcony, supported on decorative cast iron brackets. There is beautiful marble
flooring in all the rooms. There is also an old lift present with proper shafts.
Situated on the river side of the complex this building is connected to the
Toshkhana on one side and is entered from a residential courtyard approach
through covered passages from other open courts.
 HERITAGE CONSERVATION OF MUBARAK MANDI COMPLEX 143
Figure 16: Rani Charak Mahal

Source: Primary Survey, January 2006

 Present use- Vacant
 Issues – There are major cracks in Rani Charak Mahal. Apart from that
descending and rising dampness in the walls and termite attacks are most
common in most of the buildings in the Complex.
Recommendations by INTACH –
 Support of arches/beams: A number of places in Rani Charak Mahal there are
cracks in arches where their stone or brick key stones have slipped from their
original position.
 Propping: At several places, bulges in walls, or walls are detached from the
main structure suggesting outward movement.
 Filling of Cracks: At many places in Rani Charak’s palace (its top two floors
structural cracks are visible on external walls, jharokhas, windows etc.
 Closure of openings with temporary walls: At certain locations in Rani
Charak’s palace, certain windows have no window shutters.
 Covering of roofs: Top level of Rani Charak’s Mahal comprises sloping roofs
supported over wooden trusses. Portions of these roofs are completely missing.
Art Gallery and Pink Hall
 Location – It is located on north eastern side
 Ancient Use – Art gallery
 Architecture Style – The building has typical Rajasthani jharokhas and the
deori is carefully embellished matching elements.
 Jharokhas – the jharokhs are of typical dogra style
Arches
 Arcades or a series of arches is a distinctive element utilized in the complex for
providing shade and as an aesthetic feature on building facades.
 The arcades punctuate and enliven facade of all the principal monuments and
gateways within the complex.
144 SAKSHI SAHNI

Figure 17: Dogra Art Gallery

Source: Primary Survey, April 2012

Figure 18: Layout Plan of Pink Hall

Source: Digitized from document by INTACH

 Present use- Dogra Art Museum
 Layout Plan – The Pink Hall is rectangular in shape measuring 95’X36’.The
height of the building is 40’. The hall has 5 columns on the outer side facing the
central courtyard and thus 5 arches open on to façade and one forms the
entrance to the Pink hall.
Figure 19: Land use inside the Pink Hall

Source: Primary Survey& Computed Values, April 2012

 HERITAGE CONSERVATION OF MUBARAK MANDI COMPLEX 145
Figure 20: Toshkhana

Source: Primary Survey, April 2012

Toshkhana
 Location – It is located on North Eastern side on the riverside of the complex
 Ancient Use – Historically the ground and basement level was used for
storingthe Treasures of the Dogra Family.
 Architecture Style – This building is approached from the main public
courtyard through a set of deoris and a small temple
 courtyard which leads to the residential court. The rooms of the complex are
painted with synthetic oil paint which has made the murals completely observe.
Toshakhana is decorated by dogra paintings in the interior. There are also some
European wall hangings in it. It has a flse ceiling made up of colored paper
mache.
 Present use- Vacant
Issues – Beautifully decorated and painted false ceilings had become blackened
due to dust and sticky substance is very much apparent on the murals. The main
apartment of Sheesh Mahal is decorated in the different coloured cut glass work and
lithography of European Ladies.
Recommendations by INTACH
 Structural retrofitting
 Damaged parapet to be repaired
 Restoration of walls, paintings, paper mache ,ceilings and mirrors is required
Figure 21: Pahari School of Painting

Source: Primary Survey, April 2012

146 SAKSHI SAHNI

Tourism Potential of the Complex

The main department which initially thought of the heritage Conservation of the
Mubarak Mandi Complex was the Tourism Department of the state. With its efforts
and encouragement, INTACH came up and documented Mubarak Mandi at various
stages and the reuse plan or conservation plan of Mubarak Mandi Mandi was made
for exploiting Tourism Potential, which will be reaching a figure of one crore by end
of 2012 as per projections by Tourism Department, Jammu and Kashmir. The main
tourist attractions are Dogra Art Gallery representing various schools of painting
like Basholi painting and pahari painting, marble hall, pink hall etc. Recent additions
of Dogra Art Gallery are the carved sand stones of various dimensions brought from
Udhampur by the side of Devika River. Jammu school of Pahari Painting also show
some elephant riders painted in the magnificent shining colours. Archives library in
the complex is having 35000 books relating to the history of Jammu and Kashmir.
The Golghar and Rani Charak Mahal also give a sense of surprise to the viewer as
these are located on the back and are on the monumental scale. Golghar can act as
an entertainment zone after restoration. The palace/ buildings had ahatas or open
courtyard in the center. The central ahata had well laid garden and served the
purpose of the court or darbar during pleasant festive season.
Jammu Festival
From April 2005, during Baisakhi i.e 13 th April, Jammu Festival was organized
by Jammu and Kashmir Tourism department in which about 1 lakh tourists visited
the complex. The major attraction of this festival were Folk Dance, light and sound ,
illumination of building, folk songs, paintings, Basholi paintings, Pahari Art and food
festival of Dogra Cuisine. Dogra Art Gallery was opened till 11 pm and they had
great turnover and response. The success in events like Jammu Mela 2005 has made
it more likely to use the complex of many more socio-cultural events for the local
people. This will also create a bonding with the past and relate the locals more to
their past heritage and culture. A part from this Jammu is a base for the visitors who
come for the Darshan of Mata Vaishno Devi Shrine.
Fiscal Management by the Government Agencies till date
With the initiative of Tourism Department, INTACH, (Indian National Trust for
Art , Culture and Heritage) has prepared a DPR (Detailed Project Report) estimating
a cost of Rs. 296 crores for the restoration work of Mubarak Mandi Complex. Only
one percent of the total project money has been released so far.As per certified
information obtained from the office of Divisional Commissioner of Jammu, who is
associated with Mumbarak Mandi Jammu Heritage Society, the total project cost is
Rs 300 crore and so far only Rs 4.37 crore have been sanctioned and out this
sanctioned amount only Rs. 3 crore released, so far.
 HERITAGE CONSERVATION OF MUBARAK MANDI COMPLEX 147

With only Rs 3 crore out of Rs 300 crore rolling over past two years, per year
spending on project comes to barely Rs 1.5 crore. And with this pace of work going,
it may take 200 years to utilise the sanctioned amount of Rs 300 crore. This means,
only fourth generation now onwards may get a chance to see the Mubarak Mandi
Heritage Complex restored to its pristine glory.8
The State and Central Government have succeeded in the restoration of single
Army Head Quarters building in the past two years; the progress is quite slow along
with the funding as mentioned above. The restoration of one Deorhi (gate) and a
single building has consumed huge amounts of money. Therefore, alternative
methods or points need to be identified where in the funds can be managed for the
development of the complex.

Recommendations
Studies have been carried out by ICOMOS and some countries (notably the
United Kingdom, Germany and the United States), and reported by the European
Union, that reveal the direct and indirect benefits to be gained from investing in the
cultural heritage. These include the provision of accommodation for living and
working, and tax revenues gained as a result of occupation; supporting traditional
crafts and professional employment, with the tax revenues gained through people
employed in conservation work; tourism and the associated employment, income
and tax revenue; and the improvement of facilities and enhancement of the
environment to the benefit of society as a whole.9 There is a need to create a
conducive framework which can have both socio – economic and cultural benefits to
the citizens. As there is a funding deficit which is quite a critical issue the following
recommendations has been suggested for the development of Mubarak Mandi
Complex.
 A Corpus fund to be generated as in the case of Kolkota Municipal Corporation
for funding of heritage buildings in which money is donated by a voluntary
organization with a provision that principal amount will not be spent, but the
income from principal will be used. In case of Mubarak Mandi, corpus fund
through either Jammu Municipal Corporation or Tourism Department can be
generated.
 Money raised from World Heritage Fund, World Bank, UNESCO and World
Monument Fund by bringing them into the listing of world heritage sites.

8 March 19,2012 , Will Mubarak Mandi restoration take over 200 years, State Times ,
Feb 24, 2012
9 Pickard Robert, “Funding the architectural Heritage : A guide to policies and

examples”, Council of Europe Publishing

148 SAKSHI SAHNI

Mubarak Mandi , as documented properly and if efforts by Central and State

Government can be made to bring the site into the listing of world heritage sites
as it is the only site which reflects the grandeur of Dogra rulers in whole state of
Jammu and Kashmir.
 Money raised through National Culture Fund, which was set up in 1996 which
gave recognition to private institutions and individuals as partners of the
government. Donations and contributions under the NCF could be linked to
specific activities, giving greater flexibility to private organizations in focusing
their efforts on their core interests, and were made eligible for 100% tax
deduction. Private institutions can come in picture and invest in Mubrk Mandi
Complex.
 Adopt a Monument Scheme by Rajasthan Government10. The scheme envisages
adoption of a monument by any person with a view to restoring and thereby
maintaining it f or a period of 10 years in accordance with a conservation plan
drawn by the Dept. for Art and Culture. Under the scheme, state government is
creating a Heritage Fund to finance different conservation projects. Individuals
and business houses can make contributions to this fund to support the
endeavors of the state11.
 Contracting of services included preparation of comprehensive “Conservation,
Development and Management Plans” for historical sites by private experts as
in the case of the Red Fort in Delhi; supervision by private architects of
execution of heritage conservation works as in the case of the Amber Fort in
Rajasthan; or simply leasing of advertising spaces or running of catering
services and provision of audio-guides as in a number of monuments and
museums in the country12.
 Developer financing approach as in Jal Mahal and Ghat ki Guni projects in
Rajasthan, where real-estate development and providing commercial services at
market-determined rates to tourists and visitors have been incorporated as the
basic incentives for private investors. It is these private economic incentives
that are converted by the Government into ensuring the long-term availability
of adequate funds for capital (one-time) and revenue (recurring) expenditure
required for the upkeep of the cultural property in question. The contract

10 http://ppp.rajasthan.gov.in/otherpolicies/adoptamonument.pdf
11 http://www.rajasthantourism.gov.in/Rajasthan/Newsletters/Adopt-A-
Mounment.aspx
12 Sandeep Verma, Sharing of risks and rewards in PPP for conservation &

Management of Heritage Monuments in India , H.C.M. Rajasthan State Institute of

Public Administration , Occasional Paper 13 , PP 9
 HERITAGE CONSERVATION OF MUBARAK MANDI COMPLEX 149

period is long (typically 99 years), and the project involves physical handing
over of cultural assets and the adoption of the “free market policy” by the
private partner in pricing of consumer or visitor services.
 Money lend from Private institutions like banks
 Involvement of private sector through PPP models like airports in India LDOT,
National Highways BOT models. Involvement through policy measures to be
encouraged at National and State Level in order to encourage investment.
 Public Authority Bonds – The owner who buys the bond will be exempted from
paying the tax on the interest. In a number of states (such as Maryland, New
Jersey, New York and Pennsylvania) there is an authority to sell “bonds” to the
public in order to raise funds for multi-year programmes to finance state capital
projects, including the funding of heritage programmes.
 Public Lottery - A number of countries use the proceeds from public lotteries to
support heritage projects. Lotteries can provide a useful source of finance, for
example in Italy (for restoration of important monuments). Another example:
National Lottery, Heritage lottery fund , United Kingdom

Conclusion
The above mentioned points are some of the ways in which funds can be
generated for the Mubarak Mandi Complex thereby developing it for Tourism
Potential. The reuse plan for Mubarak Mandi can attract about one crore tourists
visiting Jammu in the coming time only if the funds generated can be put in practice
and fast conservation of the complex takes place. Otherwise, the lost glory of the
complex will fade away with the passage of time with no funds floating for the
conservation of the complex.

References
Forsyth Michael, (2007), Structures and Construction in historic building
conservation, Department of Architecture and Civil Engineering, University of
Bath Blackwell Publishing Ltd.
http://dda.org.in/planning/docs/10_Conservation_.pdf (downloaded on 15.5.2012
at 4:35pm)
Jammu and Kashmir Government, Project Profile, Mubarak Mandi Heritage Complex,
Chief Engineer, PWD and R&B , Jammu 2005
Jammu, Govt. of J&K, Deptt of Tourism, DPR, Development of Mubarak Mandi as
Tourism Destination& Socio- Cultural Cum Heritage Centre, Dec. 2005
Will Mubarak Mandi restoration take over 200 years, accessed on March 19, 2012,
State Times, Feb 24, 2012
150 SAKSHI SAHNI

Pickard Robert, “Funding the architectural Heritage: A guide to policies and

examples”, Council of Europe Publishing
http://ppp.rajasthan.gov.in/otherpolicies/adoptamonument.pdf
Sandeep Verma, Sharing of risks and rewards in PPP for conservation &
Management of Heritage Monuments in India, H.C.M. Rajasthan State Institute
of Public Administration , Occasional Paper 13 , PP 9
Arif Yasin Chohan and Pang Wai Ki, Heritage Conservation a tool for Sustainable
Urban Regeneration, 41st ISoCaRP Congress 2005
Jammu, Mubarak Mandi Heritage Society, Vision Document, Conservation and
Sustainable Development, Mubarak Mandi Complex, Jammu, April 2008
Jammu, SKICC Project Profile of Heritage Conference Centre Mubarak Mandi
Complex
Bilawria Anita (2005)’ Mubarak ho!’ in Mirror Reflection, p. 38

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