Pixelated Memories: Controversy

Showing posts with label Controversy. Show all posts

April 26, 2015

Bangalore Palace, Bangalore

"The Palace at Bangalore popularly known as the Bangalore Palace, Karnataka's unique historical and architectural heritage, is singularly suited with its immediate surroundings, which no other Palace in the City of Bangalore does possess, and thereby deserving in its own majesty, in public interest to be preserved as a monument with the surrounding open space developed to serve public purpose, into an exclusive Botanical Museum and Horticultural Garden and Tree Park and to serve also the acutely affected ecological needs of Bangalore City which in its course of rapid growth has become highly deficient in lung-space and park areas.."

– The Bangalore Palace (Acquisition and Transfer) Act, Govt. of Karnataka, 1996

Bangalore Palace - The Wadiyar stronghold

A thousand fortresses, some of them exceedingly well-preserved despite the vagaries of time and nature, others reduced to mere bastions and gateways, skeletons of their original glory by unrestrainable human encroachment and unquenchable urbanization, dot the vast landscape that comprises the massive southern state of Karnataka. Of these, only one – the Bangalore Fort (refer Pixelated Memories - Bangalore Fort) – exists in the city of Bangalore, the vast, under-development cosmopolitan cocoon that encapsulates within its boundaries hundreds of IT companies and BPO call centers, that too in a state of decrepitude and near annihilation owing to its past allegiances and regal history. But what Bangalore and the regions surrounding it possess are palaces, exceedingly majestic, inspiringly exquisite and unbelievably luxurious, and it is a surprise that Karnataka isn't referred to as abounding in a bounty of royal palaces and splendid temples even though its numerous fortresses are integral to any discussion on the country's architectural and cultural heritage. Interestingly enough, Bangalore Palace, an epitome of regal architecture and the unsurpassed pinnacle of colonial-style construction, ornamentation and furnishing in the subcontinent, was not commissioned by Wadiyars/Wodeyars, the rulers of Bangalore/Mysore from AD 1399-1950, but was originally conceived as a mansion house by Reverend J. Garrett who then officiated as the Principal of Bangalore's Central High School – it is indeed a matter of wide-eyed surprise today to imagine a school principal purchasing such a vast stretch of land (the palace and its surrounding gardens culminate in totality to an area spread over more than 450 acres!) and finance such a magnificent edifice. Possessing fortified towers, turrets, crown-pinnacles and battlements and externally boasting overall an appearance of undisguised masculinity and militarian posturing (further outlined by the presence of the colossal circular sub-structure that functions as the front facade) that is inherent to the defensive medieval-style Gothic-Tudor architecture that defines its exterior aesthetics, the palace was constructed over 1862-73 and was purchased in 1884 by H.H. Chamarajendra Wadiyar X, the then Maharaja of Mysore (reign AD 1868-94), who, over the next two years and at a cost of 200,000 rupees, extensively renovated and irrevocably retrofitted the mansion house to lend it its present palatial fortress appearance.

History's hoard!

While the ruggedly masculine, ivy-clung exteriors of the palace, immediately reminiscent of fortified palace-citadels of Europe, are a visual and photographic treat, especially owing to the presence of vast landscaped gardens and graceful fountain sculptures, the unparalleled interiors are evocatively spellbinding to say the least – in fact, given the delicate elegance of the interiors, be it even a minor passageway or a staircase, any praise lauded on it shall definitely fail to portray its indescribable beauty and royal splendor. However, the entrance fees to the palace and photography charges within are Rs 280 and 700 respectively for Indian visitors (more for foreigners), thereby prompting most of them to give the grand interiors a miss and instead content themselves with photographing it from outside – in fact, I myself have told several friends and fellow travellers to visit the place only if they are willing to shell several hundred rupees – but we ourselves did pay the entry fees and managed to click a few photos of the interiors without paying the photography charges (I would have been more willing to discuss and even pay the charges if they were not so prohibitively exorbitant). While most of the the ground floor of the mega-structure is dedicated to an immense unfurnished open space that is enshrouded by equally gigantic red cloth canopies and is flanked by a much smaller, rectangular private meeting hall whose sunlight-yellow walls and heavy wooden rafters are supported upon unadorned cylindrical pillars, a staircase immediately adjacent the ticketing area leads upstairs to the more opulent private quarters of the royal inhabitants who once frequented the magnificent residence. The elegant furnishing and fine artworks that adorn every conceivable surface of the structure begin right from the staircase which, where not ornamented with decorative cream-on-red embossed stucco panels exhibiting the royal coat of arms, Hindu mythological entities and intricate geometric and floral patterns, is fitted with massive elephant heads with tusks several feet long, lamp holders carved in the likeness of Greek figurines (wearing helmets and skirts and holding shields in their free hands) and resplendent, minimally decorated marble alcoves housing photographs and floral vases.

Moment of glory - The Durbar Hall

The monotony of the continuous mustard yellow is punctuated by an over-utilization of the plasterwork cream-on-red panels and cream-white floral and geometric patterns running along the roofs and the wall surfaces, culminating into a bigger picture that can only be described politely as a rococo of elaborate artwork, but is otherwise an over-indulgence of art and ornamentation, predominantly delectably fine and eye-catching but also at times overcrowded and stuffed – I do not quite see the necessity or even a coercion to eccentrically cover every square inch of wall surfaces with decorative embossments and artwork, no matter how compelling they are. To further perfect the sensations of near-orgasm visual gratification, especially in the Durbar Hall located on the first floor, numerous mirrors, vibrant paintings, glass-framed portraits, colorful chandeliers and multi-hued, simplistically-patterned stained glass windows add further charm. The furniture boasts of lavish extravagance and in one of the corners of a courtyard lie chairs supported upon antelope legs and stools and vases respectively crafted out of the feet and trunks of massive elephants. The corridors on the first-floor enveloping the two courtyards that exist on the ground floor are thoughtlessly and haphazardly stuffed with hundreds of framed photographs of the members of the extensive royal family line and paintings by the renowned artist Raja Ravi Varma (lived 1848-1906) – the dense concentration of so many points of interest, treated so carelessly, diverts one from the individual features and certainly proves less of an attraction than it ought to be. While the first-floor passages surrounding the first of the square courtyards is supported upon cream-colored Corinthian pillars which complement the pink-red wall paper shrouding the walls and roof of the corridors and whose capitals spontaneously burst into simplistic golden-green foliage before supporting the numerous arches that eventually culminate into an overall visual appearance of flowing arches interrupted only by the light and shadow patterns they so symmetrically generate; on the other hand, the first-floor passages surrounding the other courtyard are bound by regularly patterned grille instead of Corinthian pillars and possess a floor composed of multi-hued, recurring motif kaleidoscopic tile work and walls displaying stone bricks patterns interspersed with paintings (pastels and oil colors) – of course, the star attraction is the view of the courtyard downstairs which boasts of a set of vibrantly colorful furniture best observed from close proximity as we did when we finally climbed down (more on that later).

Kaleidoscopic

Past rooms, passages and staircases, both painted and layered with wall papers of several different motif patterns, interspersed with paintings, photographs, stucco panels and art pieces, we reached the ground floor where most of the rooms are either kept locked or maintained out of bounds for visitors, but of the few that are open, especially the superlatively stuffed office of the last Maharaja Srikantadatta Narasimharaja Wadiyar (ruled 1974-2013), display an amazing array of luxurious items and antiques (including vivid paintings, expensive furniture, classical books, exorbitant carpets, dearly porcelain ware and Belgium crystal chandeliers) that the royal family possesses – one wonders how did the Maharaja function in such an overly crowded room choked with furniture and irrelevant display items! The first of the two courtyards – the Ladies' courtyard – that we saw from upstairs is fitted with fountains that are not functional anymore but nonetheless retain their erstwhile graceful elegance, while the other courtyard – the Maharaja's courtyard – segmented with eccentrically multi-colored tiles to resemble a hexagon placed within its square perimeter, houses at its upraised center a decorative hexagonal fountain affixed with a vividly stunning collection of tiles that depict numerous images such as ships sailing on the seas, castles, regal insignia and floral and geometric patterns, ultimately culminating into what can only be described as an epitome of unbelievably unparalleled artistic tile work; opposite it sits a huge bench, similarly adorned but only more artistically majestic, if that is even possible, conceiving in its numerous patterns scenes from nature such as blooming foliage, deer running, birds flying and the centerpiece being hunting dogs attacking a stag – the entire set, conceived and crafted by some of the leading ceramicists of their time, was a gift from Don Alphonso Ferdinand Anthony XIII (reign 1886-1931), the King of Spain, to show his gratitude to the Wadiyar kings who offered him asylum after he was deposed from power and allowed him to reside gracefully in the chambers surrounding this courtyard whose Moorish architecture reminded him of his own castles and houses back in Spain.

Moorish architecture in the heart of Bangalore

The courtyard passages are lined with numerous tables and display cabinets on which are lovingly set numerous brass and bronze antiques and porcelain decorative pieces, the former resembling characters and scenes that appear straight out of Spain and could also well have been additional gifts from the Don himself. In a corner is a unique horse-shoe shaped contraption with a scale attached vertically alongside that functioned to weigh the jockeys who would race the passionate Maharaja's horses. Having completed the royal tour and after spending several more minutes studying with unwavering concentration the numerous plasterwork patterns that adorn the walls and the symbols and text that is embedded into the structure of the numerous cannons that line the front porch at the demarcation where the majestic palace complex is separated from the gigantic, beautifully landscaped lawns that surround it, it was time for us to leave, but of course not before exploring the lawns that are thoughtfully demarcated with hedges and filled with several unique, possibly imported flowering plants, and mesmerizingly-crafted sculptural fountains (even the larger plant pots are intricately carved with extensive handles and strikingly realistic devilish faces!). Despite the palace's indescribable magnificence and unparalleled ethereal grace, I really doubt that it is ample return for the exorbitant ticket costs, especially given that the actual area where a visitor is admissible is far smaller than the overall complex size and only a handful of the 35 rooms remain open for visitor entry.

Stuffed!

There are numerous changes that could be affected to make the overall experience more gratifying in terms of visual composition and financial and knowledge returns – for one, why choke the walls with portraits and paintings when the same can be symmetrically and linearly placed along the walls and the passages to create a continuous line of historic portraits and scenes; secondly, instead of just offering audio guides, small placards and essential information panels can be affixed near the more valuable or historic sculpture/antique/chamber since the reading enhances the overall experience of being at a monument of such incomparable historic value; thirdly (it is definitely possible), the photography charges could be reduced a little so more visitors are willing to pay them instead of sneaking around and clicking photographs without permission, and finally, the gardens, which once must have been spectacular but are now sorrowfully withered in places, could be spruced up and handed over to experienced gardeners and botanists for care and upkeep.

As a last note on history – The controversial dispute regarding the palace – In 1970, H.H. Maharaja Jayachamarajendra Wadiyar (reign 1940-74) is said to have transferred the possession of the entire property to companies incorporated and managed by people close to him. His successor Maharaja Srikantadatta Narasimharaja Wadiyar. who spiritedly renovated and richly decorated the elegant palace and opened it for the public in 2005, described the transfer as fraudulent since the companies were not yet incorporated at the time of the deal nor were there any sale deeds or written records of the transaction and instituted a civil court case against the same. Successively over the course of several years extending from 1990-94, Maharaja Srikantadatta and the two companies reached a compromise whereby the Maharaja retained the entire property (of which a large portion (where rock concerts, marriages and parties used to be held till recently and an amusement park has also come up) he already had distributed among his five sisters) and the companies only keep a portion totaling upto around 45 acres adjacent one of the peripheries.

From one king to another

Meanwhile, the Government of Karnataka, after having failed to acquire the entire property (valued at 400,000,000,000 rupees!!) under existing laws such as Land Acquisition Act 1894 and Urban Land (Ceiling and Regulation) Act 1976, condemnably promulgated the Bangalore Palace (Acquisition and Transfer) Act 1996 to expropriate from the royal family their ancestral inheritance. The same has been challenged in the Supreme Court of the country and awaits judgement, but if the litigation succeeds, it would allow several state governments to acquire and overtake royal palaces and properties, many of them exceedingly massive in proportions and historical in character, by paying mere fractions to the erstwhile royal families against the actual land and built property value. In my not so humble opinion, the same is highly disrespectful and belligerent on the part of the Karnataka Government, whose existence and continued affluence is in no small measure without the Maharaja's historically well-documented efforts at collective financial, cultural, educational and infrastructural well-being and progress, though yes a clampdown on concerts and events which are never billed on actual value and from which revenue is not paid proportionately to the Government is definitely required. Also, if the Government eventually succeeds in acquiring the entire property, there is no way it could maintain the regal character or even display a fraction of the artifacts and personal belongings of the late Maharajas that the royal family has mustered up since the latter are fully aware what the palace and its extensive, prominent history means and how it is intertwined with their own existence to such an extent that one cannot exist without the other. The palace simply wouldn't be the same without the royal touch, without a display of the Maharaja's wardrobe or his and his family's photographs and personal effects, even though it might continue to exist in its skeletal, architectural glory.

Macabre furniture - Stools and chairs, crafted respectively from the feet of elephants and antelopes

Location: Palace Cross road (Palace coordinates: 12°59'54.6"N 77°35'31.9"E; Palace complex entrance coordinates: 12°59'45.1"N 77°35'24.1"E)
Open: All days, 10 am – 6 pm
How to reach: Buses and taxis are available from different parts of the city.
Entrance fees: Indians: Rs 280; Foreigners: Rs 450 (Inclusive of audio guide in one of the following languages – English, Hindi, Kannada, French, German, Italian and Spanish. A valid ID card is to be submitted as security for the audio guide.)
Photography charges: Camera: Rs 700; Mobile phone photography: Rs 280
Videography charges: Rs 1000
Time required for sightseeing: 3 hrs
A fortress in another part of the city - Pixelated Memories - Bangalore Fort
A palace in another part of the country - Pixelated Memories - Hetampur Hazarduari Rajbari, Birbhum
Suggested reading -

December 07, 2012

Tarikh-ul-Islam Mosque, Delhi

This post is part of series about Qutb Complex, Mehrauli, Delhi. The integrated post about the complex and the structures within can be accessed from here – Pixelated Memories - Qutb Complex.

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Worth knowing before commencing this article – When the Archaeological Survey of India (ASI), via Ancient Monuments and Archaeological Sites and Remains Act 1958, notified monuments/religious shrines as national and “preserved” heritage, it was agreed upon that those religious structures that were still in use for prayers at the time of notification shall maintain status quo and be administered by the respective religious/denominational authorities (Hindu/Sikh temple managing committees, Wakf Boards etc) while being restored/conserved for future generations by ASI or State archaeology departments. In no circumstances were permissions to be granted in future for prayers to be conducted in structures that were abandoned and/or not in use at the time of notification.

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"Masjidon main maulvi khutbe sunate hi rahe, Mandiron mein brahman ashlok gatey hi rahey
Ik na ik dar par jabeen-i-shouq ghisti hi rahi, Aadamiyat zulm ki chakki mein pisti hi rahi
Rahbari jaari rahi, paighambari jaari rahi, Deen ke parde mein jang-i-zargari jaari rahi"

("The mullah, the pundit and their ceaseless sermon, Man bowed before each but did he learn
The great messiahs came claiming divinity, Their religions ruses for plunder turn by turn")

– Asraar ul-Haq Majaaz, "Khwaab-i-Sahar" (1939)

Physically, the decrepit Tarikh-ul-Islam Mosque stands pretty close to the colossal Quwwat-ul-Islam Mosque within Qutb Complex, but figuratively speaking, it is far from it – far in terms of size and grandeur, also far in terms of antiquity, and farthest when it comes to popularity among tourists and history seekers. But undeniably it is most distant with regards to the attention the two adjacent located mosques get from ASI and other competent authorities. Perhaps as a proof of this stepmother treatment, even the sandstone plaque that ASI has put up outside this unassuming structure doesn’t mention its name or elaborate on its features, but passingly makes mention of it and christens it with a vague, very general nomenclature – “Mughal Mosque”. As far as my knowledge goes, Mughal Dynasty officially ruled India from AD 1526-1857 and during the said period not just Emperors and their direct families, but also members of regal lesser family lines, court officials, military generals, affluent dervishes and even powerful slaves, commissioned several mosques throughout the country. Had the higher-ups within ASI deigned to properly classify this particular (and several other) mosque and provided some information about its constuction, it would have been possible to place it somewhere historically and imagine what it must have been like once. But then the ASI would probably squarely delegate the blame on Wakf Board of India under whose care the mosque falls.

Forgotten heritage - Tarikh-ul-Islam Mosque

But while ASI might actually forget this medieval structure, the communal forces that forever threaten to rip this country apart never leave a stone upturned to lay their diabolical claim on religious properties of another community. The mosque is in news all of a sudden (again unlike its older sibling, the mighty Quwwat Mosque, which has never been out of news) and that too because of wrong interpretation of historical records and legislative rules. A number of fiercely intolerant Hindu groups such as Vishwa Hindu Parishad (VHP) and Bajrang Dal claim that the Quwwat mosque should be handed over to them since it has been built on the remains of Hindu and Jain temples – they have been trying to gain entry to the mosque in order to place idols of Hindu deities and perform prayers. The said groups have had this inspiration from the fact that pre-existing statues of Hindu deities that once formed the carved pillars and sculptures within these temples were disfigured and used in the construction of Quwwat Mosque. Also, since both the Quwwat and Tarikh mosques exist in immediate vicinity of each other, these groups believe that they are part of the same super-structure and are apparently miffed that the Govt. has allowed Muslims to pray at the Tarikh Mosque and placed it in the hands of the Wakf Board. Now where have we heard that before? Words like “Babri” and “demolished” ring in my ears. The sudden excitement confounds me, since the mosques are centuries old!! This scuffle has been going on for quite some time now, and Maulana Sher Muhammad, the imam (preacher) officiating at Tarikh-ul-Islam Mosque even proceeded to write articles about the issue in the Muslim bi-monthly newsletter “Milli Gazette”, which can be accessed here – Milligazette.com - Another 'Babri' in the making and Milligazette.com - Masjid Quwwatul Islam. Mr. Sher Muhammad claims to be supported by priests of nearby renowned Hindu temples such as Chattarpur who too do not want another bout of religious bickering and political exploitation. Several members of VHP have been arrested in association with this mischief and the police has been forced to resort to cordoning off the entire Qutb complex, a renowned World Heritage Site, as and when the situation demands.

It just might disappear behind the canopy!

What the VHP and its vitriolic band of followers do not grasp is that it is not the Tarikh Mosque that was built by demolishing Hindu temples, but the adjoining Quwwat Mosque!! Qutubuddin Aibak, the slave and army commander of Muhammad Ghuri (and later the first Muslim Sultan of India), fell 27 temples of Hindu and Jain denominations to construct his magnum Quwwat/Qutb Mosque. The same is also recounted in one of the inscriptions installed in the mosque walls since the time of Qutubuddin. The translation reads –

“This Jami Masjid (Quwwat Mosque) built in the months of the year 587 (hijri) by the Amir, the great, the glorious commander of the Army, Qutub-ud-daula wad-din, the amir-ul-umara Aibeg, the slave of the Sultan, may God strengthen his helpers! The materials of 27 idol temples, on each of which 2,000,000 Deliwal coins had been spent were used in (construction of) this mosque.”

No prayers are offered at the Quwwat mosque since it fell into disuse and apparent ruin during the reign of Sultan Alauddin Khilji (ruled 1296-1316 AD) following the shift of capital from nearby medieval fortress of Lal Kot to the newly built Siri Fort. Lal Kot was the first city of Delhi as we know it and its ruins are situated quite close to the Qutb Complex. The Tarikh mosque, the bone of confused, misguided contention where prayers are still offered and never ceased to be offered, came up much, much later – in fact, guessing from its dilapidated condition and lack of ornamentation, one might contend that it was in all probability commissioned by some late-Mughal (18-19th century) administrative official or court noble. It is worth noting that in late 18th century, Mehrauli (the first city of Delhi, the area where both the Qutb complex and Lal Kot, and several other structures of historic interest are located) made a resurgence as the favored abode and summer retreat of Mughal rulers and English East India Company colonialist officials. Several later Mughal rulers too are buried in Mehrauli and there also are a few small palaces, tombs, pleasure pavilions and settlements. There is no particular reason why prayers shouldn’t be offered at the Tarikh Mosque since it has been in use since its inception and is not a disputed property, unlike the controversial Quwwat Mosque.

Locked forever!!

Located behind the souvenir and sales department of Qutb complex, Tarikh mosque is the least visited structure in the enormous complex (there wasn't a single visitor, except a few devout coming to offer prayers, for the entire time I was roaming about the complex). It felt odd to be the only person clicking photographs of this dilapidated structure, though that is actually what I wish for when photographing monuments since people tend to walk in the frame and spoil the composition. A few men, possibly the caretakers and gardeners who tend the Mughal Serai-Garden sub-complex opposite (refer Pixelated Memories - Mughal Serai), sat gossiping in a shady corner. The mosque presents a picture of desolation and dilapidation against the ever-growing, picturesque trees that grow in its small courtyard. Hiding the mosque from the eyes of curious onlookers, these greens grow in abundance and would have offered their produce to visitors had they not been so rare. Even rarer are consideration and funds for the mosque's conservation. It survives in a rather sorry state, its three onion domes blackened with time, its exteriors cracking and the two minarets that stand at the ends of its facade appearing like they are going to fall apart. The wooden entrance door that faces the walkway leading to the more-distinguished structures within the complex remains perennially locked now, its hinges topped by what appears like earthen ware to me. An alternate entrance that faces the facade of the mosque, but is a detour from the designated pathways, is presently the entry point.

The three domes stand over the three arched entrances of the poor mosque. It is easy to imagine that once stucco medallions and floral/geometric designs must have covered these arches and the rest of the exteriors. Alas, none of it ever existed. All you see is the small-flower like ornamental pendant over the central arch, varied patterns around the arches and curves and contours underneath. Leave alone precious gems and precisely-carved inscriptions, not even marble or stone ever covered these rubble walls which are cracked from the brunt of the various storms the mosque might have seen. No wonder it is quite easy to ignore its mere existence!

The beauty is in the simplicity

The interiors, painted in funky, bright colors, are a different scene altogether!! While the walls alternate between pink and white, the mihrab (western wall of a mosque that indicates the direction of Mecca and is faced by the devout while offering prayers) is slightly orange-ish. The paintwork appears to be pretty thick – I cannot fathom who got the brilliant idea of coloring a time-worn mosque with such shades and what were the authorities doing when such a travesty was taking place?! There isn’t much to observe inside – the arched triple-chamber is highly symmetrical, but lacking in ornamentation of any form. A window opens up towards the Qutb complex, one can spot tourists heading towards the majestic Quwwat mosque. Sadly, they all missed out this delightful, little gem.

I don't know what to make of these colors!

Outside again, I contemplate the mosque's fate while sitting on a bench placed by ASI close to the publication counter. Even the benches have their back to the structure which has survived the furies of time and nature, only to be threatened by men hell-bent on felling it to serve their own purposes. Who is to be pitied more, I wonder.

If the world is God's, the colors too are..

Location: Qutb Complex, Mehrauli, New Delhi
Open: Sunrise to Sunset
Nearest Metro Station: Saket and Qutb Minar stations are equidistant.
How to reach: Taxis, buses and autos can be availed from different parts of the city. Avail a bus/auto from the metro station (approx. 2 km either).
Entrance fees: Indians: Rs 10; Foreigners: Rs 250; Free for children up to 15 years of age.
Photography charges: Nil
Video charges: Rs 25
Time required for sightseeing: 30 min
Facilities available: Wheelchair access, Audio guides.
Relevant Links -

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Worth considering after reading this article – Doesn’t our country have enough problems already? Aren’t we already fighting against and killing our own countrymen for one reason or another? I take pride in being an atheist and while I chide Hindu fundamentalists for raking up such issues in the name of safeguarding Hindu interests, I also stand against the Muslim demands of allowing prayers and religious gatherings in mosques like Qila-i-Kuhna (Old Fort), Moti Masjid (Red Fort), Khair-ul-Manazil (Shergarh), Jamali-Kamali and Rajon ki Baoli (Mehrauli Archaeological Park both). Also I would advise Maulana Muhammad not to distort historical facts in his articles – the Quwwat Mosque was built by demolishing temples. Qutubddin’s inscription and the records of his chronicler Hasan Nizami note the same. What's the point of denying history or accusing ASI authorities of spreading malicious falsehoods when they state that idols were recovered in excavations at the complex or that the pillars were pillaged from destroyed temples when the proof is there for all to see? Shouldn’t we be making bonds and breaking taboos, rather than making barriers and breaking heritage buildings?

September 19, 2012

Tipu Sultan Shahi Mosque, Calcutta

The 180-year old Tipu Sultan Shahi Masjid happened to be the second monument (or seventh if considering the 6 memorials/monuments within St. John’s Church complex as individualistic, refer Pixelated Memories - St. John's Church. Aakash feels those separate posts were a diversionary attempt at gaining extra popularity from a single place!) I visited when I travelled to Calcutta alone for the first time. I have come to realize that if one is interested in photographing historical sites and monuments, travelling alone, or occasionally with friends who share the same interests, is a far superior option than travelling in random groups since this way one can visit, explore and photograph all the places one wishes to without any time constraints or having to stop for frequent food/rest breaks. Of course the downside is that one has to foot all the expenses, which is quiet alright in a relatively less expensive city like Calcutta, but might be an issue in, say, a place like Delhi or Kashmir. But then why would one head to Kashmir alone!

A cluttered, forgotten existence - Tipu Sultan Shahi Masjid

Returning to the topic at hand – Tipu Sultan Shahi Masjid (“Royal Mosque”) happens to be one of the least known historic monuments in chaotic Calcutta. And this is highly surprising despite the fact that the city possesses a plethora of heritage sites boasting of varying antiquities – one, because the graceful white mosque is prominently located just off Esplanade which, by virtue of being a major metro station, intercity bus terminal and shopping and tourism destination (there’s Victoria Memorial, St. Paul’s Cathedral, St. John’s Church and Birla Planetarium, each located in immediate walking neighborhood – see links in the end), is one of the most important landmarks in the city, and second, the mosque’s startling nomenclature is assumingly bound to astonish and impress anyone who hears of it into researching its history. But that’s the issue – there are so many majestic monuments and heritage sites whose immense popularity easily dwarfs that of this elegant yet simple mosque that while in Calcutta and even when in the vicinity of Esplanade area, instead of inquiring about the curious case of a splendid little mosque that bears the name of Tipu Sultan who happened to be the legendary Emperor of far-off Mysore (then consisting most of Karnataka, Tamil Nadu and southern Andhra Pradesh), most visitors to the city and even a large proportion of the inhabitants end up spending their time admiring the sculptural magnificence of the nearby located Victoria Memorial or gazing at the changing (artificial) skyline in Birla Planetarium.

Window to an uncluttered past (Photo courtesy - Beautifulmosque.com)

An innovative genius and unparalleled military tactician who also possessed intimate knowledge of Islamic jurisprudence, shooting, horse-riding, Hindi-Urdu writing, poetry and economic systems, Badshah Fath Ali Khan Bahadur Tipu Sultan was instructed in military tactics by French officers in service of his father Nawab Hyder Ali Khan and is credited with creating the first prototype rockets which he used in wars against the annexing armies of British East India “trading” Company whom he continued to oppose and fiercely resist all his short life. Technologically advanced and financially capable, he employed several skilled European weapon makers and mercenaries, was aware of the potent warfare technologies of his time, possessed an extremely strong naval force consisting of numerous war ships and frigates and even went to the extent of suggesting an alliance based on mutual admiration with Napoleon Bonaparte who came as far as Egypt on a conquering spree to unite their forces. But he never came to Calcutta. Nope, not even for sightseeing! So why does a mosque in the administrative and heritage heart of the city bear his name? The mosque’s forgotten history begins soon after the Fourth Anglo-Mysore War (May 1799, Seringapatnam) in which Tipu was killed by the combined forces of British East India Company, Nizam of Hyderabad and Maratha Confederacy (each of whom he had triumphantly defeated, though not crushingly, in the past) and his entire family (3 wives, 12 sons, 8 daughters and nearly 300 relatives in total!), considered highly dangerous state enemies, was exiled to Vellore (Tamil Nadu) so they couldn’t indulge in inciting passions and rebellions in the name of the dreaded deceased “Tiger of Mysore”. Following the “Vellore Mutiny (1806)” seven years later, Tipu’s illustrious fourteenth son and successor (since the British administration only recognized him as head of the family) Prince Ghulam Mohammed Anwar Shah was re-established (with pensions and land grants) at then British capital Calcutta according to the uneasy Government’s orders. He commissioned the fine mosque in 1842 in memory of his dear departed father and consequentially it still bears the title “Shahi Masjid” (“Royal Mosque”).

Mosque interiors - Subdued royalty or classical architecture?

Despite his superb administrative, organizational and warfare capabilities, Tipu is considered (based on unreliable, highly biased early British sources who participated in wars against him) a fanatic bigoted Muslim and an extremely harsh, iconoclast ruler who heinously ordered destruction of numerous temples and shrines and oversaw the forceful conversion or merciless execution of hundreds of non-Muslims, especially Christians, besides following a “scorched earth” policy and pitilessly ravaging and impoverishing captured territories and destroying their economies and agrarian capabilities. His admirers continue to debate that he looked after his subjects irrespective of their religion and personal beliefs, employed Hindus at almost each of the influential court post and provided religious grants and protection against brigands to several Hindu temples, some of which existed in the immediate vicinity of his palace. Yet he remains a much abhorred and very controversial personality in Indian history – a patriot who relentlessly strived against foreign colonial rule, yet himself a foreigner who ruthlessly oppressed his subjects and executed those he considered unbelievers or heretics. It is therefore difficult to contend whether his soul would be pleased to see that at present people of all religions are welcome at all times of the day without any distinction or discrimination in the mosque built by his son to commemorate his regal existence. The stunning structure, with its numerous plaster-faced shallow domes, elaborate plasterwork and slender minarets, is an epitome of architectural beauty made more attractive by the subjection of meticulous attention to detailing. Appearing ordinarily nondescript from outside (which might be the reason for the relative lack of popularity it suffers from), the brilliant white structure fails to attract many visitors despite the fact that the numerous turnip-like domes, lean minarets projecting from meager ornamental pillars, exquisite plasterwork patterns especially along the back of the mihrab (western wall of a mosque that indicates the direction of Mecca, faced by Muslims while offering prayers) and arched entrances inset in thoroughly painted white walls prove to be interesting visual additions to the city’s streetscape especially when observed vis-à-vis the numerous rundown, makeshift shops that have come up against the sides and back that faces the arterial Esplanade street.

Smothered flights of regal glory

Numerous people dozed or sat gossiping in clusters on the checkered courtyard that appears like a massive, enclosed chessboard (the only thing perhaps missing are the chess pieces, they would have completed the entire visual scheme!); while the roof over the courtyard is supported on several simplistic narrow pillars, the long wall enclosing the mosque’s sanctuary possesses along its exterior face shuttered doors flanked by Corinthian pillars and further framed by taller thick fluted pillars. Near the entrance are set several taps where people gather early morning to wash and bathe; the mosque’s “wazu khana” (space for ritualistic pre-prayer ablutions), with its moist, patterned grey walls and long line of taps and stone blocks for sitting, appears highly symmetrical and visually appealing – I was told that the water in the wazu khana is potable and indeed many people were there filling large bottles. Restoration and repair work was being undertaken and scaffoldings enclosed the two lofty corner minarets that rise above the tree line that envelops them. Facing the entrance side, several chambers are located across the courtyard and have been converted into residential units – one can avail permission for photographing the mosque interiors from here – hardly ever is anyone denied consent, in fact more often than not one is taken within the mosque’s sanctuary where rows of complex four-sided pillars, shallow concave surfaces underneath each of the ten small domes surmounting the roof and several fans hanging like flowers from their thin stems make for visually compelling photographic compositions. The double-aisled prayer chamber has been spotlessly painted brilliant white throughout and possesses the same checkered floor surface that extends to the exterior courtyards; the only sign of ornamentation are the simplistic ribbed semi-circular arches decorating the entrances and mihrab niches; color is introduced in the form of multi-hued floresque stained glass windows inset within the semi-circular sections above each of the side entrances and mihrab niches.

Chessboard

The minbar (platform where the Imam (chief priest) stands and delivers sermons from) is equipped with mikes and sound amplification system. The politically active Imam, Maulana Syed Muhammad Noor-ur-Rahman Barkati, has been in the news lately for several highly debatable and subjective reasons, for instance, indulging in political debates and opposing the right-wing BJP party (most Hindus did not like it), solemnizing the marriage of a Muslim boy with a transgender (most Muslims did not like it), or organizing prayers for the soul of Osama bin Laden (nobody liked it!). It is interesting to note that he also happens to be the Mufti-i-Azam, or the “chief arbiter on Muslim issues for the country”! This is an eye-opener – firstly, because there are a number of more articulate and learned clerics in the country, and secondly, because one might further question if the Mufti-i-Azam’s mosque isn’t so well-maintained, what exactly is the status and condition of other historic mosques in the country?!

Several estimates put the precise capacity of the faultlessly designed mosque at 1,000 people, however, I really doubt if it can accommodate such a large gathering in a single go – though the courtyard is vast, it isn’t so large either – all in all it took me not more than 30-40 minutes to explore and photograph the entire place.

Such symmetry! - The mosque's "Wazu Khana" (site for pre-prayer ablutions)

The mosque is maintained by Tipu Sultan Shahi Masjid Protection and Welfare Committee, an arm of the royal family trust of Prince Ghulam Mohammed (which draws revenues from the vast properties and palatial mansions that the royal family owns and leases out throughout the city) and the present restoration project is being implemented by it at the cost of Rs 80 lakhs (approx. $145,000) to be also shared by the identical twin mosque at Tollygunge which unbelievably also shares the entire architectural plan and decorative ornamentation to the last minutest of details. However, as already mentioned, one has to concede that the Esplanade mosque isn’t very well maintained and could have been a beautiful sanctuary in this crumbling old city had attention been accorded to its exteriors which have been overtaken by makeshift shops.

Prince Anwar Shah road, which snakes its way through one of the most posh localities in the entire city, is named after Prince Ghulam Mohammed Anwar Shah. Ironically some of Tipu Sultan’s sixth-generation descendants, amongst them one also named “Prince” Anwar Shah, are reduced to lowly rickshaw-pullers plying their trade on the same road named after their ancestor! Others from this illustrious genealogical line have been renowned as members of legislative councils, political parties and business houses; one of them, Noor Inayat Khan, whose father happened to be the eminent Sufi saint Inayat Khan whose dargah (sacred tomb) is located close to Hazrat Nizamuddin’s in Delhi (refer Pixelated Memories- Hazrat Nizamuddin Dargah complex), participated in World War II as a British Special Operations Executive and was executed by Germans on charges of subversive sabotage and espionage – she is one of the only three women to have been awarded St. George’s Cross, Britain’s highest wartime honor accorded to civilians. Some years ago, the eminent businessman and UB-Kingfisher Group Chairman Vijay Mallya bid for and bought Tipu’s sword for millions of dollars from a London auction house in a much talked about deal that was hailed as a resurgence of Mysore’s pride and economic affluence. One wonders if the expectation that he had focused back home and perhaps attempted to find about Tipu’s surviving family and spared part of the gigantic sum for their and the mosque’s well-being be considered utopian?

A whiff of color!

Location: At the intersection of Esplanade Street (Dharmatalla Street/JL Nehru Street) and Sidho Kano Dahar, approx. 400 meters from Esplanade intercity bus stop/metro station on the straight road.
How to reach: Walk from Esplanade with your back to Hotel Oberoi Grand and the Indian Museum. Taxis/buses can be availed from different parts of the city for Esplanade.
Open: All days, 4 am – sunset
Entrance fees: Nil
Photography/Video Charges: Nil
Time required for sightseeing: 20 min
Other attractions located in the neighborhood -

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