The
visit to Raja Dinkar Kelkar Museum, in Pune, 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 the 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.
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.
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 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. D. 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 eclectic 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 a sideboard. The designers of the Arts and Crafts style wanted
JAIN SCULTURES
This musical instrument will be played tied on the head
Hero Stone: The details will be written as a separate post
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OM SHIVAYA NAMA ---
