A Princess at the Edge of Heritage and Memory

Amid Bhavnagar’s salt winds and silent courtyards, Princess Brijeshwari Kumari Gohil works to preserve what time has left behind.

Surrounded by objects of memory since childhood, Princess Brijeshwari Kumari Gohil has grown into a custodian of art and heritage, shaping how we experience the past today. Born into the erstwhile royal family of Bhavnagar, she grew up surrounded by history and art.

With degrees in Archaeology, History of Art, and Heritage Management from Nottingham and Durham, she has worked across UNESCO projects in Nepal, conservation at CSMVS Mumbai, and curatorial roles at Piramal Art Foundation and Prinseps.

For Brijeshwari Kumari, heritage is less about preserving the past in glass cases and more about living slowly with it, allowing art and memory to breathe into the present. She has established Bhavnagar Heritage, an initiative that documents the city’s legacy while empowering local artisans. She also leads the Bhavnagar Chapter of INTACH, where she is redesigning a museum and restoring historic sites to engage younger audiences with culture through technology and storytelling.

Alongside, she pens a weekly art and heritage column for The Week and is pursuing doctoral research on the influence of Mughal and British colonisation on Saurashtra’s textiles. Her work beautifully bridges the past with the present, rooted in thoughtful, slow living.

In her conversation with Beejliving on slow living, Brijeshwari reflects on how heritage is not just about preserving monuments, but about cultivating a way of life, one that honours memory, values craft, and gives space for things to endure.

What does slow living mean to you?

Slow living is about appreciating every small moment, doing each minuscule task with thought and intention, and being present and conscious of each fleeting moment.

The fast pace and struggle to find a work-life balance while spending my formative and working years in Mumbai was what drew me to slow living. This is when I understood its importance.

However, putting it into action and embodying it in my day-to-day life was far tougher than I had originally envisioned. Today, I’m more aware of my body, both physically and mentally. And being conscious of consuming food and content that is nutritional.

How have oral histories influenced your understanding of identity, responsibility, and modern royalty?

From childhood, I have heard stories from the elders. My paternal grandmother, my maternal grandparents, and my mother would narrate stories of family history and Indian history. While growing up, it was in the form of bedtime stories; today, these are dining table conversations, discussions, and debates.

Are there rituals, practices, or environments that anchor you in the now?

Daily practices and mundane routines are what anchor me in the now. It is the smaller things, for example, I enjoy cooking and experimenting with old recipes at the end of a working day. It is a way for me to switch off from the noise and reflect on my day in solitude.

When in Bhavnagar, I love taking a walk in the garden. Listening to the birds and bats and watching the peacocks and peahens wander makes me feel at home and also grateful for the countless blessings.

What’s your most cherished memory and your most loved possession?

My most cherished memories are the summer holidays growing up in my maternal grandparents’ home in Kangra, Himachal Pradesh. A time we embodied slow living without even realising.

My most loved possession is my paternal grandmother’s diamond ring, which my mother generously gave to me after my grandmother’s demise.

What does it mean to be part of a younger generation of India’s royal families today? Beyond nostalgia, beyond spectacle? Should modern Indian royalty focus on cultural preservation, social entrepreneurship, or public service, or can they do all three?

It means having a family legacy and being able to build on that. There is a sense of responsibility to use one’s privilege to create a positive impact.

In a democratic country, royalty obviously holds no formal power, but I do feel that being born into a royal family comes with a sense of duty. I think this connection comes rather organically, and it is perhaps why so many royal family members take on public service, cultural preservation, or social entrepreneurship roles.

However, in today’s day and age, it is important to go beyond the family lineage and get the right education, specialisation, and training in a particular field. Many youngsters from royal families are leaning towards studying and honing their skills in these avenues, which I think is the best way to grow.

Where cultural preservation is concerned, it is what most members of royal families have been doing in their own capacity for decades now. Be it with or without the educational expertise. Now, as times are evolving and the world is advancing, trained professionals should be brought in. Royal families can play the role of a mediator, patron, and catalyst in such scenarios.

Given your unique position bridging academic expertise, royal heritage, and grassroots artisan work, what do you envision as the future of heritage preservation in India?

Heritage preservation in India is such a vast topic. It’s not only a single monument or a place of worship. We are fortunate to live in a country where several ancient civilisations have thrived. There is so much to preserve and build on.

Historic sites should be well-preserved with engaging experiences for visitors. Art and craft should be patronised, and living in harmony with nature must be advocated.

I started Bhavnagar Heritage as a citizen-led, community-based approach to preserve, protect, and promote the region’s heritage. We organise heritage walks that help sensitise people to the local heritage and also work towards the conservation of historic sites. Many of which have started being restored with our efforts.

We also document oral histories, traditional art and craft practices, and regional architecture, making these accessible to enthusiasts and students through our website. We also organise workshops on crafts such as ply split braiding with Professor Errol Pires and Mata ni Pachedi with Padma Shree awardee Bhanubhai Chunilal.

I started the INTACH Chapter in Bhavnagar post-pandemic to be able to network with a larger group of like-minded people, gain insights, and help promote Bhavnagar on a national platform. Last year, we started a monthly magazine, shedding light on the past, people’s experiences of the city, and also on what initiatives and projects are currently taking place.

You’ve supported several initiatives that uplift women in craft, culture, and community spaces. Can you tell us more about how that journey began for you?

Bhavnagar is still a very conservative place for women. This narrative is something most women before me from my family have been trying to change.

I have seen my mother advocate and counsel the most conservative of parents to educate their daughters and let them be financially independent. She has led by example by being the wind beneath my wings.

When I started working in Bhavnagar, I tried to create my own little impact. My team is predominantly women-led. This includes technology-driven roles, writing and editing, as well as management and craftsmanship.

The artisans we work with are unable to come to a common place of work because of family restrictions. My team goes to their homes with materials and instructions, and they work from the comfort of their homes. This allows us to take forward the local craft but also gives the artisans a platform to earn an income and hone their skills.

What’s the best way one can experience the history of Bhavnagar?

Bhavnagar is best experienced by living in the palace and venturing on a heritage walk. The city has beautiful historic sites, many of which are educational institutes and libraries. I would highly recommend exploring the neighbouring towns of Palitana and Sihor.

A trip to the seaside property Dariya Mahal is idyllic for those who love the beach and quiet, while the blackbuck sanctuary is a unique experience for a nature lover.

Describe your ideal day. What brings you the most joy? 

An ideal day for me would include a productive working day, quality time spent with my family, and getting in a challenging workout.

Unwinding at home for me is sitting with my mother and chatting while my two dogs diligently listen. I think this brings me the most joy and where I feel safest.

I am always struggling with balancing leisure and work, but I try to incorporate short holidays and getaways as a form of leisure and power through work the rest of the time. It’s my own balancing act. 

What passions would you love to pursue this year?

I would love to give more time to hobbies such as kathak, which I struggle to fit into my working day. I also don’t end up reading books for the pure sake of reading as much as I did, and I hope to make more time for this.

Tell us a little bit about your favourite artists and artworks.

There are too many! I had the honour of working on Bhanu Athaiya’s estate for a few years and curating an exhibition on her. The only female artist of the Progressive Artists’ Group and the first Indian to win an Academy Award. I feel she was well ahead of her time and has not received her due.

John Griffiths is another artist who is definitely on my list of favourites. His paintings at Ajanta are a beautiful juxtaposition of European techniques and Indian sensibilities.

Edward Monet is yet another favourite. His play with pastels and light amidst nature makes every work of art breathtakingly sublime.

My favourite living artist would have to be Jayashri Burman. I love the way she seamlessly blends nature and culture into her work. Her Goddess series is one of the most captivating works of art.

How can India transform in the future, navigating the balance between modernity and memory?

There is a fine line between modernity and memory. To be able to take pride in Ayurvedic practices but accept and invest in modern medicine research, for example.

The transformation should be to be able to celebrate Indian heritage, but aim to leave a better future.