A chhatri (cenotaph) is a traditional umbrella-shaped domed pavilion built in Indian architecture to mark the cremation site of significant historical figures, serving as both a monument of respect and a lasting memorial to their legacy. Located near a serene talav (lake) in Savli, stands a cluster of these royal cenotaphs dedicated to the pioneers of the illustrious Gaekwad dynasty of Baroda. This sacred site, famously known locally as Pilajirao ni Chhatri and Damaji no Dero, holds the resting places of Shrimant Pilajirao Gaekwad, the fierce commander who laid the very foundation of the Baroda State, and his successor Shrimant Damajirao Gaekwad II, who brilliantly expanded the kingdom’s sway across the region. Rich in history, architectural beauty, and hidden artistic treasures, this ancestral site offers a profound look into the roots of Baroda’s royal heritage, though it currently cries out for urgent preservation and care.
Pilajirao’s Chhatri
The cenotaph of Shrimant Pilajirao Gaekwad near Savli, popularly known as Pilajirao ni Chhatri, is a historic monument that stands as a silent testament to the foundation of the Baroda State. Designed in a traditional style, the structure features a weathered stone-and-brick dome adorned with elegant arched niches (jharokhas) around its base. Despite the effects of time and neglect, the monument continues to reflect the architectural character and royal legacy of the early Gaekwad era. A closer look at the entrance reveals a white marble commemorative plaque embedded within the masonry. The inscription, written in both Devanagari and English, explicitly states that the memorial is dedicated to Shrimant Pilajirao Gaekwad, the founder of the Baroda State, who passed away in 1732 A.D. (Samvat 1788). As one of the most important ancestral memorials of the Gaekwad dynasty, the site serves as both a historical landmark and a symbol of the origins of Baroda’s royal heritage.
Despite its immense historical significance to the Gaekwad dynasty and the foundation of the Baroda State, the monument today stands in a state of alarming neglect. Years of inadequate maintenance have allowed wild vegetation to overrun the structure, with thick grass and shrubs emerging from cracks in the masonry and threatening its long-term structural stability. The surroundings of the site have also deteriorated considerably, with poor upkeep and unsanitary conditions diminishing the dignity of this important heritage landmark. Visitors are often confronted by the unpleasant presence of human and animal waste in the vicinity, creating an environment unworthy of a memorial dedicated to the founder of the Baroda State. Adding to this neglect, the interior is frequently misused as a dumping ground, with discarded liquor bottles and other litter found within the monument, reflecting the absence of both effective protection and public respect for this irreplaceable piece of Gujarat’s royal heritage.
Damajirao II’s Chhatri
Located on the opposite side of the talav (lake) from his father’s memorial, the cenotaph of Shrimant Damajirao Gaekwad II, popularly known as Damaji no Dero, commemorates the ruler who significantly expanded the influence and territorial reach of the Baroda State. The octagonal structure is distinguished by its reddish-pink exterior finish and crowned by a large dark stone dome. Its architectural features include arched panels along the exterior walls and a grilled metal entrance that provides access to the interior. A white marble commemorative plaque, inscribed in both Devanagari and English, records that the monument is dedicated to Shrimant Damajirao Gaekwad II, who expanded Baroda’s sway and passed away at Patan on 18 August 1768 (Shravan Sud 6, Samvat 1824).
The setting of these dynastic memorials is particularly striking. Positioned on opposite sides of the lake, the two monuments create a picturesque historical landscape, with Damajirao’s cenotaph standing prominently in the foreground while Pilajirao’s memorial can be seen across the water against a backdrop of dense greenery. Together, they form an important ancestral complex that preserves the legacy of the early Gaekwad rulers and the origins of the Baroda State.
Stepping inside the memorial reveals a fascinating blend of religious devotion and historical artistry, though it is clearly in need of restoration. The interior chamber houses an elevated stone sculpture of a seated figure flanked by attendants, alongside multiple stone Shiva Lingams and a carved Nandi bull resting on the floor amidst peeling paint, weathered surfaces, and exposed brickwork. Looking upward, the visitor is greeted by the monument’s most remarkable artistic feature. The interior of the dome is adorned with intricate traditional paintings arranged in concentric circular bands, depicting expressive figures, deities, floral motifs, and richly patterned garments. Despite centuries of soot accumulation, moisture damage, and natural weathering, these murals retain a remarkable level of detail and craftsmanship, offering a rare glimpse into the artistic heritage of the Maratha-Gaekwad era and underscoring the urgent need for their preservation.
Adding further interest to this historic landscape, another intriguing structure stands along the same talav (lake), sharing the site with both royal memorials. This small brick-and-mortar shrine is crowned by an ornate ribbed dome characteristic of traditional regional architecture. Although its origins and purpose remain uncertain, its close proximity to the two cenotaphs suggests that it may have functioned as a subsidiary shrine, a commemorative structure, or part of the broader ceremonial complex associated with the early Gaekwad rulers. Today, however, the structure sits neglected and surrounded by debris, including remnants of broken building materials, highlighting the wider need for conservation efforts across the entire heritage precinct.
Together, Pilajirao ni Chhatri and Damaji no Dero stand as invaluable reminders of the origins of the Gaekwad dynasty and the rise of the Baroda State. Their historical significance, architectural character, and surviving artistic treasures make them worthy of far greater recognition, protection, and conservation for future generations.
No Comments