Aga Khan Palace / आगाखान पॅलेस, Palace View Society, Kalyani Nagar, Pune, Maharashtra.

The visit to Aga Khan Palace, at Pune, in Maharashtra State, was part of “Rock Cut Cave Temples of Maharashtra Visit”, from 28th February to 3rd March 2026.

This palace played an important role in the freedom of our country. Mahatma Gandhi, his wife Kasturba, and his Secretary Mahadevbhai Desai were interned at the palace for 2 years. Mahatma Gandhi’s wife, Kasturba and his secretary passed away at this place when they were interned.

THE HISTORY OF AGAKHAN PALACE

The Agakhan Palace, also known as the Gandhi National Memorial, was built in 1892 by the 3rd Agakhan, Sultan Mohammoad Shah Agakhan, who was the 48th spiritual head of the Khoja Ismaili religion. He constructed this palace, intended to be a source of employment for the famine-struck villagers in the surrounding areas. It took about five years to complete the work of this palace, and one thousand people were employed, and they were given full-hearted wages for their livelihood, and twelve lakhs was the cost. In the year 1969, Prince Karim El Hussenim Agakhan IV came to India and donated this palace with surrounding land to the Government of India, Gandhi Smarak Nidhi, New Delhi, in memory of Mahatma Gandhi and his philosophy. This palace is a national monument of India's freedom movement. Following the launch of the 'Quit India Movement' in 1942, Gandhiji, his wife Kasturba, and Secretary Mahadevbhai Desai were interned at the palace from August 9, 1942, to May 6, 1944. Mahadevbhai and Kasturba passed away while in captivity at the Agakhan Palace, and their "Samadhis" are located in the palace campus. This monument is a simple memorial to Gandhiji and his life. The museum inside the palace complex has a rich collection of pictures and photographs of the important incidents of his life. There is also a wide assortment of his personal items, including utensils, clothes, mala, slippers and also a letter written by Gandhiji on the death of his secretary. A small amount of Gandhiji's ashes is kept near the samadhis of Kasturba Gandhi and Mahadevbhai Desai.

The Agakhan palace has been declared as a monument of national importance by the Archaeological Survey of India vide Govt. of India Gazette Notification No. SO 255 (E) dated 3.3.2003.

Archaeological Survey of India

INDIA’s FREEDOM MOVEMENT

August. 1942 The fervour for freedom was at its peak, anger was brewing against a brute Empire, and it was then that. Gandhi called out, "We shall either free India or die in the attempt. We shall not live to see the perpetuation of our slavery. In response, the British arrested Gandhiji along with a few of his associates and detained him for 21 months at the Aga Khan Palace. While outside these walls, the country was left leaderless, the movement for freedom from slavery was guided by the spirit and principles advocated by Gandhi. This place became the centre point of the 'Quit India Movement. It was here that Mahadev Desal & Kasturba breathed their last.

This memorial museum is dedicated to Gandhiji and showcases in detail the entire 21 months that Gandhiji was detained here. The 12 galleries spread over 3 floors will transport the visitor to those tough times that our beloved father of the nation spent behind bars and yet guided the freedom movement.

'QUIT INDIA' Resolutions passed

Amidst an uprising of a nation-wide resistance, meetings of the Congress Working Committee were held at Sevagram (Wardha) in July 1942. Gandhiji attended the meetings and shared his views. After discussions for several days with the Committee members, the 'Quit India' resolution took shape as drafted by Gandhiji. The resolution was passed and published on 14th July, 1942. Gandhiji was to lead the country in the struggle. It was clear that, though he had changed his mind on the question of immediate withdrawal of Allied troops from India, he insisted on immediate abdication of British rule.

The conclusion of the 'Quit India' resolution read:

Should, however, this appeal fail, the Congress cannot view without the gravest apprehension the continuation of the present state of affairs involving a progressive deterioration in the situation and the weakening of India's will and power to resist aggression. The Congress will then be reluctantly compelled to utilise all the non-violent strength it might have gathered since 1920, when it adopted non-violence as part of its policy for the vindication of the political rights and liberty. Such a widespread struggle would inevitably be under the leadership of Mahatma Gandhi. As issues raised are of the most vital and far-reaching importance to the people of India as well as to the peoples of the United Nations, the Working Committee refer them to the AICC for final decision. For this purpose, the AICC will meet in Bombay on the 7th of August, 1942.

The Diaries of MAHADEV DESAI: Mirror of Mahatma Gandhi's Work & Thoughts.

Mahadev Haribhai Desai joined the journey of Truth & Non-violence with Gandhiji in November 1917. He followed Mahatma Gandhi as his shadow till his last breath on 15th August 1942. Desai not only remained with Gandhiji as his personal secretary, but also merged himself completely with his master.

Mahadev Desai began writing his diary on 13th November 1917, and continued writing until 14th August 1942, the day before he died. These diaries contain anecdotes about Gandhiji's life, his peculiarities and his philosophy of life. In these diaries, one can also find comments about the books Gandhiji read and a lot of intriguing citations from certain books. The diaries also offer great insight into Gandhiji's experiments of Satyagraha, penance of Truth & Non-violence, fight for freedom, words of silent days, sacrifice of fast-days and connection of Charkha & Khadi. Though the diaries had very raw details, they offered the most authentic insight into Gandhiji's life. The diaries hold foremost place because of the grandeur of the subject matter and its style of presentation. They are a mirror of Mahatma Gandhi's work & thoughts!

Mahadev Desai's memorial is along with Kasturba's memorial

Epic Fast of 21 Days

After Gandhiji's arrest in August 1942, people became restless and angry. They began to put their might behind the mantra of Quit India 'Do or Die'. Thousands of processions ensued across India. The colonial government banned the Working Committees and declared them illegal.

One of the display boards of a room records the following...

महात्मा गांधी और पूज्य कस्तूर बा बंदीकी हालतमें इस कमरेमें रहते थे । (१९४२ से १९४४) कस्तूर बा इसी कमरेमें परलोक सिधारी | (दि.२२ फरवरी १९४४ महाशिवरात्री के दिन)

MAHATMA GANDHI & KASTUR BA USED THIS ROOM DURING INTERNMENT (1942-1944) KASTUR BA EXPIRED IN THIS ROOM ON 22nd FEBRUARY 1944 (MAHASHIVRATRI)

A Request to the Government on Kasturba's Funeral, from Mahatma 

Gandhiji.

"The body should be handed over to my sons and relatives, which would mean a public funeral without interference from the government.

If that is not possible, the funeral should take place as in the case of Mahadev Desai, and if the Government allows relatives only to be present at the funeral, I shall not be able to accept the privilege unless all friends who are as good as relatives to me are also allowed to be present.

If this is also not acceptable to the Government, then those who have been allowed to visit her will be sent away by me, and only those who are in the camp (detenus) will attend the funeral

It has been, as you will be able to bear witness, my great anxiety not to make any political capital out of this most trying illness of my life companion. But I have always wanted whatever the Government did to be done with good grace. I am afraid. has been hitherto lacking. It is not too much to expect that now that the patient is no more, whatever the Government decide about the funeral will be done with good grace

 

(Gandhiji's Correspondence with the Government. Letter dated February 22. 1944)

Kasturba: An Ideal Life Partner

In Mohandas journey from a common man to Mahatma, Kasturba has played an integral role. Though her name is often lost in the face of Gandhiji's leadership, she was his pillar of support, the first individual who was a part of him like no other. If he could convince her to give up her notions of caste and untouchability, he could convince others of the same. She was perhaps the only person who could disagree with him and point out his mistakes. She was his companion, his wife, his caretaker, and later in life, his representative too.

Gandhiji wrote in his autobiography 'She is blessed with one quality to a very considerable degree, a quality which most Hindu wives possess in some measure. And it is this willingly or unwillingly, consciously or unconsciously, she has considered herself blessed in following in my footsteps and has never stood in the way of my endeavour to lead a life of restraint."

Paying respect to his wife. Gandhiji once remarked, "If anything, she stood above me. But for her unfailing co-operation, I might have been in the abyss. She helped me to keep wide awake and true to my vows. She stood by me in all my political fights and never hesitated to take the plunge. In the current sense of the word, she was uneducated, but to my mind, she was a model of true education. She was a devoted Vaishnav. But she had obliterated all feeling of caste from her mind and regarded a Harijan girl with no less affection than her own children. She personified the Kasturba Gandhi ideal, which Narsimha Mehta has sung in the Vaishnavajana hymn. There were occasions when I was engaged in a grim wrestle with death. During my Aga Khan Palace fast, I literally came out of death's jaws. But she shed not a tear, never lost hope or courage, but prayed to God with all her soul.

Kasturba Gandhi Smarak.

During the Quit India Movement in the freedom struggle of India, Mahatma Gandhi, his wife Kasturba and Secretary Mahadev Desai and others were interned in the Agakhan palace as house arrest for a period of two years. On 15th August 1942, Mahadev Desai died due to a heart attack, and Kasturba passed away on 22nd February 1944. Their mortal remains were enshrined here.

Gandhi Ji's holy ash is kept in this memorial

Gandhiji wrote letters to the Viceroy regarding the massive repression unleashed by the Government. The Viceroy replied: "There is evidence that you and your friends expected this policy to lead to violence; and that you were prepared to condone it..." Gandhiji regarded the Viceroy's letter as "an invitation to fast". Gandhiji observed a 21-day fast from 10th February to 2 March 1943; in protest against Government propaganda that the responsibility for the disturbances after the arrest of leaders was that of the Congress.

The Government offered to release Gandhiji "for the purpose and for the duration" of the fast. But he refused the offer, explaining that the fast "was not conceived to be taken as a free man" and therefore, if he was released, there would be no fast.

Many visitors came to meet Mahatma Gandhi during this epic fast. Gandhiji said before breaking the 21-day fast, "I do not know why Providence has saved me on this occasion. Possibly, it is because He has some more mission for me to fulfil."

LOCATION OF THE AGAKHAN PALACE: CLICK HERE

Sarojini Naidu occupied this room 

One of the oldest fountains

--- OM SHIVAYA NAMA---

Raja Dinkar Kelkar Museum / राजा दिनकर केळकर संग्रहालय, Kamal Kunj, Bajirao Rd, Natu Baag, Shukrawar Peth, Pune, Maharashtra.

The visit to Raja Dinkar Kelkar Museum, at Pune, in Maharashtra State, was part of “Rock Cut Cave Temples of Maharashtra Visit”, from 28th February to 3rd March 2026.

RAJA DINKAR KELKAR MUSEUM

"Let's together unearth the hidden treasure of India's rich & multifaceted cultural heritage."

Ever since the dawn of civilization, man has been acquainted with the ways of nature. He learnt to understand and adapt these things to his day-to-day life. Indian culture has assimilated these forms of nature: trees, birds, animals, and sky. earth, water, sea, in the course of its evolution and this becomes increasingly evident through arts, crafts, languages and religious rites. These works of Indian artisans and craftsmen inspired Padmashree Dr. Dinkar Gangadhar Kelkar to put together single-handedly the collection of artifacts and antiquities at Raja Dinkar Kelkar Museum. A minuscule lane, one among the many in the bustling, momentous city of Pune in Maharashtra, is home to the Museum, a rare anthology of Indian artifacts that echo myriad tales of a nostalgic legacy within the archways and corridors of the Majestic Museum Buildings.

Surya

Saptamatrikas

Rama

Every corner of the Museum bears testimony to an astounding individual passion for art collection, art that is not remote and detached from reality but an integral part of the day-to-day life of India's millions, art that highlights the characteristic Indian obsession of carving motifs out of the mundane, of seeking innovation in tradition.

Mahishasuramardini

Dr.D.G. Kelkar, founder of the Raja Dinkar Kelkar Museum, was a man driven by an inner calling. His life mission was to gather the best of Indian folk art and craftsmanship, only to bequeath it to the world at large. Today, when we marvel at the one man's dedication and applaud his Herculean effort, we are invariably mesmerized by the magnitude and magnanimity of his superlative effort. He was a family man, wedded to customary commitments and responsibilities. Yet, he chose to be a nomadic, travelling across the country to amass. This priceless collection in a span of about 70 years is an apt tribute to the loving memory of his young son "Raja", who passed away at the age of ten.

During his school days, mathematics was not his cup of tea, but poetry certainly was. Dr. Dinkar Kelkar was an optician by profession and was also very fond of history; thus, he pursued historical poetry rather than the romantic one that most poets of his age pursued. He wrote poems under the anonymous "Adnyatwasi," and this was the starting point for getting interested in the collection of antiquities and art objects, somewhere around 1920. The Museum was initially named "Raja Sangraha", later as "Raja Kelkar Historical Collections", and finally became known as "Raja Dinkar Kelkar Museum".

The Museum contains variety of every day artefacts starting from 9th Century C.E. which includes artefacts like Lamps, Palanquins, Carved Woodwork, Tin ware, Combs, Bowls, Stones, Hookahs, Locks, Spittoons, Musical Instruments, Miniature Paintings, Glass Paintings, Lime Containers, Intricately Carved Wooden Doors and Windows, Ancient Dwellings, Nut-cutters, Figurines, Bronzes, Arms and Armours, Ivory Objects, Kitchen Utensils, Textile etc. The Mastani Mahal was rebuilt in the premises of the Museum, as it depicts the story of love between Thorale Bajirao Peshwe and his beloved Mastani. The collection from the Museum reflects the elegance of Indian craftsmanship as well as the vivid imagination of the artists.

Needless to say, this eternal voyage that has made the Museum one of the richest in folk art worldwide nearly drove Dr. Kelkar's family to ruin at times, an endeavour that could only flourish on the kind support of family, friends and acquaintances. Fortunately, he received this and gratefully acknowledged it. Risking his own stability to pursue his chosen goal, he inspired scores of committed souls to share his dream. This offbeat venture won the participation of elder brother Late Dr. B. G. Kelkar and his family, wife Late Smt. Kamlabai Kelkar (co-founder), the only daughter of Late Smt. Rekha Hari Ranade and son-in-law Late Dr. H. G. Ranade (former Hon. Director), besides an army of well-wishers and followers.

In wood

No wonder, Dr. Kelkar's invaluable contribution to Indian heritage has been honoured by the Government of Maharashtra, the Government of India and various other prestigious institutions and individuals worldwide. He has also been showered with generous acknowledgments from the national and international levels alike.

In a final selfless gesture, Dr. Kelkar donated his personal collection to the State Government of Maharashtra in the year 1975. The existing state of affairs, however, leaves a lot to be desired. Spread over 4+3 storeys and divided into 2 Wings (A & B), the Museum currently displays only about 2,500 plus exhibits owing to the paucity of space. Therefore, the bulk of Dr. Kelkar's collection and other Exhibits, about 89 percent of the timeless treasure, still remains unseen - and therefore, unsung.

Currently, the Museum is prey to the usual nemesis of city life: traffic congestion, lack of parking facilities, pollution and the ravages of time on priceless treasures, among others. The diverse collection certainly deserves state-of-the-art, adequate, world-class facilities and infrastructure. It has been accepted for a long time that the existing facilities need complete transformation.

VICTORIAN DECORATIVE ARTS

The style of decorative arts evolved during the Victorian era (1837-1901). The Victorian era is known for its interpretation and electric revival of historic styles mixed with the introduction of Middle Eastern and Asian influences in furniture, fittings and interior decoration.

Furniture: There was not one dominant style of furniture in the Victorian period. Designers used and modified many styles taken from various periods in history, like Gothic, Tudor, Elizabethan, English Rococo, Neoclassical and others. The Gothic and Rococo revival styles were the most common styles to be seen in furniture during this time in history.

Late Victorian Era: The late Victorian era, from the 1860's until the end of the 19th century, sees the rise of two movements in furniture design in England: 1. the Arts and Crafts movement and 2. the Aesthetic or Art Furniture movement. Alongside these important developments, there are also many revivals of antique styles of earlier centuries, new foreign influences, and the late rise of the avant-garde.

In general terms, furniture produced in the late Victorian era was composed of straight lines, solid woods usually stained black or dark green, and had not as much upholstery compared to early Victorian furniture. Painted decoration was preferred to carving

Art Furniture: Art Furniture of the late Victorian era, designed by Eastlake and others, was solidly built, well constructed and had few decorative effects for their own sake. The wood was unvarnished and usually without veneer, and the whole appearance was one of simplicity and usefulness. It drew on a number of traditions, mainly the Gothic and medieval, as well as the oriental.

In the mid to late 19th century, a number of revivals of antique styles took place. There was some renewed interest in Egyptian designs as well as an 'Etruscan' and 'Greek' phase. Victorian Arts and Crafts style furniture in England was handmade in a country or farmhouse style and often looked nicer than it was to sit on the case of chairs Morris and Co also produced simply made cabinets and sideboards. The designers of the Arts and Crafts style wanted

LOCATION OF THE MUSEUM: CLICK HERE

JAIN SCULTURES

BUDDHISM

This musical instrument will be played tied on the head

Hero Stone: The details will be written as a separate post

--- OM SHIVAYA NAMA ---