Dabhoi

Established in the early 6th century AD, Dabhoi’s origins are rooted in ancient history. The fortification of Dabhoi is attributed to King Siddhraj Jaisinh of Gujarat (1093-1143 AD), who transformed it into a key frontier fortress. The architectural style and intricate stone carvings of the fort suggest it was constructed around the same time as Rudra Mahalaya and Zinzuwada Fort.

Dabhoi’s history can be divided into three main periods: before Muslim rule, during Muslim rule, and under the Gaekwads. Originally known as Darbhavati, the town was part of the capital Anhilwad (Patan). In 1300 AD, it came under Muslim control following the fall of Patan. By the mid-18th century, when the Gaekwads took over, Dabhoi emerged as a significant trade center. They established a railway line connecting Dabhoi to the capital and other regions, making it the center of the world’s largest narrow-gauge railway network.

Fort and Gates:

The fort of Dabhoi stands as a remarkable example of Hindu military architecture, based on ancient Vaastu scriptures. It features four gates, each positioned in the middle of the fort walls and oriented in the cardinal directions:

Hira Bhagol (Eastern Gate): The Hira Bhagol, or Eastern Gate, stands as the crowning jewel of Dabhoi’s 13th-century fortifications, representing the pinnacle of the Maru-Gurjara (Solanki) architectural style. Named after the master architect Hiradhar, the gate is a massive, multi-storied structure built from yellow sandstone, characterized by heavy, ornate brackets and a complex “Triumphal Arch” design. Beyond its defensive strength, the gate is inextricably linked to the legend of Hiradhar’s devotion; it is said he clandestinely diverted stones from the royal project to build Ten Talav, a magnificent lake nearby named in honor of his lover, Ten. This act of romantic defiance ultimately led to his tragic execution, immortalizing his name alongside the stones he carved.

Aesthetically, the gate is a masterpiece of exquisite high-relief carvings that blur the line between a fortress and a temple. Its facade is a dense tapestry of Hindu iconography, featuring meticulously rendered figures of Shiva, Vishnu, and the Saptamatrikas, framed by rows of elephants and celestial dancers. The structural precision is validated by an inscription from the royal poet Rajkavi Someshwar Dev, which provides the historical backbone to this artistic marvel. From its deep-set niches to its soaring lintels, the Hira Bhagol remains a powerful testament to medieval craftsmanship, preserving both the spiritual grandeur of the Solanki era and the haunting folklore of the architect who sacrificed everything for his art.

Nandodi Bhagol (Southern Gate): The Nandodi Bhagol, or Southern Gate, is a prime exemplar of 13th-century military architecture, distinguished by its unique dual-gate system and open courtyard. This “gate-within-a-gate” design served a strategic defensive purpose, trapping invaders in a central “killing floor” or court (mandapa) where they were vulnerable from all sides. Built during the height of the Maru-Gurjara (Solanki) era, the structure is composed of massive yellow sandstone blocks joined with precision. Unlike more linear gateways, the Nandodi Bhagol’s layout is a complex arrangement of soaring pillars and horizontal lintels that support a vaulted roof, showcasing the engineering prowess required to balance heavy fortifications with the airy, light-filled aesthetics of a royal court.

The gate’s architectural strength is softened by its profound religious artistry, featuring intricately carved brackets and pillars that rival those found in the finest Hindu temples. These massive stone brackets are often shaped like “makaras” (mythical sea creatures) or floral scrolls, serving as both structural supports and decorative masterpieces. The facade is adorned with high-relief sculptures of Lord Shiva and Lord Vishnu, depicted in their various avatars, alongside rows of caparisoned elephants and celestial figures. These carvings were not merely decorative; they were intended to sanctify the entrance to the city, making the Nandodi Bhagol a sacred boundary where the divine protection of the deities met the physical protection of the fort walls.

Vadodari Bhagol or Baroda Gate (Western Gate): The Vadodari Bhagol, or Baroda Gate, serves as the grand western entrance to the Dabhoi fortress, strategically facing the capital city of Vadodara. Reflecting the peak of the Maru-Gurjara (Solanki) architectural style, the gate is a formidable two-storied structure built from massive blocks of local sandstone. Its design is defined by a sophisticated system of heavy horizontal lintels and projecting cornices that create a rhythmic, tiered appearance. This gate is particularly noted for its spacious interior and the presence of “gavakshas” (ornate window-niches) that allowed sentries to monitor the road while integrating the fortress seamlessly into the surrounding urban fabric. The use of corbelled arches and intricately carved pillars showcases the transition from purely defensive utility to the high-style aesthetic typical of 13th-century Gujarat.

The artistic program of the Vadodari Bhagol is a rich narrative of Hindu mythology, intended to both protect and bless those entering the city. The gate is densely adorned with high-relief sculptures of the dashavatara (the ten incarnations of Vishnu) and various forms of Shiva, alongside secondary deities and guardian figures. A significant highlight includes the presence of Virupaksha, a renowned Vajrayana siddha, depicted in reliefs that underscore the religious diversity of the era (Mallinson, 2019). The exterior walls and brackets are further embellished with elaborate scrolls, floral motifs, and “kirtimukhas” (glory faces) designed to ward off evil. This combination of military grandeur and sacred iconography makes the Vadodari Bhagol not merely a wall but a “living” monument that encapsulates the spiritual and political power of the Vaghela kings.

Mahudi Bhagol/Champaneri Gate (Northern Gate): The Mahudi Bhagol, also known as the Champaneri Gate, is the northern gateway of the Dabhoi fort, historically serving as the primary link to the hill fortress of Champaner. Architecturally, it is a masterclass in the Maru-Gurjara style, characterized by its unique five-bracket support system. These massive, multi-tiered stone brackets are not merely decorative but are vital structural elements that distribute the weight of the enormous horizontal lintels. The gate’s design features a series of recessed planes and projecting moldings, creating a rhythmic facade that catches the light and emphasizes its height. Unlike the more enclosed southern gate, the Mahudi Bhagol is praised for its elegant proportions and the graceful transition between its heavy defensive base and its highly ornamental upper reaches.

The gate is celebrated as a “lithic library” of Hindu iconography, featuring some of the most diverse and well-preserved carvings in the complex. The pilasters and niches are populated by a celestial assembly, including a prominent Narasimha (the man-lion avatar of Vishnu) and Goddess Saraswati, symbolizing the union of power and wisdom. It also features depictions of the Saptamatrikas (Seven Mother Goddesses) and various forms of Shiva and Vishnu, often framed by intricate “makara-toranas” (mythical creature arches). Historical accounts and archaeological studies highlight that the gate once contained a central shrine or “chowki,” where soldiers and travelers alike would pay homage to the deities. This blend of rigid military fortification and fluid, temple-grade sculpture makes the Mahudi Bhagol one of the most culturally significant portals in the entire Gujarat region.

Additional Attractions:

Largest Narrow Gauge (NG) Junction in the World

The history of Dabhoi Railway Station is a saga of royal ambition and global engineering milestones. Known officially in its early years as the Gaekwar’s Dabhoi Railway (GDR), it holds the legendary title of the Narrow Gauge Capital of the World. It was the undisputed largest narrow-gauge junction on the globe, where a staggering six different lines once converged. This network was the brainchild of the Gaekwar’s Baroda State Railway (GBSR), initiated in 1862 by Maharaja Khanderao Gaekwad. It began as a humble 20-mile stretch between Dabhoi and Miyagam, designed by engineer Arthur William Forde. In its earliest days, the “trains” were actually hauled by oxen because the lightweight iron-topped wooden rails could not support the weight of heavy steam engines. It was only under the ambitious reign of Maharaja Sayajirao Gaekwad III that the system was fully modernized with steam power and expanded into the massive regional lifeline that earned it its global reputation.

The station’s regal legacy was long physically anchored by a prominent statue of Maharaja Pratapsinhrao Gaekwad, the grandson of Sayajirao III and the final ruling monarch of Baroda State. Pratapsinhrao presided over the transition of this vast private empire into the nationalized Western Railway in 1949, marking the end of the princely era of rail. His deep connection to the railway is further immortalized by the fact that the primary railway headquarters in nearby Vadodara’s Pratap Nagar Station (formerly Goya Gate) which was named specifically in his honor. However, following recent renovations and the broad-gauge conversion at Dabhoi station, many heritage enthusiasts have noted with concern that the statue is currently nowhere to be found at its original location, raising questions about its preservation during the station’s modernization.

શ્રી.

શ્રીમંત પ્રતાપસિંહરાવ મહારાજ ગાયકવાડ
સેના ખાસ ખેલ સમશેર બહાદુર,
વડોદરા.જી.સી.આઈ.ઈ.

—————~ooOoo~—————

ડભોઈના શ્રીમાન શેઠ અંબાલાલ મોતીલાલ
તરફથી શ્રીમંત સરકાર મહારાજ સાહેબ
પ્રત્યેનો પ્રજાપ્રેમ, રાજ નિષ્ઠા તથા ભક્તિભાવ
પ્રદર્શિત કરનારા રાજયારોહણના શુભદિનના
દિવસે સ્મારક તરીકે આ પ્રતિમા —
તા. ૨૬ માહે એપ્રિલ સન ૧૯૩૯
ના રોજ મુકવામાં આવી છે.

—————~ooOoo~—————

શ્રીમંત યુવરાજશ્રી ફત્તેહસિંહરાવ ગાયકવાડ
સાહેબના વરદ હસ્તે થયેલું અનાવરણ.
તા. ૨૦-૩-૧૯૪૧

The Saptamukhi Temple of Dabhoi

The Saptamukhi Temple (also known as Saptmukhi Vav) is a 13th-century monument located on the banks of the Nageshwar Talav of Dabhoi. While it is widely referred to locally as a vav (stepwell), architectural scholars, including Jutta Jain-Neubauer, clarify that the structure is actually a temple rather than a functional stepwell. Built around 1255 AD by the Vaghela King Visaladeva, it is contemporary with the nearby Kalika Mata Temple and was originally dedicated to Lord Shiva. The monument is a striking example of the Maru-Gurjara style, featuring heavy ornamentation and carvings of deities that reflect the high level of craftsmanship of the Vaghela period.

The name “Saptamukhi,” meaning “Seven-Mouthed,” refers to the seven entrances of the structure. The persistent misidentification of this temple as a stepwell likely arises from the fact that it was constructed directly over an ancient well, one of many that once existed in the area before the expansion of the surrounding tank. Because the monument sits on a small peninsula jutting into the Dabhoi Talav (Nageshwar Tank), it is now permanently partially submerged due to changes in ancient drainage systems. This creates the visual illusion of a subterranean stepwell, though it remains a sacred shrine emerging from the water, a “temple-over-a-well” that uniquely blends religious architecture with the town’s historic water landscape.

Public Library & Clock Tower

The Sayaji Sarvajanik Library in Dabhoi stands as a historic landmark of the former Baroda State, with its foundation officially marked in 1889. Built during the early years of Maharaja Sayajirao Gaekwad III’s reign, the library stands as a physical manifestation of his belief that education was the only path to social salvation. While smaller reading groups existed previously, the 1889 structure provided a permanent, dignified home for knowledge in the heart of Dabhoi. The library became a crucial node in the Baroda State’s network, later becoming famous for its integration with the town’s massive narrow-gauge railway system, which helped transport books to the most remote villages. Today, the 1889 plate outside the gate serves as a proud reminder that Dabhoi was a pioneer in public literacy decades before the rest of the country.

Architecturally, the building is a refined example of the Indo-Saracenic style, a revivalist movement that fused Indian, Islamic, and European elements. The structure is defined by its prominent multi-stage clock tower, which features a circular clock face with Roman numerals and is crowned by a domed chhatri with decorative finials. The facade displays characteristic features of this style, including ornate stucco work and intricate carvings that decorate the pilaster capitals and the frame of the clock. The ground floor is marked by a series of elegant arched openings, while a decorative balcony with a railing wraps around the tower base, providing a distinct horizontal break in the verticality of the tower. Over time, while the tower remains a prominent landmark, the lower section of the building has transitioned to serve modern civic needs, such as housing a local police station.

Vibhag High School & Shree Ganpatrao Gaekwad Kumar Chhatralaya

The Shree Ganpatrao V. Gaekwad Vidhyarthi Ashram (locally known as Kumar Chhatralaya) is a distinguished two-story masonry structure that exemplifies the colonial-era institutional style of the Baroda State. Primarily built with exposed red brick and lime plaster accents, its most striking feature is a continuous arcade of semi-circular arches that run along both levels, providing deep shaded verandas for climate control. The central facade is anchored by a projecting pedimented gable featuring a circular oculus window, while a small marble plaque above the central arches definitively marks its construction in Samvat 1982 (approximately 1925–1926 CE). This formal design is further enhanced by stone balustrades with rhythmic vertical cutouts and a stepped, crenelated parapet, reflecting the disciplined and grand aesthetic of early 20th-century state-funded architecture.

Located nearby, the Vibhag High School continues this architectural narrative, showcasing a blend of Indo-Saracenic and Neoclassical influences typical of the Gaekwad reign. The two-story building features a rhythmic red brick facade with pointed arches on the ground floor and an upper level supported by robust rectangular pillars. A defining historical element is the central entrance, where a tall, recessed pointed arch houses a white marble bust of Maharaja Sayajirao III Gaekwad within a dedicated niche, where above the statue is written ‘Rajyarohan Samvat 1931’ & below the bust is written ‘Shrimant Maharaj 3 Sayajirao Gaekwad’. Topped by a large stone signage block and decorated with floral motifs, the school’s design emphasizes high-set windows and open corridors for natural cooling, standing as a functional and symbolic monument to the Maharaja’s commitment to public education in the region.

Railway Heritage Park: A dedicated park celebrating Dabhoi’s rich railway history.

Despite its historical significance, Dabhoi remains relatively undiscovered. The town, with its layers of history from its 6th-century origins to its role in the Gaekwads’ trade network and as a major narrow-gauge railway junction, offers a unique glimpse into India’s diverse past. Recent restoration work by the Archaeological Survey of India (ASI) has preserved the gates, ensuring that this hidden gem continues to share its storied heritage with visitors.