Calender of Events

All major Indian festivals are celebrated in the City Palace in which visitors can participate.

Guru Gobind Singh Jayanti

Kite Flying







Honour & Awards


Raja Dulha Rai Award

For Social Work

Raja Kakil Dev Award

For Excellence in Architecture and Preservation of Heritage 

Raja Pajvan Dev Award

For Excellence in the field of Medicine


Raja Bhagwant Das Award

For Excellence in any Traditional Crafts of Jaipur

Raja Man Singh I Award

For Bravery

Mirza Raja Jai Singh I Award

For Distinguished Service in the Armed Forces


Mirza Raja Ram Singh I Award

For Ecological Balancing & Improvement in the Environment

Maharaja Vishan Singh Award

For Excellence in the field of Travel & Tourism

Maharaja Sawai Jai Singh II Award

For Excellence in the field of Astronomy and Related Science


Maharaja Sawai Ishwari Singh Award

For Excellence in the field of Performing Art

Maharaja Sawai Madho Singh I Award

For Excellence in the field of Administrative Services & Civil Defense 

Maharaja Sawai Pratap Singh Award

For Excellence in the field of Literature & Education


Maharaja Sawai Jagat Singh Award

For Excellence in Art, Painting & Sculpture 

Maharaja Sawai Ram Singh II Award

For Excellence in the field of Photography & Journalism 

Maharaja Sawai Madho Singh II Award

For Excellence in the field of Theatre, Film & Television


Maharaja Sawai Man Singh II Award

For Excellence in Field of Sports/Polo

Maharani Marudher Kanwar Award

For Excellence in Services in MSMS Museum Trust & JPC Trust

Rajmata Gayatri Devi Award

Women’s Excellence Award


Maharaja Sawai Bhawani Singh Award

For Excellence work in the field of Business & Industry

Maharani Padmini Devi Award

For Loyal & Disciplined Services to the Royal Family of Jaipur

Princess Diya Kumari Award

For Young Achiever in any field



Raja Kakil Dev Award

Raja Kakil Dev succeeded his father Raja Dulha Rai in 1135 A. D. and continued his policy of expansion of Kachchwaha State in Amber and Meda-Bairath region. He laid the foundation of Amber fort and also the temple of Ambikeshwar Mahadeva there.


He was very brave and a great visionary. His laying of the foundation at such a strategic point as Amber (Ambavati) proves his farsightedness as it continued to be the capital of Kachchwaha rulers for next six hundred years.


Local tradition also gives credit to him for building another fort named “Kakilgarh” in the neighborhood of Bairath. However, his very short rule ended with his death in 1137 A.D.


Raja Pajvan Dev Award

Raja Pajvan Dev was the great-grand son of Kakil Dev and was the most courageous amongst the Kachchwahas. He was the right hand man, a loyal friend and the most reliable companion of Prithviraj Chauhan - the king of Ajmer and Delhi, who fought against the Muslim invaders from Afghanistan. Pajvan Dev was married to a cousin of Prithviraj and led many expeditions on his behalf.


The Bard, Chand Bardai has voiced in his celebrated epic Prithviraj Raso, how Pajvan Dev was the bravest among many brave commanders, who led expeditions for Prithviraj’s cause and how Prithviraj constantly depended upon Pajvan Dev in his most distressed hours. Pajvan Dev never failed to come to his friend’s aid.


Raja Pajvan Dev defeated Bhimdev - the Solanki king of Gujarat and Parmal, the Chandela Rajah of Bundelkhand and occupied Mahoba. He served as commandant of the dangerous frontier post of Mahoba in Nagaur and secured these strongholds against many odds. Pajvan Dev was also there in the first battle of Tarain and helped in the defeat of the Afghan ruler.


Raja Pajvan Dev laid down his life while guarding Prithviraj during his gallant elopement with Princess Sanyogita. In this battle, Raja Pajvan Dev guarded Prithviraj by fiercely fighting the overwhelmingly large pursuing forces of Jaychand and eventually sacrificed his life.


The poet Chand Bardai presents the gist of Raja Pajvan’s bravery in following words, “Prithviraj fought many big battles and he had many valiant warriors under him, but Pajvan Dev was the bravest among them”. 


Raja Bhagwant Das Award

Son of Raja Bharmal of Amber, Raja Bhagwant Das or Bhagwan Das was a great general of his time and a trusted ally of Emperor Akbar. On July 12, 1581 A. D. he crossed river Attock, fought and won territory inside Afghanistan. He was also appointed Governor of Punjab.


He maintained his freedom of speech while giving advice to the Emperor on important political matters and could dare refuse to embrace Akbar’s new found faith “Din-e-Illahi”. Abul Fazal rightly remarked about Raja Bhawant Das that he was endowed with uprightness, weight of counsel and courage. 


Mirza Raja Jai Singh Award

Mirza Raja Jai Singh I was born on 15th July 1611 A. D. and at the age of ten, ascended the throne of Amber in 1621 A. D. His career was of undimmed brilliance and unparalleled eminence. He fought and won many battles for three Mughal Emperors - Jehangir, Shahjahan and Aurangzeb respectively.


In his early career he subdued Bijapur, Golcunda and also could prevail upon Shivaji to appear in the Mughal Court. He was also posted in Balka, Kandahar and Kabul to subdue the Afghan Chiefs during the years 1638, 1641, 1647-49, 1653. During 1659-67 he was posted in the Deccan and Emperor Aurangzeb elevated his Mansab to 7000 Sawar in June 1665 A. D. for his successes against Shivaji, against whom so many generals of Mughal Empire proved an utter failure. In the words of Sir J. N. Sarkar a famous historian – “Mirza Raja Jain Singh attained success surpassing even his victories in the field. Wherever there was difficult or delicate work to be done, the Emperor always had only to turn to Jai Singh-I” who was a suave speaker and adept in the ceremonious courtesy of the Mughal court.


He was an ideal leader of all the contingents of the Mughal Army comprising of Afghans, Mughals and the Rajputs. 


Mirza Raja Ramsingh Award

Mirza Raja Ram Singh-I was the eldest son Mirza Raja Jai Singh-I and was ruler of Amber, and head of the Kachchwaha Rajput clan, from 1667 to 1688. Kunwar Ram Singh had served in the campaigns of his great father Jai Singh-I and by 1654 had acquired a rank of commander of 3000 (cavalry) in the Mughal nobility. His first independent campaign was in 1660, after the accession of Aurangzeb as emperor, when he led an army against the hill-state of Srinagar (Uttarakhand). Jai Singh took his younger son Kirat Singh on his last campaign to the Deccan (1664-67) leaving Ram Singh to be his representative at the Mughal court. When Jai Singh sent the Maratha hero Shivaji, to meet Aurangzeb (1666), he took an oath to be responsible for his safety at the Mughal court, and made Ram Singh Shivaji’s caretaker. Shivaji, accompanied by his son Sambhaji and other officials and servants, was received by Kanwar Ram Singh at his military camp in the suburbs of Agra city (12th May 1666). Ram Singh escorted them to meet the emperor at the Diwan-e-khas (hall of special audience) in Agra fort. Here they gave a customary present (nazara) of 1,500 gold pieces (mohurs) at which, Aurangzeb cried out, “Come up Shivaji Raja!”


Raja Jai Singh breathed his last on August 18, 1667. Ram Singh became the next Raja of Amber (10th September) with Aurangzeb putting the tike (paint mark) on his forehead. (This was the last occasion that this ceremony, started by Akbar as a means of honoring the leading Hindu Rajas, was performed. Aurangzeb eventually stopped this ceremony being a Hindu practice in his Islamic State.)


Maharaja Vishan Singh Award

Maharaja Vishan Singh or Vishnu Singh was the grandson of Maharaja Ram Singh I, and was enthroned at the age of seventeen in 1746 V. S. (1689 A. D.). Maharaja Vishnu Singh received his education and training under the great care and attention of his grandfather, which proved him to be a deserving ruler of Amber.


He managed the affairs of the state with great ability and enjoyed a high position in the Imperial Court like his forefathers. He was posted at Agra and Mathura and stayed there for most of his time and subjugated the rebellious Jats of the vicinity.


In the field of art and culture he maintained the decorum of the court of his ancestors. Some of the poets and scholars were continuing from the time of his illustrious grandfather. He himself possessed a fair knowledge of Sanskrit and appreciated poetry, drama and scholarly pursuits. His full initiation was performed by his Guru Shivananda Goswami. The initiation, which was admissible only after the attainment of a superior spiritual development, was performed in 1692 A. D. It was due to this initiation that several Tantric works were written under his patronage. He had also founded a city Vishnupura after his name near Mathura and reinhabitated the twelve famous ‘Vanas’ (forests) around the city.


He was destined to live a very short span of life and died at an early age of 28 years in 1756 V. S. (1699 A. D.)


Maharaja Sawai Jai Singh II Award

At the age of 12, Sawai Jai Singh II was enthroned at Amber in the year 1700 A.D. and had to fight at Khelna, Panhala and other places in the Deccan at the behest of Emperor Aurangzeb. He was wise and witty, therefore, the Emperor conferred the title of “Sawai” upon him. He was also entrusted to control the turmoil in Bharatpur-Mathura region and also the Marathas in Malwa. As Naib subedar and Subedar he helped the Mughals in running the administration and also revenue collection in the Subas of Malwa and Agra.


He was a great Statesman of his time and Pt. Jawahar Lal Nehru had very aptly remarked about him that Sawai Jai Singh II would have been great anywhere and in any age. The Chandra Mahal and the entire township of Jaipur was built under his patronage, besides, the number of forts on strategic points for the protection of his state. His assistance was sought many times by the Mughal Emperors against their opponents.


Besides being a great builder, he was also a great scholar of Sanskrit as well as Persian and had deep interest in the field of Astronomy and to fulfill this, he build five ‘Observatories’ at various places namely at Varanasi, Mathura, Ujjain, Delhi and Jaipur and performed several Vedic sacrifices including the “Horse Sacrifice”. He patronized artists, painters, men of literature and also the astrologers and astronomers and with their help he could collect a vast treasure of knowledge which was to become the proud possession of the City Palace Museum.


He commanded a huge army consisting of equal number in the infantry and the Cavalry and with its help could annex Shekhwati, Malarana, Amarsar, Bhangarh and Manoharpur respectively into his patrimony.


With his pious and chivalrous deeds he could add luster and grandeur to the state of Jaipur. This astronomer prince could foresee many coming events. His shifting of the Kachchwaha capital from Amber to Jaipur in 1727 A. D. was an outstanding achievement of the late medieval period. 


Maharaja Sawai Ishwari Singh Award

Maharaja Sawai Ishwari Singh of Jaipur was the elder son of the illustrious Maharaja Sawai Jai Singh II and was an accomplished ruler of Jaipur. However his bright career was cut short due to politics and events of the times that culminated in the end of his life.


It is not very explicit as under what circumstances his father Sawai Jai Singh gave words to the Maharana of Udaipur at the time of the betrothal of Mewar Princess in 1708 A. D., that her son would succeed the Kachchwaha throne. It proved fatal for his elder son Ishwari Singh and also for the state of Jaipur. Mewar and Maratha forces took the side of Madho Singh in the war of succession which made Jaipur very weak as vast sums had to be paid to Marathas on different pretexts.


He was a talented figure and artist himself, well versed in the performing arts and the art of making designs and figures in paper by cutting, which was his favorite art and hobby.


Like his forefathers, he was a patron of arts, crafts, Dhruvapada Gayki and Jaipur Gharana Kathak Dance and was responsible for their popularity and development. Sports as pastimes, also thrived and prospered during his reign. 


Maharaja Sawai Madho Singh I Award

Maharaja Sawai Madho Singh I was the younger son of Maharaja Sawai Jai Singh II and sat on the throne, due to sudden death of his elder brother.


He was also a patron of arts, handicrafts, games, science, medicine and education and preserved the rich heritage of these which were handed over to him.


He gave rich gifts to important sportsmen of his State and even sent them to other places within the country to take part in competitions. Likewise, he sent artists from his state to other places to exhibit their skills and produce. He was fond of watching elephant fights, bullfights and other similar sports. 


Maharaja Sawai Pratap Singh Award

Maharaja Sawai Pratap Singh of Jaipur, the younger son of Maharaja Sawai Madho Singh I, came on the Gaddi of Jaipur after the sudden death of his elder brother. He, himself was a great writer and patron of performing arts, art objects, medicine, sports and games etc. He was a scholar of Brij Bhasha, Sanskrit and Dhoondhari. He composed many poems on Shri Govind Deoji under the pen name of “Brij Nidhi”. He patronized Jaipur Kathak Dance in the Leelas and before the Icon of Shri Govind Deoji. A number of devotional, musical and philosophical compositions exist in the Pothikhana of the City Palace, Jaipur, which are accredited to him. He also got translated most of the Parvas of the Mahabharata indo Hindi by different poets of his court. He patronized many literary persons like Padmakar, Deva Kavi, Shiva Narain Mishra, Ganapati Bharti, Shri Krishna Bhatt and other. As already mentioned, much attention was paid to the preservation and upkeep of the manuscripts of Pothikhana during the time of Sawai Pratap Singh.


He was a great builder and patron of architecture having given to Jaipur its jewel in the crown “Hawa Mahal” besides, the Jal Mahal and the Shri Brij Nidhi Temple. 


Maharaja Sawai Jagat Singh Award
Maharaja Sawai Jagat Singh was the son of Maharaja Sawai Pratap Singh and like his father, also was patron of arts and crafts. He was also very much interested in sports as well as in literature. All the Karkhanas which had been thriving for long in Jaipur and came down to him as heritage, were bursting with activities. Many painters prospered in the Suratkhana which had achieved perfection during the reign of his father. Painter Sahib Ram painted the life size portrait of him. The latest group of artists, who were the direct descendants of the Ustads, were trying their best to keep alive the old tradition, despite new equipments entering Jaipur, producing photographs and other modern improvements in the field of drawing and painting. The Gunijankhana and Pothikhana continued to achieve new heights during his times. 


Maharaja Sawai Ram Singh II Award

Maharaja Sawai Ram Singh II, son of Maharaja Sawai Jai Singh III was born in 1834 A. D. He was accessioned on 6th February 1835 due to sudden death of his father.


The modernization of Jaipur, under the British influence, was first brought about by Maharaja Sawai Ram Singh II. After Maharaja Sawai Jai Singh, he is considered as the most enlightened of the Jaipur rulers. He was a perfect and a complete ruler. He gave Jaipur, the modernized version of Polo, Billiards, Badminton, Cricket, Photography, Theater, Education including the Schools, Colleges, Technical Colleges for Medicine, Industrial Arts, Teacher Training and introduced the modern styled Public Works, Agriculture, Water Management, Medical, Meteorological, Topographical, Museum, Survey, Judicial, Police and Army Departments. 


He was the first photographer Prince of India and the only one to start a formal course in photography in an institution other than a photography studio. 


Maharaja Sawai Madho Singh II Award

Maharaja Sawai Madho Singh II was the adopted son of Maharaja Sawai Ram Singh II and during his reign, Jaipur progressed in the fields of Literature, Archaeology, Arts, Education, Newspapers, Gazetteers, Census Reports, Public Works, Medicine, Judiciary etc.


Many important books were published during his reign and under his patronage. Pt. Madhusudan Ojha, a distinguished scholar of Sanskrit was appointed and was asked to classify thousands of Manuscripts preserved in the Pothikhana of the City Palace. “The Architectural Portfolio of Jaipur”, “Asian Carpets”, “Jaipur Museum Hand Book” and “Jeypore Enamels” are a few examples published during his reign.


Many Newspapers were started in Hindi, English and Urdu in Jaipur State. Medicine, Education, PWD, Forest, Administrative Reports etc. were also brought out annually during his rule. 


Maharaja Sawai Man Singh II Award

His Highness Saramad-e-Rajah-e-Hindustan Raj Rajendra Shri Maharajadhiraj Sir Sawai Man Singh II, G.C.I.E. was the adopted son of Maharaja Sawai Madho Singh II of Jaipur. He was duly enthroned in the year 1922. Heir to the military traditions of his house, to acquire scientific and up-to-date knowledge of modern military science Sawai Man Singh II went to the Royal Military Academy at Woolwich. On 14th March 1931 the young Maharaja was invested with full ruling powers. He had created the New Model Army of Jaipur popularly known as the Sawai Man Singh Guards and was their chief commandant. At the outbreak of World War II, Maharaja Sawai Man Singh was one of the first Rulers to offer his personal service and the services of his forces.


With the experiences from the Royal Military Academy, Maharaja Sawai Man Singh II re-organized the Army of Jaipur. As a result, two additional battalions of Jaipur Forces were re-organized by the Govt. of India as the Indian State Forces Units. All these forces rendered meritorious service in different fields of the Second World War and won several medals and distinctions for their valor. In 1940 he was attached to the 13th Lancers at Risalpur for training and later saw serves on the Northwest Frontiers. In April 1941, he embarked for active service abroad and joined his Regiment, the household Cavalry, in the Middle East. After serving for some time in Palestine, he was appointed to the Middle East Head Quarters as Liaison Officer to the Indian State Forces. He was deputed to the Eastern Front in February and revisited the Middle East in April 1944. He went to Burma Front in March 1945 and attended the Victory Parade in London in 1946. The British Govt. conferred upon him the honorary rank of Major General and subsequently the rank of Lt. General.


He took keen interest in Polo and led the Indian Team, which won many matches including the World Cup Polo in 1957. He focused on building a modern and developed state and worked for its all round development. 


Maharani Marudher Kanwar Award

Her Highness Maharani Marudhar Kanwar was the first wife of Maharaja Sawai Man Singh II of Jaipur. She was the daughter of Maharaja Sardar Singh of Jodhpur.


She was known for her generosity, interest in religion, heritage and culture.


When Maharaja Sawai Man Singh II broke almost all his bones during one of the place crashes and the Doctors had given up hopes, she, with the hope that “faith can move mountains” prayed to Shri Shila Mataji offering to the Goddess a life size replica of the leg of her husband. Her prayers were undoubtedly heard and Maharaja Sawai Man Singh II not only walked but also won the World Cup Polo in 1957 and thereafter, continued playing superb Polo till the end. Such was the strength in the prayers and hope of Maharani Marudhar Kanwar. 


Rajmata Gayatri Devi Award

Rajmata Gayatri Devi (23 May 1919-29 July 2009), Rajmata Gayatri Devi was born on 23 May 1919. She was the daughter of H.H. Maharaja Jitendra Narayan & H.H. Maharani Indira Raje of Cooch Bihar.


At the age of 19, she fell in love with H.H. Maharaja Man Singh II of Jaipur and married him in 1940. H.H. Maharaja Man Singhji was the first Rajpramukh of Rajasthan who oversaw its transition to a secular part of Rajasthan state in independent India and later served as India’s first ambassador to Spain. The Maharaja died in 1970 while playing polo. She had one son Jagat Singh.


She studied at Patha Bhavana of Visva-Bharati University, Shantiniketan and Lausanne, Switzerland. She was known for her classical beauty and became a fashion icon in her adulthood. She was also included in Vogue magazine’s as one of the most beautiful women in the world. She was also an avid equestrienne.


She played an important role for the reformation of Indian women, especially for their emancipation, boycotting the purdah pratha and insisted on the importance of their education. She stated two schools in Jaipur known as Maharani Gayatri Devi Girls’ School and Maharaja Sawai Man Singh Vidhyalaya.


Following India’s independence and the subsequent abolition of the princely sates, she became an extremely successful politician. Rajmata Gayatri Devi ran for Parliament in 1962 and won the constituency in the Lok Sabha in the World’s largest landslide, which is also recorded in the Guinness Book of World Records.


Her autobiography A Princess Remembers, written by Santha Rama Rau was published in 1976 and Enduring Grace in 2004. She was also the focus of the film Memoirs of a Hindu Princess, directed by Francois Levie.


Her Leadership, dignity and compassion will long be remembered. 


Maharaja Sawai Bhawani Singh Award

Brig. H.H. Maharaja Sawai Bhawani Singh Ji (MVC) is the eldest son of late H. H. Maharaja Sawai Man Singh II of Jaipur. Born on 22nd October 1931, H. H. Maharaja Sawai Bhawani Singh received education in Kashmir, Dehradun and then in United Kingdom.


In 1951, H. H. Maharaja Sawai Bhawani Singh was commissioned into Indian Army in the 3rd Cavalry Regiment as a Second Lieutenant. In 1954, he was selected for the coveted President’s Bodyguards. In 1963 he was posted to HQ 50 (Indep) Para Brigade. He was selected and posted as Adjutant, Indian Military Academy, Dehradun from January 1964-67. In June 1967, he volunteered for the new Para Commando Unit and was posted to 10 Para Commando as 2nd in command and the following year he became the Commanding Officer. In 1970, he helped in training the “Mukti Vahini” before the commencement of the Bangladesh war. In 1971, in the Indo-Pak was he led his Battalion into action and as a result of his gallantry and exploits he was decorated with ‘Mahavir Chakra” the second highest gallantry award in the country. His Battalion also won 10 gallantry awards for their action in these operations. He took voluntary retirement in 1974.


When the Indian Army was in action in Sri Lanka under “Operation Pawan”, at the request of the then President and Prime Minister, Sawai Bhawani Singh had to go to Sri Lanka and boost the morale of his old unit (10 Para). He was successful in boosting the morale of the unit and for this success, the President of India bestowed upon him the rank of Brigadier for life. This is a very rare occasion, when a retired Army officer has been given a promotion in rank. Besides, Brig. Sawai Bhawani Singh has also served as the first Resident High Commissioner to the State of Brunei from July 1993 to January 1997


Maharani Padmini Devi Award

Her Highness Maharani Padmini Devi of Jaipur is the daughter of the Late Maharaja Rajendra Prakash and Maharani Indira Devi of Sirmour in Himachal Pradesh. She studied in Mussoorie, England and Switzerland. She was married to Maharaj Kumar Bhawani Singh on 10th March 1966 and gave birth to Baiji Raj Sahiba Diya Kumari. Maharani Sahiba takes keen interest in the development of the Museum in the City Palace and Jaigarh and also the temple of Shri Shila Mataji and Shri Govind Deoji. She is also deeply involved in the maintenance of the cultural heritage of Amber and Jaipur.


She in her own right, a scholar of Hindi and History. At present, she is very much involved in the schemes of development of the museums under the two Trusts and the temple of Shri Shila Mataji. 


Princess Diya Kumari Award

Princess Diya Kumari is the daughter of H. H. Maharaja Sawai Bhawani Singhji and H. H. Maharani Padmini Deviji of Jaipur. She studied at the Modern School, New Delhi and M.G.D. Girls School Jaipur and later did a Decorative Arts course in London. Being a doting mother of three children from her marriage to Maharaj Narendra Singh, she is actively engaged in the management of the family Hotels, Museums and Schools.


A true educationist at heart, she feels that education plays a vital role in transforming both individual lives and the entire society and thus she took initiative in establishing two highly prestigious education institutes of Jaipur known as The Palace School and Maharaja Sawai Bhawani Singh School. She takes pride and keen interest in managing them.


She has played a vital role in steering the Maharaja Sawai Man Singh II Museum Trust and the Jaigarh Public Charitable Trust to new heights. With her innovative and dynamic ideas, she has infused new life into both the trusts by changing the museum from a static, staid display arena to a hub of non formal educational and cultural activities. She has also been instrumental in the revival of the 36 Kharkhanas, an old system of art and craftsmanship followed in the erstwhile Jaipur State to its new origin as “Friends of the Museum”. Artisans and craftsmen including many of the national and district award winners are given shelter, patronage and opportunity to demonstrate their art and craftsmanship before visitors and directly sell their products to them.


In spite of her busy schedule handing the businesses and schools, she ensures to take time out for works of charity and extends all possible help and support to various causes. She also encourages the youth to excel in the field of fine arts, academics, sports etc. In her guidance the Museum Trust has initiated the Young Achievers Award. 


Raja Dulha Rai Award

Raja Dulha Rai also called Salha Kumar was married to a Chauhan Princess of Moran and with the help of the Moran Chief, he could occupy the neighboring region of Dausa and Bhandarej after defeating the Meenas and Bargujars. In the succeeding years he annexed Manch (Ramgarh) in his Kachchwaha territory. Thus he is considered to be the pioneer in establishing Kachchwaha principality in Rajasthan and their migration from Narwar to Dausa-Bhandarej-Manch region. His chivalrous acts are well narrated in different historical writings and bardic tales. At Manch, he built a temple for worship of Jamvay-Mata (Mother Goddess Durga) and a fort also, which is more popularly known as Ramgarh.


He also defeated Bargujar Chief of Deoti; occupied Khoh (Chanda Meena) and Jotwwara, the latter being the Meena settlement. In the 16th century Kushallabh, a resident of Jaisalmer, composed a love lyric in Dingala entitled Dhola-Maru-Ra-Duha and as per folk tradition, Dhola was none other than Raja Dulha Rai, whose love for Marvan and his heroic deeds are the main theme. This lyric is sung even today throughout northern India at different occasions, being the main source of entertainment for the rural folk.


However, he did not uproot the Meenas from their land but instead gave them land for their survival in the region and also entrusted them to ward duties in the Kachchwaha State.


Raja Man Singh I Award

Raja Man Singh, the prince of Amber, was the son of Raja Bhagwant Das. From very young age Man Singh took active part in various battles along with his father and grandfather, Raja Bharmal. During the reign of Akbar, Man Singh achieved great success in Bengal, Orissa and Assam and established Mughal suzerainty in Northeast. On behalf of the Mughals, Man Singh also fought successfully with the tribal chiefs of Afghanistan.


He was posted as Commander-in-Chief of the Mughal Army in Northwestern Frontier, Punjab, Kashmir, Afghanistan and also in Northeastern sector including Bengal, Bihar Orissa and Assam to crush the rebellious chiefs. It is found that under his able command, the Kachchwahas watered the Northwestern as well as Northeastern parts of India with their best blood while assisting Akbar in empire building mission. 


Treasures of Rajasthan

Treasure of Rajasthan

Downloads : General Invite | List of Participants


Maharaja Sawai Man Singh II Museum Trust is in process of forming a museum society in Jaipur. The museum society will be named as:

Gunijankhana: Maharaja Sawai Bhawani Singh Jaipur Museum Society

The purpose of the society is to revive Gunijankhana which, in olden days, existed in the City Palace and was patronized by the Royal Family of Jaipur. The erstwhile Gunijankhana was formed to include, encourage and patronize the non-tangible arts i.e. Music, Dance, Dramatics, Poetry, etc. It is not known exactly when Gunijankhana was formed. However, it is believed that it existed much before the name came into existence. Its genesis may be traced to the court of Raja Man Singh I in the 16th Century. A chapter reproduced below may be sufficient to understand the history of Gunijankhana.

However, the revival of Gunijankhana in 21st century will be in a new Avatar. While the erstwhile Gunijankhana was local in nature, the newly revived Gunijankhana will be global in its outlook. It certainly will indulge in encouraging and patronizing the local non-tangible arts and other knowledge creation. But it will be done against and in inter-action of a global backdrop and context. The City Palace, Jaipur will become a platform where performers, artists and intellectuals from world over will inter-act and build a meaningful association.

Gunijankhana will encourage and support following activities:

Art & Culture:

1.      Visual Arts: Painting, Photography, Sculpture, Print-making, Installations

2.      Literary Arts: Prose, Poetry, Scholarship, History, Geography, Oral traditions,

3.      Performing arts: Dance, Dramatics, Music

4.      Science: Astronomy, Astrology, Mathematics, Physics,

5.      Film: Feature & Documentary

6.      Design: Product, Communication,

7.      Craft: Painting, Metal, Wood, Stone, Terracotta & Ceramics, Textiles (weaving, dyeing, print, surface), leather,

8.      Cuisine: Cooking, Recipes, Spices,

9.      Museum Studies: Conservation & Restoration, Museum Management, Curatorial studies,

10.    Media: Print, Television, Internet

It will, as part of its activities, arrange:

1.      Lectures

2.      Seminars

3.      Conferences

4.      Symposiums

5.      Festivals

6.      Workshops

7.      Programs: Education & Training, Art & Culture

It will institute:

1.      Chair

2.      Residency

3.      Fellowship

4.      Scholarship

5.      Internship

6.      Prizes, Medals

7.      Financial and other assistances with a view to promoting interest in arts, craft, education and culture

To garner knowledge and its dissemination it will indulge in:

·  Research, Publication and other forms of dissemination of knowledge.

To further its objectives it will set up:

1.      Resource Centers

2.      Cultural Centers

3.      Libraries

4.      Art collections 

5.      Museums


The below is a chapter reproduced from book “Royal Court and The Seraglio” by Nankishore Parika.



The Gunijankhana was the karkhana, or department that extended patronage and support to singers, instrumentalists and dancers. Man is naturally fond of music and dance as they provided solace to the soul. As the rulers of Amber and Jaipur achieved greatness by their service and association with the Mughals, they gave a worthy account of themselves in every sphere of human activity. Just as poets, writers, calligraphers, painters, artists and craftsmen showed the marvels of their art and craft under the patronage of royalty, so also musicians and dancers flourished and gave name and fame to Jaipur. The ‘Khayal’-singing of Jaipur during the nineteenth century vied with the contemporary schools of music known as the Gwalior, Indore, and Kirana (Agra) ‘gharanas’. The Kathak style of dance, recognized as the Jaipur school, competed with Banaras and Lucknow gharanas and the ‘been’ players too were unsurpassed.

Many works in the Pothikhana speak of the love for music and the patronage extended to musicians by the princes of Amber and Jaipur. The poet of ‘Man-Charitra’, Amritrai, tells us that the veena, rabab, jaltarang and mridang were played to classical tunes in the court of Amber when Raja Man Singh ruled in the sixteenth century. The Raja’s example was emulated by the nobility and it is on record that Madho Singh, Man Singh’s younger brother, took a keen interest in dance and drama. He was granted Bhangarh (in Alwar) in jagir, but like his elder brother, he had to go and live in distant provinces in imperial service. His haveli, Madhav Bhawan, in Agra was a frequent venue of musical concerts in which even Tansen and other prominent singers of the court participated. The ‘Rag Manjari’ was composed in his honour by Pundarik Vitthal, a Brahmin of Khandesh.

‘Hastak Ratanavali’, a treatise on dance poses or ‘mudras’ was written during the time of Ram Singh I. Then, or perhaps earlier, ‘paturs’, or dancers, were kept in the Palace and they taught music and dance to the women in the seraglio. The Rajas of Amber not only collected and prompted works on music, but inspired their painters to draw pictures of raga and raginis.

The prosperity and importance of Amber-Jaipur increased under Sawai Jai Singh, but it is a matter of regret that we do not possess much knowledge about music and dance at his court. The rule of Sawai Pratap Singh was, however, a golden period of the Gunijankhana as it was of the Pothikhana and the Suratkhana. He had at his court many poets.

This ruler not only had a keen interest in literature, music and art, but also had a deep understanding and knowledge of all three. The musicians of his court had compiled a comprehensive treatise on music in seven chapters which has no parallel in writings in Hindi. It is titled “Radha Govind Sangeet Sar” and is printed. Though the printed version requires a large errata, the way Indian classical music has been discussed in it, makes a deep impression. Radhakrishna, a poet, had composed ‘Rag Ratnakar’, a comparatively smaller work, which has also been printed as a book.

Pratap Singh was a poet and devotee of Radha-Govind, whose ‘darshan’ and presentation of a self-composed ‘pada’ was a daily practice with him. These ‘padas’ which he composed all his life, were set to ragas and raginis by his musicians. Under him, Ras-Leela was staged in the temples of Govind-Dev and Brajnidhiji, the latter built by him, and music concerts were frequent. Like Nagridas, the poet-prince of Kishangarh, he composed devotional ‘padas’ and set them to music. He sang them in his devotional ecstasy. One day, he sang a ‘pada’ which spoke of his devotion and dedication to ‘Ghanshyam, Radha and Govind’ in these terms:

“When my eyes are cast on Ghanshyam,

What business do I have with others?

One who has drawn from the cup of love,

What abandon can he have from a dose of opium?

‘Brajnidhi’ has tasted the nectar of Braj, so

What pleasure do we have in Raj? “

‘Brajnidhi’ was his pen-name, which frequently occurs in the ‘padas’ composed by him. Indeed, he had ascended the ‘gaddi’ of Jaipur in most inauspicious circumstances and the ‘Raj’ of Jaipur had given him little respite or pleasure. In desperation, he turned repeatedly to his God and enjoyed life more in the composition of poetry and music.

The contribution of Sawai Pratap Singh towards the promotion of literature, music and art was contrast of the age in which he lived – an age of chaos, frequent wars and intrigues. His death in 1803 brought more unrest and more disorder in Jaipur and things were normal again only after Maharaja Ram Singh II came of age. This ruler again found time and resources to promote and develop music, dance and some other fine arts. Ustad Aladiakhan, the master musician of the period, says about the Gunijankhana of Ram Singh:

“The Maharaja of Jaipur maintained a very big Gunijankhana. The court singers were disbursed about Rs. 1.5 lakhs every month as salaries. Some of the noted artists of the Gunijankhana then were Haider Bux, son of Duleh Khanji, Karim Bux, brother of Haider Bux, Mohammed Ali Khan, Behram Khan, Dhagge Khuda Bux Agrewale, Gulab Abbas, Taus Khan, Kallan Khan, Manji Khan, Imrat Sen (belonging to the progeny of Tansen’s daughter), Alam Sen, Amir Khan, Mammu Khan, Wazir Khan, Chhote Khan, Ilahi Bux, Lalsun Senia, Mubarak Ali Khan, Rajab Ali Khan (the Maharaj’s ustad) and Khariat Ali Khan of Alwar (brother of Rajab Ali Khan).”

The Maharaja had learnt to play the veena from Rajab Ali Khan and had bestowed a jagir upon this guru, besides a haveli for his residence in the Dariba Pan area of the city. He was also given the honour of ‘palki’ (palanquin).

Ram Singh was the last patron of Ustad Behram Khan Dagar, whose descendants carry on the tradition of ‘Dagar Vani’ or that particular style of Dhrupad singing to this day. Behram Khan had lived in the durbar of Maharaja Ranjit Singh of Punjab and later in the court of the last Mughal Emperor, Bahadur Shah ‘Zafar’. He was among those artists who had left Delhi in 1875.

The holy place of Galta near Jaipur had a versatile pontiff, Harivallabhacharya, who was a great musician. He composed a work on ‘Ragmala’ and an illustrated copy of it is now stated to be in the India Office library at London. Hiranand Vyas had compiled ‘Sangeet Ratnakar’ and Sangeet Rag Kalpdroom’ during Ram Singh’s time.

Ram Singh’s reign thus marks a milestone in the progress of the Gunijankhana after Sawai Pratap Singh. It is said that some 161 artistes were then on the payroll of the Gunijankhana. Carpenters and potters worked to make and repair the instruments. The Maharaja gave all respect and honour to the artistes and there was provision to pay pension to the widows of deceased artistes.

He was a connoisseur, who took delight in listening to Ustad Karamat Khan for hours in his own room. Karamat Khan was amount the last giants of the Gunijankhana, who lived up to the ripe age of 108 years. In his old age, when his voice fumbled and head shook, he would remember that seat below a gas-lamp in Maharaja Ram Singh’s room and say: “My master used to entertain me by offering half a kilogram or more of ‘rabari’ while I continued to sing before him”. What informality and intimacy between the artiste and his patron!

This writer also remembers that great musician. Already past his century, he was totally bent with the burden of his year, but he used to come to Prof. D. C. Dutta, Head of the English Department of Maharaja College, in a tonga daily to give lessons in playing the veena to him. One day, he sang a ‘cheej’ at the request of his disciple, who was hearty in his approbation of what was sung. The veteran and tired musician remarked:

“Wherefrom can I bring that stamina and voice, but the elasticity of the throat is still with me. After all, I had ‘malai’ for two paise (taka) a pao (a quarter of a seer or kilogram).”

The artistes of the Gunijankhana were divided into categories. The great masters were exempted from daily attendance. They did not have to go to the ‘Hara Bangla’ (green bungalow) in the City Palace, where, according to tradition, music went on from sunrise to sunset. They were called by the Maharaja on special occasions to entertain his distinguished guests.

Madho Singh resumed all the traditions of the Gunijankhana, just as he maintained all the good things initiated by his predecessor. There were still some giants left of the receding regime and Karamat Khan and Riazuddin Khan Dagar were among them. Besides, there were the Bhatt brothers, Phoolji and Mannuji, and Ustad Kishanji, who used to experiment with the ‘Kachcha Jadu’ or quasi-magic, i.e. music. Pandit Madhusudan Ojha, the great Sanskrit scholar of Vedic texts, had prepared an illustrated ‘kharda’ (roll) on music called ‘Rag-Ragini Sangrah.”

The Kathak dancers of Jaipur had developed their own style what is now known as the Jaipur gharana. The style became distinct from the Lucknow and Banaras gharanas because of its footwork. Harihar Prasad, Hanuman Prasad and Narayan Prasad are representative names of this gharana. During the last years of Maharaja Madho Singh, as many as eight families of Kathak dancers were on the payroll of the Gunijankhana.

Kathak was the name of a community living in the Shekhawati area of the erstwhile Jaipur State. When the Shekhawat chiefs joined imperial service of the Mughals, the Kathak dancers also went with them and performed there. When the Mughal empire crumbled, musicians and dancers also left Delhi and Agra and shifted to provincial capitals. Jaipur was a very favorable durbar and it is said that Girdhari or Dulhaji, a descendant of Bhanuji Kathak, came to Jaipur.

Both Harihar Prasad and Hanuman Prasad were the sons of Girdhari. The two brothers are called ‘Deva Pari-ka-Jora’ (pair of Deva and Pari, angel and fairy). The former gave more emphasis on ‘tandav’, while the latter regarded ‘lasya’ as supreme. Hanuman Prasad was a devotee of Shri Govind Dev . He danced before the deity after spreading ‘gulal’ on the floor and his dancing feet would draw the outline of an elephant on the floor.

The late Narayan Prasad was the son of Hanuman Prasad. He too became a maestro by continuous practice since childhood. In the evening of his life, he shifted to Delhi for nothing was left in Jaipur now. His disciplines are many including Babulal Patni.

According to Dr. Jaya Chandra Sharma, the Jaipur gharana of Kathak has two branches and the originators of both were natives of Churu district.

Among the last great singers of Gunijankhana, Gohar Jan still lives in the memory of many people. She was given due respect by Maharaja Man Singh II, who gave her a liberal pension till her death. In all, 38 women – singers and dancers – were in the service of the Gunijankhana in the last phase. There were 10 Kathaks and a whole lot of sarangi, pakhawaj and tabla players and other instrumentalists to accompany them on various instruments.

With the merger of Jaipur State into Rajasthan in 1949, the Gunijankhana too passed into history. And the artists spread out far and near. The Senia Gharana, who had specialized in the veena and later in playing the sitar, migrated to Pakistan. The Dagar brothers are now giving training in singing ‘Dagar Vani’ in various places all over the country. Some of the artists are employed by the Sangeet Natak Akademi and the Delhi Kathak Kendra imparts training in Jaipur gharana style. Jaipur also has a Kathak Kendra now, but it is to be seen how these institutions keep alive those music and dance traditions that the Gunijankhana had established and developed in this artistic city. 


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