Project Title: Ahhichatragarh, The Fort of Nagaur

Date of Completion: June 2001

Location: Nagaur, Rajasthan, India

Size: 147,882 square metres

Cost: US$ 513,645

Client: His Highness Maharaja Hanwat Singhji Charitable Trust

Heritage Architect: Minakshi Jain

Contractor: 23 contractors - Ghewar Chand, Poonam Chand, Abdul Kadir, Safi Khan, Hema Ram, Ashok Makad, Jagdish Prasad, Latur Ram, Mool Chand, Sadakat Khan, Dilawar Khan, Keshu Ram, Lakha Ram, Suresh Bhakar, Birma Ram, Arjun Prajapati, Pappu Ram, Chawwar Lal, Teja Ram,  Emamuddin, Bhiya Ram,  Manish Mathur, M/s Ruchi Meeta Electronics.

Context

Located in the town of Nagaur, 135 kilometres west of Jodphur in central Rajasthan, the Ahhichatragarh (fort of the hooded cobra) embodies the town’s convoluted history of power struggles and changing regimes. Constructed between 1119 and 1121 and gradually altered by successive rulers between 1121 and 1752, the fort complex displays a variety of building styles and includes fine examples of Rajpur and Mughal architecture.

The town of Nagaur is situated in the arid Thar area of Rajasthan, once predominantly the site of pastoral activities. In recent years the increasing desertification of the region has led to a decline in pastoral activity and an increase in unemployment and as a result, lifestyles have been altered and community cohesion and customs weakened.

In 1998, the Mehrangarh Museum Trust (MMT), a charitable trust established by His Highness The Maharaja Gaj Singh II, undertook to restore the Ahhichatragarh. The MMT is dedicated to preserving local culture and heritage and also seeks to reduce local unemployment levels and poverty. It does so by supporting the training of artisans and by promoting traditional building skills, handicrafts and local performing arts.

India has two pieces of legislation which protect ancient structures, the Ancient Monuments and Archeological Sites and Remains Act (1958) and the Ancient Monuments Preservation Act (1904). The MMT, while observing the existing legislation in India, is also guided in its restoration works by international guidelines, such as the Venice and Burra Charters.

Building History

The Nagaur kingdom is believed to have been established by the Nagvanshi kings who built the original mud fort in the town of Nagaur in the fourth century. The Ahhichatragarh was built on the site of the mud fort during the early twelfth century. In 1154 a number of major modifications and additions were made to the fort complex but few further changes were made until 1540. The fort was a coveted prize and Nagaur’s strategic location and importance as a trade centre meant that the town was the setting of a number of conflicts as series of rulers battled to retain control. After 1540 successive sultans made additions to the fort complex until 1752, when the last building was added to the complex.

The fort complex was occupied by the Rathors of Jodphur from the late eighteenth century until 1947 when the State Government began renting the complex. One of the Government departments, the Border Security Force, adapted the buildings to create barracks and other facilities and occupied the site for over a decade. When the Force vacated the complex in 1970 it remained unused for a further 30 years.

The picturesque fort complex consists of four palaces and 43 smaller buildings, including a mosque and temples, and is surrounded by a two-tier defense wall. The construction system of the buildings is a composite one, in which internal spaces are enclosed by stone load-bearing walls. A significant aspect of the architecture is the use of various kinds of bracketed arches, spanning systems and structural supports.

Ahhichatragarh has a variety of open spaces ranging from spacious grounds to fully landscaped gardens to internal courtyards. Such an arrangement of open spaces created a relaxing uncluttered setting for the many buildings and palaces. Because Nagaur is a desert region and with the fort having been subject in the past to prolonged sieges, a significant number of water reservoirs and fountains were created within the fort structure.  The design of the complex around these water sites is such that a pleasant microclimate was generated, with pools of water used to cool the hilltop breezes.

Over its long history the fort has been subject to weathering and in the past century it suffered from neglect. Since it was vacated by the Border Security Force, the fort dramatically deteriorated and was vandalized. Encroachments on the moat area by residences and shops have detracted from the overall appearance of the outer walls and removal of stones from the wall for use elsewhere has led to structural instability.

Project History

Due to the experience of the MMT in managing and restoring important heritage sites, including the Mehrangarh Fort, the owners of Ahhichatragarh, the H.H. Maharaja Hanwat Singh Religious Trust handed management of the complex over to the MMT in 1985.

Because of financial constraints, initial conservation efforts were minor, concentrating on preventing further damage, particularly to important wall paintings in the main palaces. These repair measures were undertaken by Shri Gokulram, a highly skilled artisan, who used traditional methods and materials in his restoration work. Later a report on the condition of the fort was prepared with the assistance of Professor Kulbhushan Jain as part of a funding application to the Getty Grant Program, a philanthropic organization devoted to the visual arts. A Project Preparation Grant of US$50,000 was awarded to MMT in 1992 and they completed a Project Implementation Proposal in 1996. As a result, the MMT was awarded a grant for $250,000 for project implementation by the Getty Foundation and the MMT matched this amount through fundraising efforts.

Conservation work began in June 1998, beginning with the Krishna Temple, one of the most auspicious buildings on the site. In June 2001, the fort restoration was deemed complete. The nature of the site is such however, that conservation works are ongoing and funding continues to be sought for further restoration and repair of the complex.

Project Scope and Framework

The main aim of the project was to preserve the physical condition of the palace buildings so they may be made suitable for modern uses. In addition, the grounds and open spaces of the complex were to be restored in order to encourage the use of the complex by the local people as a gathering place.

A related aim was to increase public awareness of the heritage value of the Ahhichatragarh fort and appreciation of and pride in their cultural heritage, in order to revive local rituals and enhance community cohesion. By emphasizing the use of traditional methods and materials, the project aimed to re-establish customary skills and create new opportunities and livelihoods for local people.

Finally, the ultimate goal was for the complex to become an architectural museum and a living laboratory for students of traditional architecture.

Conservation Methodology and Materials

The project involved a number of stages beginning with a thorough assessment of the damage and concluding with ensuring a coordinated final finish. After an appraisal of the complex, the buildings were then documented in detail. Vegetation on the roofs and courts was cleared to prevent further damage by the penetration of roots into the structure. Inappropriate additions such as partition walls were removed in order to restore the original layout and ambience. An investigation of the water system was carried out at the same time with a view to eventually restoring the building’s original water-cooled system. Following this the stone roofs, walls and arch brackets were repaired and wooden ceilings were replaced. The ceiling and wall artwork and carved stone elements were then restored. In addition, the lime flooring was repaired and doors and windows in the original style and materials were installed.

The broad restoration approach was one of minimum intervention and maximum retention of original fabric. The huge size of the complex and variation in building styles meant that individual buildings required different treatment and the range of conservation work was therefore extensive and varied.  As a result, no specific conservation theory was adhered to and project managers instead opted for a multi-faceted approach, drawing on a number of models and on the recommendations of several international Charters.

In the conservation process, emphasis was placed on stabilization of structures but at the same time enormous care was taken to conserve as much as possible of the original building materials and form. When realigning the outer screen wall of the Deepak Mahal building, for example, the wall was dismantled piece by piece, the stones and bricks were numbered, then the wall was reconstructed in the exact original form. Similarly, in removing vegetation from the west corner wall, the wall was dismantled then rebuilt using the original materials.

Because many customary artwork, craft and construction techniques had been lost, a new generation of artisans and craftsmen were trained in traditional methods and in using the original materials. Stonemasons, for example, were employed to recreate carved stone elements such as jallie (lattices) and takiya (railings).

Most materials used in repairs and replacements were identical to those used in the original construction. Well-matured ochre Khatu stone and the red sandstone of Jodhpur were used extensively and care was taken to test material quality and match colours. Off-white limestone was also used, on account of it being a pure source of lime and being of the standard required for use in plastering, masonry and terracing. Other traditional materials used included shell plaster, known as kody, and special mortar mixes containing binding agents such as gud (jaggery) and guggal (natural gum) and waterproofing agents such as methi (fenugreek).

Modern equipment and materials were employed sparingly and only to enhance structural stability, resilience and to speed up construction. Manual rollers, for example, were used instead of traditional bamboo sticks in order to expedite the compaction of the sandla (lime surfacing) layer of floors. Other modern items and equipment used included cement, stainless steel rods, grouting, anti-termite treatments, steel scaffolding and stone cutting machines.

Modern services such as electrical lighting were incorporated sensitively into the ancient structure, with features such as cabling put underground to minimize visual disturbance. The water supply and drainage systems were upgraded with new water pipes and additional storm water drains.

Important Issues

Mobilizing resources and people

Funding for the project was jointly provided by the Getty Grant Program and the MMT. Careful planning and management were required in order to ensure that the most critical sites in the fort had sufficient funding while at the same time assigning adequate funding to the overall conservation of the fort complex.

The MMT arranged for students from various schools of architecture to participate in the documentation processes, in investigative work and in fieldwork in1993 and again between 1998 and 2001. The training of local craftsmen and artisans was also organized and coordinated by the MMT. These trainees received on-site instruction and supervision by experienced artisans.

A number of seminars and workshops were organized in order to increase awareness of the project among architects, students and the general public. These seminars also generated valuable feedback and suggestions which were incorporated into the conservation works. A special awareness workshop was held for 50 children in order to initiate the children into appreciating their built and cultural heritage.

Lessons Learned

When training artisans and craftsmen, it was discovered that considerable explanation of the purpose of the project was required in order for the trainees to understand the reasons for using old materials and techniques. Certain walls were built, for example, with new coursed stone masonry, of which the craftsmen were very proud. Unfortunately the new style and materials did not meet the authenticity requirements of the project and did not match the original fabric, so these new walls had to be taken apart. Once the craftsmen had gained an appreciation of the built heritage and of the value of traditional skills, however, work progressed more smoothly.

While originally only one contractor was employed, it was soon discovered that the works would be expedited and made cheaper and more efficient if a number of competing contractors worked simultaneously. Each contractor was assigned a separate part of the site which enabled managers to ascertain the abilities of the contractors, evaluate their work and recognize lapses.

Project Sustainability and Viability

While the major restoration project is complete, conservation of the complex will be an ongoing process of continuous research and maintenance. This has enabled the fort to become a laboratory in which both experts and students can study its remarkable architectural history and artwork. Because of this increased awareness of Ahhichatragarh’s value a source of historical and architectural information, efforts to preserve the complex are more likely to be sustainable and viable.

Likewise, the increased level of appreciation for Ahhichatragarh’s heritage value among local people and the usefulness of the fort’s open spaces for community gatherings will ensure the community retains an interest in protecting and preserving the fort complex in the future.

Since its restoration, Ahhichatragarh has become an attraction for visitors from near and afar. Revenue earned from visitor entrance fees is assisting in the ongoing repairs and maintenance of the fort.

Project Impact

The project has restored a sense of unity and identity in the local community and has led to greater levels of participation in celebrating traditional festivals and religious occasions. As a point of convergence for various aspects of the local social fabric, the fort has become the venue for fading traditions of performing arts, thus revitalizing those arts and enriching the community. Enabling the rediscovery of materials and construction methods of a bygone era, the project also generated a new team of artisans who will be able to pass on their knowledge for the future generations.

Ahhichatragarh is one of few heritage sites in India, if not the world, to have experienced such a comprehensive conservation programme. Completed in just over 3 years, the project is a testament to the dedication of the MMT to raising awareness of the fort’s history and preserving its heritage values.