Chitnavis Wada - Heritage Walk.
I read a post on FB about a nine-day event, “ A Gathering of Seekers, Edition One: A Life in Architecture”, at Chitnavis Wada, Mahal, Nagpur. It was organised by Lore from 24 Sept 26 to 04 Oct 26.
Heritage Walk of Chitnavis Wada, from 8 AM to 10 AM, was part of the programme on 27 Sept and 03 Oct 26.
We have been looking for heritage walks in Nagpur and were keen to join this one. We registered and took part in the walk on 27 Sept 26. It was conducted by Ar. Sandeep Pathe.
The following detailed write-up about the Chitnavis Wada is based on the inputs of Ar. Sandeep Pathe, my observations and information from open internet sources.
The Wada.
Wadas were living and working places for the rich, influential and high officials of the kings between the period 18 th to about mid 20 centuary. These were two- to three-storied buildings with a single or multiple central courtyards, sprawling over large areas. More often than not, the surrounding buildings were occupied by the staff working for the owner of the Wada. There were always two or more entry points to the wada. One in front, the main entry, for people coming on official business, visitors, invitees and VIPs. The rear and/or other gates were for the staff and the service providers for the wada occupants.
Chitnavis wada is one such building. It is located in the Mahal area of Nagpur. It belonged to Chitnavis to Bhosale Kings of Nagpur.
There are two entry points. One is through Chitnivas wada Main Gate ( in the North), and the other is through a narrow lane near Shri Hanuman and Shani Mandir ( in the South). Both places are on Google Maps.
History.
Nagpur was ruled by Gond Kings. Following the death of Gond Raja Chand Sultan of the Deogarh kingdom, a power struggle erupted between his widow (Queen Ratan Kunwar) and rival claimants. Raghuji I Bhosle, who was appointed as a ruler of Berar by the Maratha Kings, intervened in the dispute to support the queen's sons against pretenders on condition that the status and dignity of the queen would be maintained, provided the Bhosles were permitted to rule Nagpur. In this way, Raghuji I Bhosle became de facto king of Nagpur. During his rule, he expanded the kingdom up to Bihar and Bengal.
As published in the Gazette of Nagpur, Rakhmaji Ganesh Randive was appointed as the first Chitnavis (Chief documentation officer and Secretary) to King Raghuji I Bhosle, with whom he had arrived in Nagpur in the year 1744.
This Wada was built by Rakhmaji Ganesh Randiv after his appointment to the post of Chitnavis. As per prevailing custom, wadas were used as residences and also served as offices. As it was the residence as well as office of the Chitnavis, the general public referred to it as “Chitnavis Wada”. This usage was so universal throughout the intervening years that the connection with the name Rakhmaji Ganesh Randiv was lost and forgotten.
I believe that Shri Rakhmaji Ganesh Randive would have been addressed as “Chitnavis” rather than by his surname. Through usage and habit, family members would also be included in association with the rank. Over the years, the family must have adopted “Chitnavis” as their surname.
Chitnavis Wada.
The Heritage walk, as one can guess, started at the Main Gate.
The Double Arched Main Gate.
The Double Arched Main Gate.
As was usual in those days, it has rooms between the two arched gates for the guards and others manning the main gate.
It also has an arched wooden door which I presume is closed during the night. The aged door looks quite frail today.
Obviously, over its history of almost three centuries, the main gate as well as the entire wada must have undergone repairs, modifications and additions of altogether new structures. The second-floor gabled structure appears to have been added during colonial times with colonial architectural influence.
As was usual in those days, it has rooms between the two arched gates for the guards and others manning the main gate.
It also has an arched wooden door which I presume is closed during the night. The aged door looks quite frail today.
Obviously, over its history of almost three centuries, the main gate as well as the entire wada must have undergone repairs, modifications and additions of altogether new structures. The second-floor gabled structure appears to have been added during colonial times with colonial architectural influence.
A papier-mâché column structure. It is not part of the wada building. Most probably will be removed after the completion of the event.
After passing the main gate, there is a courtyard. On the right, a papier-mâché column structure caught my attention. It was not part of the wada building and obviously was put up as an exhibit by the organisers of the event “ A Gathering of Seekers, Edition One: A Life in Architecture”.
This building must be a later addition. Strong influence of colonial design.
Most probably used as a guest house
On the left of the courtyard, there was a double-storied building, clearly an addition in the colonial period. The purpose and approximate year when this took place could not be ascertained. Most probably it was used as a guest house. From the second floor of this building, there is access to the second floor of the main wada. Towards the end of the visit, we were permitted to use this access point to look around the second floor of portions of the main wada. The structure has weakened, so the number of people is limited to 5 or 6. There is a small passage towards the right of this building in the front yard, which takes you to the Sadrecha Sopa,
Sadrecha Sopa, or osari, or verandah.
Sadar means main or important, as in Sadar Bazar.
As you cross that small passage, you arrive at the Sadrecha Sopa, or osari, or verandah (Sopa/osari/ verandha of sadar). Sadar means main or important, as in Sadar Bazar. It was important because of its location, which is adjacent to the verandah, or Sopa, or Osari cum vestibule, where Kacheri / Daphtar (office) of Chitnavis was located. Officials of the Kacheri could see the people in sadarcha sopa and vice versa.
Sadrecha Sopa is a columned veranda. As in Kacheri, all the building in the wada are supported by load-bearing seasoned teakwood columns, carved in the shape of the Suru (pine)Tree. The capital is fixed at the top of the pillar. They were often carved into the shape of a blooming lotus flower or inverted onion bulb shapes. The capitals acted as a visual transition between the vertical pillar and the horizontal beams supporting the ceiling. To prevent moisture incursion at the base and prevent termites, the pillars were always erected on stone vases. While the pillars are fundamentally load-bearing, they are carved with extreme craftsmanship, with beautiful designs of creepers, geometric jalies, floral vines, peacock or Parrot motifs and even figures from mythology or nature (like peacocks, lions, or monkeys) directly into the dense teakwood. In Chitnavis wada, the peacock motif appeared most dominant. The more important the place, like inner courtyards, the greater the complexity and beauty of these pillars.
Saderach Sopa is about three feet or so above the ground level, and you reach it by climbing a couple of stairs. It was located next to, and served as an entry point for Kacheri / Daphtar (office). It also served as a waiting room.
From the Sadrecha Sopa, one climbs another step and enters another verandah/ vestibul; this was called the Kacheri or Daftar.
The seat, writing table and the small room to keep day-to-day records. Ar. Sandeep Pehte explaining the layout. is seen in this photo. Chitnavis wada.
That one step clearly demarcated two independent areas. This area, Kacheri, was used by the accountant/offocials of the Chitnavis to meet visitors, manage transactions, and run daily business.
It is to the credit of the management that the area from where the official sat to discharge his duties, the writing desk and the small room where the current ledgers and records were kept, have been maintained just as they must have been in the days of the Chitnavis.
Our group in the first courtyard.
Chitnavis Wada, Deoghar.
Chitnavis Wada, Deoghar.
One of the finest examples of Maratha wada architecture and woodwork, with every design element on display.
Paintings based on events from the life of Lord Krishna in the osari of the first courtyard.
Paintings based on events from the life of Lord Krishna in the osari of the first courtyard.
A central door in the rear of the Kacheri leads to the first inner courtyard or chowk. The chowk was an open-to-the-sky square area surrounded by osaries/verandhas, which were at a higher level of about 3-4 feet from the chowk floor, which was called angan. There was generally a fountain or a tulsi vrindavan in the centre of the chowk. The lower level of the chowk served two functions. Firstly, this chowk design prevented rainwater from flowing onto the verandah and the inner rooms. Secondly, hot air rising from the chowk, escaping to the open sky, created a draft bringing in cooler air to the chowk area and maintained ventilation.
Anyone from the general public who had any business at the Chitnavis office could enter the Sadarcha sopa and Kacheri. However, entry to the inner chowks had strict protocols about who had access to these courtyards/ chowks.
The outermost, or the first chowk. No entry for the general public. Here, entry was by invitation. This was where the Chitnavis entertained guests or VIPs. It was very well kept and maintained. In Chitnavis Wada, over the years, the first chowk has gone up to three or four stories, and it has been roofed wth galvanised iron sheets. So the first courtyard is no longer open to the sky, but the roof has been constructed in such a way that ventilation is maintained. Another change is that here the chowk has been covered and brought to the osari level by installing wooden flooring.
The walls of the osari all around had beautiful paintings based on the life of Lord Krishna. In the verandah, there was a devghar housing the family deities of the Chitnavis Family. Deoghar was brightly lit, and all the idols as well as other paraphernalia of Deoghar were shining brightly. I believe all were made of sterling silver. Two-tiered Deoghar is built of seasoned teak wood and is one of the finest examples of Maratha-era woodwork. Doors to the rooms around the osari were closed, and we had no opportunity to have a peep into them.
Second Chowk or the Family Courtyard.
Notice the Pillars. Must have been considered less important than the VIP Courtyard😊
Entered the second chowk and felt as if we had gone back in history. With its water fountains open to the sky and the pillared osari with doors for the adjacent rooms was as it must have been when it was built more than 250 years back. This chowk was strictly a family area. Here again, no opportunity to have a look in the rooms.
Missed taking a photo of the third courtyard.
The third chowk or service courtyard, had a kitchen where the meals for the family and dependent staff were cooked, and they had their meals. It also served as a general service area for washing clothes, etc. kitchen and had a door that led to the Murlidhar Temple. The door was used by the ladies of the house, who could take the cooked meals for offerings as prasad to the deity of the temple.
First-floor verandah of the colonial building, from where we went to the second floor of the main wada.
Beautiful example of a long panel of jhalar (valance/eaves board) or fascia, corbels, and Scalloped (cusped) and pointed arches.
Metal supports installed to strengthen the weaker structure sometime in the past are also seen in the photo.
Beautiful example of a jhalar (valance/eaves board) or fascia and corbel.
Beautiful example of Scalloped (cusped) and pointed arches with peacock motif.
Metal supports installed to strengthen the weaker structure sometime in the past are also seen in the photo.
From the third chowk, we went to the front courtyard where the two-storied guest houses are located and in a group of 5-6 people went to see the first floor of the Wada. Here we could really see the results of master craftsmen at work. Because this is where we very clearly and at close range saw the exquisitely carved, beautiful examples of a long panel of jhalar (valance/eaves board) or fascia, corbels, and Scalloped (cusped) and pointed arches.
From here, we went and had a look at the Murlidhar Mandir.
Murlidhar Mandir. Just outside the service chowk or the third courtyard.
The arched verandah in front of the garbh griha is a very fine example of Maratha-era craftsmanship. Somewhere along the way, colonial influence had crept in, as can be seen by the use of stained glass in windows and gable design.
From here we went and had a look at the Murlidhar Mandir and had a darshan of Lord Krishna. The arched verandah in front of the garbh griha is a very fine example of Maratha-era craftsmanship. Somewhere along the way, colonial influence had crept in, as can be seen by the use of stained glass in windows.
This was the last place seen in our heritage walk: Chitnavis Wada. A beautiful experience.
For a building which is almost 280 years old, Chitnavis Wada is in a surprisingly good state. All credit goes to the Trustees of Sir Gangadharrao Chitnavis Memorial Medical Research Trust (also referred to as the Sir Gangadharrao Chitnavis Trust) for preserving and maintaining such an historically important heritage building.
On the way out to get a taxi, a few more photos were taken. One of them shows the rear entry of Chitnavis Wada.
Chitnavis Wada rear portion.
Parking and Reception counter of Lore.
Chitnavis Wada rear portion.
Parking and Reception counter of Lore.
Approach road and the rear Gate of Chitnavis Wada.
