Pixelated Memories: Medallions

Showing posts with label Medallions. Show all posts

October 29, 2014

Lodi Road - Jawahar Lal Nehru Stadium Trail, Delhi

This is the second installment of the city's several heritage trails that might have once existed as part of certain larger historic tomb/monument clusters, in this case the hallowed Nizamuddin Dargah area and the landscaped Lodi Gardens, but are at present separated from these larger heritage zones by geographical separations morphing into unregulated colonies or major arterial roads and highways. This separation often introduces an element of being overboard and therefore being neglected by authorities and history enthusiasts alike – consequentially, some of these monuments have been encroached upon or being used as makeshift residences/night shelters by slum populations and beggars. Most however have been recently restored as part of the conservation drive necessitated by Commonwealth Games 2010 that Delhi hosted, an event that brought about propitious tidings for heritage enthusiasts besides sports lovers. The trail begins from Nizamuddin area from where, after visiting the Dargah and its associated structures or Humayun's tomb complex opposite, one can walk towards Lodi Gardens located approximately 3 kilometers away along a straight road, enroute covering four less known architectural gems beginning with Barakhamba monument and terminating the sojourn at Jawahar Lal Nehru (JLN) Stadium,

Links to the articles about the larger complexes flanking the trail –

Barakhamba monument –

Location: Mirza Ghalib Park, corner of Nizamuddin Basti at the intersection of Mathura road and Lodi road

Coordinates: (28.592487, 77.242499)

Barakhamba on a rainy day - Five domes, twelve pillars and an assortment of homeless and slum dwellers as residents!

Immediately abutting Nizamuddin Basti (officially Mirza Ghalib colony) is the irregularly-shaped Mirza Ghalib park with the Barakhamba as its centerpiece. In architectural lexicon “Barakhamba” translates to “twelve-pillared tomb”, however the solid structure present here is an innovative advancement over the simplistic twelve-pillared constructions – the large central domed square is surrounded by wide passages with identical arched entrances corresponding the central square’s entrances so that the resulting structure is a massive leviathan very different from the other Barakhambas scattered throughout the city. The unornamented structure conveys uninhibited strength, made more apparent by its almost 500-year existence (it is dated to Lodi-era (AD 1451-1526)), and stands rather purposefully on its location. The passages, when they intersect at the corners, are transformed into small square chambers demarcated by arched curtain walls and surmounted by smaller domes – the overall image being that of a fruit basket – a massive pomegranate-like dome surrounded on four sides by lemons, all of them edged in by the structure’s tall kanguras (battlement-like ornamentation). The entire structure stands on a high pedestal; wide eaves (“chajja”), supported on a continuous line of heavy stone brackets, run along the roof; the smaller arched entrances of the corner chambers, inset in rectangular depressions, complement the three taller entrances leading to the central square. There are no historical records indicating who the person buried underneath is, nor is there any grave inside. The interiors too are unadorned except for a huge monochromatic and very pretty medallion on the interior of the central dome.

Plastered perfection gone spoiled!

The structure has undergone restoration recently – the domes have been plastered over and appear perfectly outlined against the low skyline of the basti in the background, an effect not expected in a five century old structure; the walls nonetheless display the rough stone and rubble exterior and continue to exude an unquenchable masculinity, which must have been the original intention of the craftsmen, notwithstanding the feminine, flawless touch imparted to the domes. The pathways running around the tomb and the surrounding lawn were being dug and re-laid at alternate spots when I visited (August 2014), but I couldn’t fathom any reasonable explanation from the workers doing the digging work or the old men supervising them for this seemingly wanton destruction, especially after considering that the archaeological and municipal authorities otherwise cite lack of financial resources when it comes to the maintenance and conservation of monuments and their surroundings. Squatters and encroachments have been removed from the lawn and the structure cured of hideous graffiti and betel stains by chemical treatment and plastering over. But the tomb and the lush grassy lawns outside have been retaken by beggars and homeless who go seeking alms at the dargah of Hazrat Nizamuddin in the evenings; homeless children of varying age groups can be seen running around and flying kites in the tree-covered lawn, while the elders stroll around or lie on the cool ground; several more sleep in the tomb or sit idly with little to do to spend the ample time on their hands.

Symmetry and light play - Barakhamba interiors

One result of the entire situation is that the lawn remains inundated with plastic waste and polythene garbage. In a city where, despite it lending its name to a major arterial road, another Barakhamba monument (Barakhamba, Connaught Place – tomb and road) was mercilessly destroyed, it can only be hoped that this Barakhamba and its associated green space survives heartily and does not, at least in near future, revert to its pre-restoration state when it was shockingly drenched with garbage.

Do Siriya Gumbad –

Location: Couple of meters from Barakhamba
Coordinates: (28.592534, 77.241421)
Engulfed and overshadowed by tall buildings on all sides, the Do Siriya Gumbad (“Double-headed tomb” – I have no idea why it is referred to as such, there is only a single dome surmounting it), located in an extreme corner of Nizamuddin Basti, has been encroached upon to such a heart-wrenching extent that now the only portion of it visible from Lodi Road immediately besides it is its massive, rounded dome that peeps from behind the high rise apartments and a palm tree adjacent that could have been an original entity in the garden that existed around the tomb. The palm tree, thankfully, still towers above the buildings! It was only by a fluke of chance that I noticed the 500-year old tomb, dated to Lodi-reign and possibly the least known monument in the city (a Google search won’t offer more than half a dozen links (then too duplicated) despite traversing 20 search result pages!), following the visit to Barakhamba monument and lighting a cigarette across the road – more inquiries drew a blank, but one of the hotel owners, whose property immediately abuts the tomb walls, did confess that occasionally writers/photographers request them to allow climbing up their roofs and observe the dome’s features but they almost unequivocally deny permission.

Peeping over buildings - Do Siriya Gumbad, Delhi's forgotten monument

I was directed to the Capital Guesthouse, located opposite the municipal park-turned-dumpsite (near the intersection of Lodi Road and Lal Bahadur Shastri Road), immediately besides which ran an unbelievably narrow lane that ends in a cul-de-sac just a few meters ahead. The lane (not unlike others in the Nizamuddin Basti area – with goats tethered outside the houses and thronged by bearded, skull cap wearing men) takes one past the tomb’s facade – the walls are dilapidated and almost the entire coat of plaster has flaked off revealing the rubble construction underneath; one side of the wall probably collapsed or was destroyed since here modern brickwork features prominently; the arched entrance is trabeate in nature with immensely thick stone lintels placed atop each other to span space and afford the semblance of an arch; equally thick pillars with plainly sculpted capitals support the stone lintels. A plastic water tank graces the dome now and electrical wires snake in and out of the entrance and the arched window above it. The lady living within the tomb with her family was shocked to see me photographing “her” doorway and soon subjected me to a slew of inquiries regarding the same – nonetheless she appeared unperturbed and merely shrugged when asked about living in a tomb. Sometimes this country’s horrifying levels of poverty and desperation appall me – what severe conditions could a family succumb to so as to be forced to reside in a tomb?!

A case of monumental neglect (pun intended)

Gol Gumbad –

Location: Adjacent Centenary Methodist Church, Lodi Road

Coordinates: (28.592409, 77.238860)
Seated squat at the intersection of Lodi Road and Lal Bahadur Shastri Road, Gol Gumbad (“tomb with circular dome”), a beautiful small square tomb, fits so snugly in its surrounding environment that it appears as if it’s a Lego block unquestionably meant to fill the very position that it is located in. Situated prominently on the intersection and overshadowed by the looming church adjacent, the structure is another of the several tombs of unknown historicity that came up in and around the Nizamuddin area under influence of the sanctity accorded by the legendary saint’s hallowed tomb complex – the single verifiable antecedent of the tomb is that it was raised during the reign of Lodi Dynasty, confirmed by the distinctive architectural features it displays.

Gol Gumbad - Diminutive Lego block in the heart of the city

Constructed of random rubble masonry faced with a fine layer of plaster, the tomb doesn’t display any prominent ornamentation on its exteriors – the monotony of the plain cream-green walls is shattered by the exquisitely-sculpted red sandstone lattice screens (“jaalis”) that mark the recessed arches on three sides of the tomb. The intricate stone screens appear to have been carved recently, probably older screens have been replaced as part of a recent restoration-conservation effort. The fourth side, facing the church, possesses an entrance instead of the sandstone screen and a narrow staircase adjacent leading upstairs to the roof (both now barred with thick iron grille gates). Both the roof and the octagonal drum (base) of dome are decorated with thick kangura patterns (battlement-like ornamentation) and that is the sole adornment of the entire exterior surface. The walls are battered and slightly thicker around the base, an architectural addition necessitated by the need to support the heavy rubble structure.

The other side

On the whole, the tomb appears adorable on account of its precise dimensions and simplicity – the square plan is approximately 13.5 X 13.5 meter square and the entire structure, including the round dome and the inverted lotus finial surmounting it, also rises to a height of 13.5 meters – compared to the massive thickly adorned tombs and mosques that the Lodi Dynasty specialized in, this structure is only a dwarf, and yet undoubtedly succeeds in making visitors and passer-bys grace it with second glances. Though the entrance remains locked to keep vandals from entering, the guard on duty promptly unlocks it if asked to. There are no signs of any graves inside nor any identification mark indicating the presence of the same underneath. The interiors are extremely dark and the little light that streams in comes from the lattice screens and the small arched windows in the dome’s base – photographing the structure is an issue and I had to later process the photos in order to bring out the finer details of the painted medallion that adorns the dome’s concave surface.

Another medallion on this trail

The simplicity continues inside – except for the elaborate roof medallion, the only other features are long narrow alcoves along the corners and small alcoves on either side of the entrance/arched screens; in the corners are squinch arches (diagonal added between two arms of a corner so as to span space and convert a square structure successively into a polygon/circle to support the heavy dome) and a band of decorative alcoves runs along the drum interiors. An impressive view of the tomb can be had from the church side where lush green grass rolls all around the structure and soaring palm trees flank it on all sides. Though the signs of wear, in the form of flaking plasterwork and blackened walls, are all too apparent on this side, yet there is an indescribable beauty too brought about by the interface of nature and monument. The tomb also presents a magnificent picture at night when it is lit up with a brilliant golden-orange glow.

I don't understand what materials do the conservation authorities employ for restoration work. Why does the new plaster and paintwork begin flaking off in less than 5 years, even though the older coats survived over 500 years?

Unknown Tomb, Pragati Vihar –

Location: Couple of hundred meters past the JLN Stadium metro station while walking from the left off-road slightly before Dayal Singh College.

Coordinates: (28.58618, 77.23470)
Walking from Lodi Road towards Jawahar Lal Nehru stadium, beyond high boundaries composed of white-painted iron grilles and similar gates that define the massive spread of the stadium, a lone red structure appears to be mounting a silent, solitary vigil across vast acres of deep green grass and white buildings. The structure, a Mughal tomb in all probability – only the Mughals (AD 1526-1857) used to experiment with the architectural styles and artistic visions of their mosques and mausoleums – is as unique a tomb as one can hope to come across in Delhi. Comprising of a square chamber surmounted by an octagonal chattri (dome mounted on numerous pillars, in this case eight), the entire structure is composed of random rubble and layered with vibrant red plaster which further adds to its singularity. Perhaps the individuals who commissioned it intended to attain red sandstone like effect but did not possess the means to use the actual material and decided to utilize plaster layering hoping for the same.

A red monument on a carpet of green grass - The tomb at Pragati Vihar, much smaller in reality than it appears in photographs.

The tomb, like the rest of the stadium, remains out of bounds for visitors – the head of the security of the complex is a real douche, but tries to portray a cooperative face even though anyone can look through it – end of story, it is better to have a written permission and photostat copies of all one’s credentials before hopping to the stadium to photograph the three tombs within. I will the next time I head there, still have to click the other two.

If not heading back to the metro station, the trail can be ended at JLN Stadium, an immensely colossal, multi-purpose stadium with a seating capacity of 60,000 spectators, that was built to accommodate the events of Asian Games IX (1983) that Delhi hosted and has been recently structurally modified to also provide arenas for Commonwealth Games XIX (2010). At present, the stadium also houses headquarters of Delhi Secretariat, Sports Authority of India (SAI), Indian Olympic Association (IOA) and Ministry of Youth Affairs and Sports, Government of India. The most impressive view of the stadium can only be had from a metro station or a flyover from where its massive girth can be observed majestically towering above Delhi's skyline. But one realizes its giant proportions only from immediate vicinity when it occupies the entire frame of view and nullifies all efforts to click it in a single photograph!

JLN Stadium rising above the city horizon. Photo clicked from Kailash Colony metro station.

Nearest Bus stop: Hazrat Nizamuddin Dargah

Nearest Railway station: Hazrat Nizamuddin Dargah

Nearest Metro station: JLN Stadium

How to reach: The trail begins from where Lodi Road connects with Humayun's tomb complex/Nizamuddin Dargah complex, a point located just a couple of meters from the Hazrat Nizamuddin Dargah bus stop (If coming by train, take a bus/auto to the bus stop. If coming by metro, reverse the order of monuments and end the trail at the bus stop).

Entrance fees: Nil. Entry prohibited within JLN Stadium complex.

Photography/Video charges: Nil

Time required for sightseeing: Barakhamba monument: 30 minutes; Do Siriya Gumbad: 20 minutes; Gol Gumbad: 20 minutes; Pragati Vihar tomb: 10 minutes

Links to the articles about the larger complexes flanking the trail –

Another trail in the city - Pixelated Memories - R.K. Puram Trail

Suggested reading -

September 15, 2014

Mughal tombs and Choti Masjid Bagh wali, Mehrauli Archaeological Park, Delhi

"'Look on my works, ye Mighty, and despair!' Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare. The lone and level sands stretch far away."

– Percy B. Shelley, "Ozymandias"

Since I began delving into the world of monuments and architectural heritage, I have come to realize that it is actually the smaller forgotten structures, often reduced to ruins, taken over by dense foliage and emerging from inconsequential locations and ignobly mundane settings, ignored by conservation authorities and untouched by the garish application of plaster and paint that goes about in the name of restoration in our country, that are the most warm and beckoning, throbbing with a plethora of tales regarding their long forgotten past and holding in their decrepit bosoms multitudes of stories and lore regarding the city’s existence and development and their own commissioning and construction. Nowhere is this bizarre anomaly more apparent than in the vast, forested and forgotten Mehrauli Archaeological Park where the trees seem to inch closer as one heads deeper underneath their canopy and the perennially dry air buzzes with an ominous silence disturbed only by the whistle of wind and occasional footfall of fellow visitors. It isn’t like the entire archaeological complex is bereft of visitors – the local residents come hither in the late afternoon and evening to graze their goats, guards and the rare tourists can often be spotted near the more famous medieval structures like Jamali Kamali complex and Rajon ki Baoli (see links at the end of this post), schoolboys come to play cricket and practice drama plays in the vast, landscaped area around Quli Khan’s beautiful tomb – but except for these, the only company are dogs and birds of several species.

Graceful!

Moving straight within the archaeological complex from the entrance located near Sultan Ghiyasuddin Balban’s tomb is a nameless yet bewitching set of ruins, though most will simply look at it as that only – ruins. The semi-buried row of neatly stacked chambers, conjectured to be horse stables, surrounded by a low enclosure wall has always surprised me and made me wonder if it would bear the same charm once it has been dug out of the earth and the piles of heavy stones spread around it removed. I doubt that. I guess once these ruins are subjected to a beautification drive, they would simply become a set of very old rooms, not captivating chambers/stables, much like Balban's tomb complex that now appears as far from original as it could possibly be (refer Pixelated Memories - Balban's Tomb).

Further ahead nearby, in a corner not tread by many, stand two of my favorite tombs – dated to the Mughal-era by the distinctive ornamental features they display, the two stand couple of meters from each other flanked by numerous ruins of undated antiquity on one side and a deep sewage channel (“naala”) on the other. Yes the beautiful oasis has been hijacked by sewer lines and a flood of plastic and polythene; rest assured I do not like the two resilient structures for their surrounding ambiance, (which is poor when most respectably referred to as), but it is the graceful charm, even at being semi-submerged underground, that they exude that attracts me every time I’m at the archaeological park.

Submerged!

The larger of the two has lost most of its decorative adornment, it is this one that is half-buried in earth and located immediately next to the sewage channel – the only features it displays now are remains of calligraphy inscriptions and medallions, two large jharokhas (protruding windows) and kanguras (battlement-like ornamentation) on the exteriors and a fairly well-preserved, though moss layered, roof medallion inside – but seldom does anyone venture within since one is forced to bend pretty low to enter the blocked entrances, moreover piles of garage surround it on every side and thick cobwebs bar entry within.

Post overcoming the the darkness and the strong stench of damp and rot, one can observe that most of the wall and roof surface seems to be draped by layers of moss-like vegetation – the dark is intense and I was forced to switch on the camera flash to click the medallion, though I avoid using flash in monuments since the pigments in natural colors used in such old structures are said to get damaged. The jharokhas are a surprise – though common in palaces, gateways and mosques, they are seldom seen in tombs, in fact this is perhaps the first time am seeing them used thus. Across the sewage channel is Waqf land, belonging to the Muslim administrative body involved with burial land, and a madrasa (Islamic seminary) is run there – it is nobody’s guess how the students manage to fixate their attention on the subjects and the sermons despite the stench they are subjected to. Soon, several students would peep out to observe the stranger with the camera photographing the neighborhood monuments, some would wave, others would point, but none ventures close. Anyway, a metal wire mesh separates the onlookers from the archaeological complex.

Spoiled!

The second, considerably prettier tomb has been recently restored, its walls that were cleaved in two, perhaps by earthquakes, have been sewn together with mortar but left untouched by the plasterwork and paint job – did the conservation authorities want to emphasize the work they undertook? The perfectly square structure possesses stucco medallions, glittering red paintwork on the wall portions above the arched entrances, minarets along the corners of the roof and a well-defined dome seated on a high drum (base); the interiors too display remains of exquisite stucco work, but the entrances have been barred by grilles and locked, the space within being used as a storeroom, a very miserable reflection on the way centuries-old monuments are treated in our country, even by the authorities tasked with conservation and restoration – this is the worst way to conserve a structure, I reckon!

Adjacent to the tomb is the associated wall mosque (“qibla”) that has been recently encroached upon, painted dazzling white and modified to add chambers alongside – now a madrasa is run from within the premises with scant respect for the heritage value of the structure and the exquisite surface ornamentation of the mosque have been assimilated in the madrasa and lost due to excessive plastering over. Peeping from behind the walls are the slender turrets of the mosque and painted in English and Arabic are the name and phone number of the religious instructor and the legend “Choti Masjid Bagh Wali” (“Small mosque in the lawn”), the name with which the structure has now been christened.

A storehouse!

The students there, middle-aged, bearded men, each dressed from head to toe in white, were aggressive regarding the photography prohibition being effected there and refused to allow even a single click. Thankfully, after I reiterated that it is Government land and I am entitled to click and write about the structures here, the person delivering the sermons quickly turned his face away from the camera and left; most of the students though decided it to be an excellent opportunity to pose next to the mosque and get clicked! Perhaps the adamant behavior was caused by the fact that the news about encroachment of the structure and its repainting has splashed in most major newspapers in the city, though there seemed to be no pressure on them of any sort to cease the modification work and vacate the land. I was not allowed to enter the narrow chambers. Given the presence of numerous Archaeological Survey of India (ASI) and Indian National Trust for Art and Cultural Heritage (INTACH) officials in the park overseeing the restoration-conservation work at nearby monuments, I find it scarcely believable that a monument was hijacked and they did not even have a whiff of it till after rooms were erected next to it!

A wall mosque? Now incorporated within this narrow seminary!

One doesn’t have an option to sit back next to these structures and adore them longingly – at last count there were atleast a hundred monuments (and more being excavated daily) in the complex spread over some 80 acres! With so much to see and click, who has the time to stop and stare – the same archaeological complex, stuffed with scores of structures representing over a millennium of civilization and construction, that magnifies the beauty of the structures hidden in its deep green bosom also makes more apparent the observation that the monuments here are but a transient glimpse in the eyes of the visitor, much like they were drops in the flow of this one millennium.

Once upon a time! (Photo courtesy - Wikipedia.org)

Location: Mehrauli Archaeological Park
Open: All days, sunrise to sunset
Entrance Fees: Nil
Nearest Bus stop: Lado Serai
Nearest Metro Station: Qutb Minar
How to Reach: The Archaeological Park's entrance is immediately opposite Lado Serai bus stop at the intersection of Mehrauli-Badarpur and Badarpur-Gurgaon roads. Walk/avail an auto from Qutb Minar metro station or avail a bus from Saket metro station. Sandstone markers indicate the routes to different monuments inside the park.
Photography/Video charges: Nil
Time required for sightseeing: Approx. 30 min
Note – There are no facilities (toilets, food or drinking water) available within the Archaeological Park. While you can avail food & refreshments at one of the restaurants at Lado Serai, you can only find toilets at the shopping malls close to Saket Metro Station, almost a kilometre away. The park remains deserted in the evenings and is best avoided then by female enthusiasts.
Other monuments within the Archaeological Park premises –

March 04, 2014

Sheesh Gumbad, Lodi Gardens, New Delhi

In the heart of Lodi Gardens which themselves are located in the heart of Delhi, seated on a gentle man-made hill is an impressive tomb christened as Sheesh Gumbad (“Glass Dome”) on account of the vivid blue tiles that adorn its façade. A magnificent example of Lodi architecture the tomb is and bears all the features that characterize buildings of that particular period – a high dome resting on a high drum (base), well-preserved lotus finial atop the dome, exterior semblance of a multi-storied structure achieved by the use of arched niches on two levels along its faces, trabeated entrances which employ lintel beams to span the distance to form a rudimentary arch despite the availability of architectural knowledge to build true arches as reflected from the construction of the arched niches along the windows and the larger double niche in which the entrances are set, slender turrets projecting out of each corner of the square structure as well as the rectangular projection in which each entrance and their arched niche are respectively set, a row of arched alcoves ornamenting the dome’s drum and the most glaring feature – the use of leaf motif decoration along the roof and the drum instead of the kanguras (militaristic battlement-like ornamentation that evolved from the use of battlements in all structures of earlier vintage to afford protection against recurrent Mongol raids) – there is indeed not a single feature which we haven’t observed in a majority of structures of that age and yet the tomb exudes a certain magnificence, a charm that magnetically attracts all visitors to it. It isn’t just the use of the glossy blue tiles which are rare in medieval structures (must have been difficult to produce and hence expensive back then, conjecture is that once the whole top surface of the tomb were covered with such tiles. Incredible, right?? Shiny blue!); it isn’t even the majestic dome that, except for a long crack running along its side, retains its grandeur; it isn’t even the mystery associated with this particular tomb, after all there are hundreds of tombs scattered throughout Delhi (India as a whole in fact) the identity of whose occupants is not known; neither is it the extraordinarily well preserved exteriors or the masochistic style in which this massive tomb built out of hard grey quartzite towers above its surroundings – is it the combination of all these factors that makes this tomb so mesmerizing?? Enchanting enough for the historian Simon Digby to propose that this must be the tomb of Sultan Bahlol Lodi, the first of his dynasty who reigned from AD 1451-89! It is generally accepted that Bahlol Lodi is buried in a modest tomb in another part of Delhi, but what if this was his tomb and the Bada Gumbad that stands facing it actually its enchanting gateway? Enrapturing, isn’t it? How history of actual human beings, Sultans and generals, intertwine with the stories these structures hide to create this web of fables, of mysteries indecipherable, of lores forgotten, of stories untold!!

Picturesque

On the inside it’s pretty dark; several unmarked and unornamented graves lie in rows along the rough floor; squinches span the corners to support the giant dome; the walls are unadorned except for white plaster which has mostly disappeared now; the dome’s concave surface is decorated with a huge medallion composed of floral and calligraphy patterns in incised and painted plaster – the medallion is further enveloped by an eight-pointed star whose vertices are extended to touch the band of calligraphy at the circumference of the dome; the calligraphy is exquisite, intricate, the band further rests on a row of ornamental arched niches which display miniature medallions along their curved parts – though the whole roof surface is layered with orange plaster, it’s difficult to decipher the designs and patterns since most of it is covered in what appears to be white bird droppings, though looking at the way in which it covers the surface it looks as if somebody took a paint gun and began shooting white color on the roof!!

Light and dark

As dusk comes calling, the area surrounding the tomb become the haunt of hundreds of birds – eagles swoop around in gigantic circles around the tomb, pigeons and mynas come calling to the thick trees where they nest, crows raise a cacophony on the leafless trees where they come to rest – the din is terrible, but it is also easily ignorable; no wonder people can be seen jogging, exercising or just sitting around the tomb at the time. After all, it’s Lodhi Garden – a hub for fitness enthusiasts, a Mecca for city-bred couples, a pilgrimage for photographers and heritage enthusiasts and a picnic spot for families!

A leisurely romantic evening anyone?

Location: Lodi Gardens, Beside India International Centre
Nearest Metro Station: JLN Stadium
How to reach: One can walk/take an auto or a rickshaw from the Metro station
Open: All days, Sunrise - Sunset
Entrance Fee: Free
Photography/Video Charges: Nil
Time required for sightseeing: 30 min
Relevant Links -

Pixelated Memories - Bada Gumbad Complex, Lodi Gardens

Suggested Reading -

Books.google.co.in - Swapna Liddle/"Delhi 14: Historic walks"

February 18, 2014

Bagh-i-Alam ka Gumbad, Deer Park, New Delhi

Though Bagh-i-Alam ka Gumbad literally translates to “the tomb within the garden of the world”, there is nothing grand or striking about Deer Park in which this imposing tomb stands to consider it a garden of worldly beauty – in fact, it isn’t even a garden, the unruly tracts of vegetation, the massive trees with their twisted branches and gnarled trunks, the all-invading thorny shrubbery and the dense foliage give it the appearance of a forest. The only exception to this pervading sense of being in a small forest is brought about by the presence of jogging tracks and physical training equipments thrown in at intervals with boards and signages explaining to the visitors the purpose and guide to the equipment – in that sense, it is indeed the garden of the world, striving to keep people healthy so they remain in this mortal world a bit longer!

Masculine and towering

The number of visitors that this magnificent tomb attracts would put many of the more famous monuments in the city to shame, but the latter can keep heart as most of these visitors are either couples who are looking for a quiet spot for a quick make out or vandals on a lookout for space where they can carve their names and love letters – the massive entrances set within three of the four walls of the tomb (the fourth acts as mihrab – the wall that indicates the direction of Mecca and is faced by Muslims while offering prayers) are barred with grilles to keep both categories of people out. Of course it escapes the attention of civic authorities that the grilles would also prohibit the entry of monument lovers and heritage enthusiasts.

The largest of the three tombs in Deer Park (the other two are Tohfewala Gumbad and Kali Gumti), the structure is built with locally quarried stone – the red and grey stone blocks are fitted together to create a striking patchwork that further plays with sunlight to present a picture filled with brilliance and glimmer bouncing off each of the fragments. Externally, the single chamber gives a semblance of being divided into floors through the use of arched niches set on three levels – only the niches on the ground level and adjacent to the entrance act as windows, the rest are filled in with the same dressed stone that faces the rest of the structure – the niches are deep-set and couples were engaged in various physical activities in many of them (of course I do not mind, nor should you, reader!).

A beauty, overshadowed

The entrances are trabeated (stone blocks of gradually increasing sizes kept on top of smaller blocks so as to span a distance and give the appearance of a rudimentary arch). Arched windows exist above the entrances and these display remnants of vivid blue tiles which were used to break the monotony of the grey and red stonework but in my opinion fail to do the job, especially on a scorching summer afternoon. Both the entrance and the window are set within a larger arched niche which is further housed in a rectangular frame projecting outwards through the wall face. The roof and the drum (base) of the hemispherical dome are decorated with a line of kanguras (battlement-like ornamentation).

I had the pleasure of encountering two guys sitting on the staircase leading to one of the entrances and trying to light up a marijuana joint but failing repeatedly – they definitely were not engineers; engineers know how to light joints (as I demonstrated to them a few minutes later). The reason for recounting this is to point out that engineers don’t frequent the park (owing, perhaps, to the lack of girl friends that most of them face!?) but the park has become the haunt of marijuana/alcohol consumers. Peering in through the grilles, one can make out the design of the simplistic mihrab within as well as the intricate patterns in blue, red and white incised plasterwork that adorn the dome interiors – a huge central medallion depicts beautifully-executed floral patterns set within concentric circles of calligraphy and geometrical motifs. The medallion is further enclosed within two concentric stars done with bands of red paint – each vertex of the star is bound on both sides by vertices of the other star and a small teardrop shape medallion graces each of the vertices.

Dome interiors: Plasterwork details

The teardrop medallions also follow the scheme of the larger medallion – floral designs set within a band of calligraphy and geometrical motifs. The designs invoke a sense of awe at the brilliance of the artists who worked on these patterns and crafted them with unmatched grace and precision. The mihrab bears an inscription referring to the construction of the tomb – it was commissioned by one Abu Saiyyid in AD 1501 to house the mortal remains of a mendicant Sheikh Shihab-ud-din Taj Khan. Sultan Sikandar Lodi reigned over Delhi at that time and his rule saw many mendicants and saints arriving from Afghanistan, Persia and beyond settling in Delhi. Imam Zamin, who is buried in the World Heritage Site of Qutb Complex, also arrived in Sikandar Lodi’s reign (refer Pixelated Memories - Imam Zamin's Tomb).

A colorful teardrop

Adjacent to the tomb is an exquisite Qibla (wall mosque) with a large courtyard meant to seat the devotees bound to it. The Qibla has five arched niches set within larger rectangular indentations – the central of these niches is the largest both in terms of height and width. The wall extends and folds along the edges so that an additional niche also flanks the two sides of the courtyard adjacent to the Qibla. The entire length of the wall is topped by pretty neat leaf-motifs; smaller niches line the wall and would have perhaps once also provided holds for keeping small lamps; two neat rows of graves line the prayer space; light and shadows playfully create patterns along the courtyard. The wall shows signs of cracks and in many places the plaster has flake off to reveal the underlying layers of rubble – still it’s in pretty good condition if compared to the other two tombs in the park.

Prayers, graves and desolation

The central niche is flanked towards its back by turrets that convey masculinity despite their slenderness; towers exist at both ends of the Qibla wall. The towers are octagonal and thick but not solid – there are arched entrances built right through them. It is from behind the wall that one notices that these structures have largely been consigned to vegetation – foliage reaches right upto the Qibla, trees overshadow the tombs and in many instances the branches simply droop over the structures.

It is actually a pity that such splendid structures are hidden from general public and allowed to become the haunts of vandals and anti-social elements; had these been located elsewhere in the kind of garden settings that these were envisaged with, they would have been the treat of the place and a joy to behold.

Tower view

Even today the structures would prove to be magnetic towards visitors, but if only the park is well maintained and the portions of it that have become overly vegetated cropped and landscaped along with the provision of visitor facilities like clean drinking water and toilets – though there are water taps located right next to the park entrance, either they weren’t working or looking at their condition one began to suspect if they are hygienic and the water served clean. There are no toilets even in the famous Hauz Khas complex adjacent to the park, so fat chance of the introduction of such facilities here. As I said, it’s a pity, except that the pity doesn’t come from the authorities who have convinced themselves that only a handful of monuments in the city deserve their attention and conservation efforts and have turned a blind eye to the rest. Makes you think that the Ministry of Culture and Tourism is actually a farce – all they are concerned with is the tourist flow and would actually restore only those monuments, organize such concerts and events where tourist footfall is expected and conveniently forget the rest.

Forgotten - Mihrab within the tomb

Location: Deer Park
Nearest Metro Station: Hauz Khas
How to reach: One can walk from the metro station; availing a autorickshaw is advisable since the distance between the two is roughly 2 kilometers.
Entrance fees: Nil
Photography/Video charges: Nil
Time required for sightseeing: 20 min
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June 13, 2013

Hauz Khas Complex, New Delhi

Though he himself was an illiterate man with unabashed contempt for learning & arts, Alauddin Khilji, Sultan of India from 1296-1316 AD, took it upon himself to convert Delhi into a citadel of intellect & craftsmanship, hiring over 30,000 builders & artists, patronizing 47 of the most gifted men of his time in his court & enabling the acquisition of knowledge & skill from neighboring nations. His work force of builders could raise a fortress in 2-3 days flat!! (I think that is quite exaggerated, but then 30,000 is no small number either). Among his court nobles were the notable poets Amir Khusroe & Amir Hassan, the historians Kabir-ud-din & Amir Arsalan & the theologians Ruknuddin & Qazi Mughlis-ud-din. He was also a devotee of Nizamuddin Auliya, the patron saint of Delhi. Despite these qualities, Alauddin was by heart a military warlord & a clever strategist, who built his city Siri on the lopped-off heads of over 8,000 Mongols who dared attack his capital (read more here - Pixelated Memories - Siri Fort Remains). He consolidated his empire at a time when almost the whole of Asia was reeling under frequent Mongol attacks & raids, he invited talent from the furthest confines of Asia & Africa, turned his court into a refuge of the learned & the talented. It is thus a fitting tribute to Alauddin, the patron of the learned, that Feroz Shah Tughlaq (ruled AD 1351-88), the master builder-architect Sultan of Delhi, constructed a magnificent center of learning next to the hauz (“hauz” is “water tank” in Persian) commissioned by Alauddin to provide water to his subjects residing in Siri. Alauddin had this tank (dimensions 600 X 700 X 4 meter cube) dug up to collect rainwater when his city was being built & christened it Hauz-i-Alai, but over the years the tank had become silted due to lack of maintenance & neglect. An acute water shortage forced Feroz to build a new citadel at Ferozabad at the bank of river Yamuna & he also had the Hauz-i-Alai tank de-silted & repaired. Following this, he undertook extensive construction activity in the area around the tank. Feroz always liked building things, he would build fortresses & hunting lodges, establish cities, repair mosques, tombs & minarets – he left his mark everywhere he visited in the form of sturdy structures crafted with impeccable artistry & fine taste. He too showed a great zeal for the cause of education & it was in his time that “the capital of Delhi, by the presence of unrivalled men of great talents had become the envy of Baghdad, the rival of Cairo & the equal of Constantinople” (Zia-ud-din Barani, traveler-historian).

Alauddin's Tank, now much reduced in size

The newly renovated tank was christened “Hauz Khas” (“Royal Tank”) & Feroz Tughlaq’s double-storied madrasa (institute of Islamic learning) came up next it in AD 1352. Its architects were Malik Ghazi Shahna & Abdul Haq. The large, architecturally impressive madrasa built of rubble was christened Madrasa-i-Feroz Shahi & went on to become one of the foremost institutions of learning in the world. Learned men, theologians & teachers would come from within the country & abroad to the madrasa, large-scale seminars were organized regularly, the esteemed students would learn various subjects including arts, theology, history, philosophy, calligraphy & mathematics. The madrasa had an associated mosque for use by the students, teachers & visitors – though not as large as the mosque Feroz had built in his citadel of Ferozabad/Feroz Shah Kotla (refer Pixelated Memories - Kotla Feroz Shah), it certainly looks distinguished even now despite being in a ruinous state for several centuries. The madrasa was well-funded & well-equipped, its first Director was Jalal-ud-din Rumi, himself a very learned & renowned man. Though now in ruins, the madrasa was originally covered with plaster & brilliant stucco work, the walls were painted in bright colors like red, the domes were painted golden. The vibrant colors were reflected by the water of the tank & the overall effect was that of striking brilliance. The rooms of the madrasa used to be covered with fine Persian rugs, the doors were of sandalwood. Gardens filled with flowering plants & fruit-bearing trees surrounded the complex. Alauddin’s tank was the site where Feroz’s predecessors Ghiyasuddin Tughlaq & Muhammad Juna Tughlaq encamped when they fought against & seized Delhi from Khusrau Khan in AD 1320. Feroz’s madrasa-tank complex became the site where the Mongol invader Timur encamped when he sacked Delhi in AD 1398. Even Timur sings paeans to the glory & affluence of the madrasa & its surrounding village Tarapur (literally "The Abode of Happiness").

Past the streets of the upcoming Hauz Khas Village, lined with high-end boutiques, eateries, coffee houses & showrooms that sell everything from cars to home décor, often hailed as the arrival of Delhi on the stage of luxurious living & Bohemian culture, the entry to the historic site of the madrasa is through a rubble arch that comes as a surprise at the end of the narrow lane teeming with cigarette-smoking youngsters, short skirt wearing girls, English-speaking men & women who would drive a hard bargain unmindful of the wads of cash they carry in their pockets (the place is still referred to as a “Village”, mind you!!). Oh & BMWs zip past kids whose protruding rib bones would put any pulchritudinous model to shame. Perhaps the absence of a ticket counter too contributes to this feeling of surprise. Behind the façade of glamour & wealth, the centuries-old secluded madrasa nestled in a quaint little complex, a symbol of man’s eternal quest for knowledge & education, suddenly finds itself transported into an era where modern-day students throng to its hallowed grounds not for world-class education, but to make out & find an escape from the oppressive burden of socializing & maintaining modesty.

In through the arched entrance, one arrives straight into a small garden, landscaped with grass, dotted with a few tombs - everything cramped into a small area & hemmed in on three of its sides by residential apartments & showrooms. The fourth side overlooks the tank dug up by Alauddin, which even though it has been greatly reduced in its size as a result of the demands of an ever-expanding urban Delhi, is still a vast body of water flanked by lush greens where the ducks waddle by quickly, perhaps afraid that their quacks would disturb your contemplation. The whole tank, visible from the entrance, comes as a surprise to hardcore Delhiites like me who have a hard time imagining a large lake & green lands in the center of Delhi. The larger part of the complex & the lake, including the madrasa’s huge entrances & the associated gardens, have been lost to encroachment, what survives is now being protected by the government by transforming it into a park-cum-tourist spot.

After the lake, the first thing one notices is a cluster of five pavilions, each unique in its own stead, located just across a railing opposite the entrance. Three of these Tughlaq-era pavilions are actually tombs, perhaps belonging to the teachers who taught in the madrasa, a fact that becomes clear as soon as one climbs into one of these pavilions & notices that a shallowly-marked grave rests in the center of the pavilion, merging seamlessly with its bottom. Most historians believe that the simplistic tombs were built in such a fashion to enable pupils to sit & study in the “presence” of their dear departed teachers. Wouldn’t the students be horrified, I wonder??! Of the three tombs, one is four-sided, another six-sided & the last eight-sided, each with a large, simple dome that rests on a drum (base) that is “2n” sided, n being the number of sides of the tomb. Both the roof of the tomb & the drum are decorated with kanguras (battlement-like projection that serve ornamentation purpose). Austere & unornamented, these tombs are charming in their own stead. One thing that they do seem to prove is that teachers are usually relegated to humble lives & simpler farewells in our society – both medieval & modern. The large, hemispherical dome rests on thick pillars & the overall picture is that of striking symmetry. On the inside, the domes have lost most of their ornamentation & are actually falling apart at the places, the only embossment still retained are the bands of calligraphy that mark the base of the dome. Even these bands are discontinuous. Pigeons & parrots – those wanderers whose favorite haunts are tombs & old monuments – nest in the holes in the dome.

The pavilion tombs & the cylindrical pavilion (right)

The other two pavilions are cylindrical in design & are not large enough to accommodate graves within. The purpose of these pavilions is not clear, however it has been argued that these were part of some of the larger structures of the madrasa, now lost, given the presence of heavy projecting stone beams attached to their dome drums. Several men sat in the cylindrical pavilion in the far of corner of the grassy patch, deep in discussion they were. I wondered if the students too would sit here in Tughlaq’s time, a cup of tea or sherbet in their hands, discussing concepts & exams like we now do in our college canteens.

After having photographed the pavilion-tombs I was in a bit dilemma – next to the pavilion-tombs stands the comparatively larger, slightly pinkish tomb of Feroz Shah Tughlaq & next to it stretches a portion of the magnificent madrasa, but on the others side of the entrance were more, smaller, domed pavilions that beckoned me with their colonnades.

Feroz Shah Tughlaq's Tomb

I decided to see the colonnaded pavilions first as these were relatively smaller & could be photographed quickly. That & the presence of hot girls sitting in the shade of the pavilions!! This particular cluster of pavilions is made up of three interlinked domed-structures that form a T-shaped building, a dome mounted on each corner of the T. The pillared halls of the two arms of the T form a long arcade, the last side actually looks a bit out of place. The entire structure stands on a high platform, there is a small tank (now dry) at the base of the platform & the ruined remains of a staircase with large windows exists close by from where one can descend to the lower levels of the madrasa.

The three-domed pavilion

The roof of the T-cluster is supported by strong square pillars, after all the whole structure has existed for more than 650 years. Though the purpose of this building too is not known, it is conjectured that it was used as a seminar room when the classrooms of the madrasa fell short of accommodating all the students present. Some historians say the structure too housed graves, though none can be seen now. Obvious to all this, the structure is fairly famous with tourists & youngsters trying their hand at modeling & photography which can be gauged by the number of young boys & girls posing & photographing each other here. Interestingly, after the fall of the Tughlaq Dynasty following the death of Feroz in 1388 AD & subsequent raid on Delhi by Mongols led by Timur in 1398 AD, the structures fell in disuse & were used as residential accommodation by the population that settled in the complex.

Colonnades..

Next to the T-cluster are the remains of the in-house mosque of the madrasa that was used by the students & teachers residing here. Led to by a large, domed gateway, the open mosque consists of a Qibla wall (western wall of a mosque that indicates the direction of Mecca, faced by Muslims while praying) fixed with overhanging windows (“jharokhas”/wickets). The windows are unique to this mosque as elsewhere the Qibla/Mihrab walls are continuous structures with no openings & fairly rich in ornamentation & calligraphy. Sadly the gateway to the mosque is barred with iron railing, an ASI-installed board nearby details the mosque’s architectural features but nobody around knows or cares to know why entry to the mosque is disallowed. Perhaps the authorities did not want the couples who frequent the complex to make out in a mosque. A crumbling staircase next to the mosque leads to the lower level of the madrasa, from here one can have an unhindered view of the tank & the jharokhas that ornament the mosque. Small cells line one side of the alley, the other side, now in a totally run-down state, perhaps once had arched openings from where the resident students could enjoy the cold breeze & the whiff of food that would come wafting from around the tank. The cells are now taken up by couples searching for places to get cozy with each other.

The mosque as seen from the tank level

One can see the ducks & the pintails waddle around in the water below, a few capsized boats bob on the surface of the still water that is disturbed only by the ducks & not even ruffled by the wind. At the very end of the alley, one can climb down the stairs to reach the ground floor of the madrasa but the staircases are blocked by means of extremely sharp barbed wires. I tore my jeans trying to navigate myself on the ledge along the wire. Sad & frustrated, I walked back & climbed the stairs leading to the mosque & T-cluster. The small structure in front of the small tank near the T-cluster also does not lead down to the ground floor, though a dark & narrow, downward spiraling staircase leads to the first floor of the madrasa. At least from here the view of the other wing of the madrasa (perpendicular to this wing which consists of T-cluster & the mosque) with the pinkish-creamish tomb on one corner & a domed tower made of black-ish stone on the other is splendid.

The tombs & one of the wings of the madrasa

Back near the entrance, I head to Feroz’s tomb. I had never actually imagined that the Sultan of India would opt for such a simple resting place for himself. The square tomb, much larger than the rest, is a very simple structure, quite in line with Tughlaq-era structures that were known for their straight, fortified walls & battlement ornamentation. It forms a pivot to which the two perpendicular wings of the madrasa connect to (in effect, the madrasa is L-shaped) & looms above the rest of the structures. The tomb is built with quartzite rubble finished with plaster to give it a smooth, white appearance. The dome rests on an octagonal drum (base), the finial topping it is small & circular. Both the drum & the roof are detailed with a row of red sandstone kanguras (battlement-like ornamentation). Though not built in a defensive pattern, Feroz’s Tomb is only ornamented around the entrance & that too in a very dignified, somber manner – the entrance is set in a larger niche, a small jaali (stone latticework), calligraphic detail & medallions – that’s about it. Interestingly, the entrance is not arched, but trabeate in nature – stone ledges panning the distance between two ends – an architectural style that is very common in Hindu & Buddhist structures (the Muslims employed arches in their palaces, tombs & mosques). Even more interesting is the presence of a small courtyard marked by a stone railing which is reminiscent of Buddhist temples & viharas of that era. Feroz belonged to the line of Qaraunah Turks (as the Tughlaqs were known as) who prided themselves for being born from Hindu mothers & Turkish fathers & therefore “possessing both Hindu modest & Turkish virility”, he was the son of a Rajput Hindu mother, his prime minister Malik Maqbul Telangani was a convert from Hinduism & so was the architect Abdul Haq – perhaps all these factors had a role in influencing Feroz’s choice of a tomb built in Hindu-Buddhist pattern.

The emperor's tomb

Three steps led inside his Tomb, the interiors are vast & better decorated than the exteriors. Feroz’s grave lies in the center, on one side sleep his son & grandsons. In the corners, squinch arches are used to convert the square tomb’s roof into an eight-sided polygon so as to support the dome. This is again a step back in terms of architecture because by Feroz’s time, native Indian artists had mastered Islamic building techniques & knew how to build true arches & domes. Squinch arches were prevalent half a century before Feroz’s time during the reign of Sultan Shamsh-ud-din Iltutmish as is apparent from his tomb (refer Pixelated Memories - Iltutmish's Tomb). The dome rests on a band of calligraphy which further rests on another band with regular geometric patterns. It is marked with medallions in several sizes, each inscribed with calligraphy drawing upon the Quran & the Hadiths, arranged around two concentric stars with a large medallion for their center.

Quranic verses & Hadiths - Feroz's blanket

The particular verses inscribed on the medallions & the arches in Feroz’s tomb make their appearance as architectural additions for the first time here, they weren’t used as part of Sultanate architecture before. They are then seen in structures built during the reign of Sikandar Lodi (ruled AD 1489-1517), another sultan of Delhi who took an active interest in repairing structures built by previous sultans. It is now believed that it was Lodi who added these medallion embellishments to Feroz’s tomb when he had it repaired in the year 1507-08. Among these verses is one of my favorites, Quran Sura 109 –

"Say: O disbelievers!

I worship not that which ye worship; Nor worship ye that which I worship.

And I shall not worship that which ye worship. Nor will ye worship that which I worship.

Unto you your religion, and unto me my religion."

One of the domed entrances of the madrasa close to Feroz's Tomb

Next to Feroz’s Tomb is another domed structure that is part of the second wing of the madrasa & leads into it. Yet another domed chamber exists close to Feroz’s Tomb near the edge of the madrasa’s wing, this one however is barred by an iron door. Another portion of the madrasa, separated from the rest of the complex by a wall with a break for an entrance, has been converted into the office of the Archaeological Survey of India (A.S.I.), this is the only place in the complex where a water cooler dispensing cold water has been installed. This wing of the madrasa has several interconnected chambers & a number of overhanging windows (jharokhas) overlooking the tank – couples can be found sitting in these deep windows arm-in-arm, cooing into each other’s ears & glossing over their sweet dreams. This invasion of the medieval-structure by couples seems traumatic at first, tragic afterwards, acceptable later. Unmindful of the history of the structures or the scorching heat of Delhi’s summers, they would sit here in each other’s laps for hours. Some would also scratch their names on the walls, others resent the presence of photographers. An hour into the complex, one’s thoughts range from feeling sympathetic towards the couples who too need space to meet each other, hold hands & kiss, away from the eyes of unrelenting parents, gossiping relatives & those members of our society who proclaim themselves guardians of modesty & culture to feeling frustrated with them for looking at any history-loving &/or camera-toting person with distrust. Seriously, people if you want some privacy, get a room!!

Teeming with couples!!

The lower level of the madrasa can be reached by a staircase, the double colonnades here are in a better preserved condition, the pillars are all intact & so are the medallions. Most of the chambers on this level are only dimly illuminated by sunlight & the passageways that connect these chambers are totally dark. Consequentially, the passages are infested with bats & it is actually better to not make any noises when traversing these passages. The dark is so bad that you can’t even make where you are headed & might have a jolt or two when you encounter a step in the passage (It is better to pretend that the bats aren’t there, I was fine till someone pointed them out to me!!).

I found this pavilion tomb the most striking

After much asking around & consulting guards, I finally found a way to the tank. The route takes you out of the complex from the entrance you came in from, then across a series of shops in a narrow side lane that leads to more shops. At the end of these shops there is an even narrower lane that opens into a makeshift dump yard for electronic goods & construction material. The place has been marked as their territory by some of the best graffiti artists in Delhi – Daku, Iron Curtain, 156. Then guided by a few of the shopkeepers, I headed towards the right on another narrow lane that finally terminated into what looked like an entrance to a park (this point connects the nearby Deer Park to the Hauz Khas Park, I later found out. I shall be writing about the structures within Deer Park soon). Off a bridge, I finally reached the tank & saw the madrasa spread out in front of me.

Graffiti "Delhi style"

The lake is still, the partially submerged dead trees & capsized boats bob up & down. Ducks swim from one side to the other effortlessly. Colorful birds appear once in a while, only to disappear even quickly. Visitors to the complex, sitting in the large overhanging windows, glance down my way only to go back to their conversations & gossips. A few impoverished kids run around, unmindful of the history of the ruins that surround them. Ignorance they say is bliss. If the kids knew the stones they are playing with were laid on the orders of the sultan of the entire country, powerful enough to have their whole city destroyed & charred, would they still play here with the same enthusiasm??

Lucky to live alongside centuries-old heritage!!

A high & sharply inclined staircase can lead one up to the mosque, but the entrance from here too is barred by barbed wires. That did not deter some of our monument-spoilers to deface the mosque – they simply scribbled names & love letters on the exterior walls of the mosque. @$%^%^& (had a run in with some of those vandals at Deer Park too earlier that day, nasty creatures). On the other side, one can go around the madrasa & the black dome tower. The dome tower formed one of the original entries to the complex from the tank level, however now the staircases that led up are gone & the dome tower can only be reached by climbing through uneven land layered with thorny vegetation interspersed with glass shards from beer bottles. A small hovel exists close by & as with all slums, there are no sanitation facilities & the stink is simply gross. I did however climb through the slope & have photographs to prove it too. For those not so eager to see these structures from different sides, all entrances to the madrasa from the tank have been blocked, but one can go around the structures, sit on the tall grass, look at the ducks, feed them with tidbits, enjoy the cool breeze or simply contemplate how those boats in the tank capsized. The madrasa & the tombs present a magnificent picture, providing numerous point of views & different perspectives to a photographer’s delight. & while you are at it, don’t forget to check out the Munda Gumbad (“Bald Dome”), a double-storied structure that once was in the center of the tank but now stands away from it directly opposite Feroz’s Tomb but on the other side of the tank (thus giving us an estimate of the original size of the tank). I forgot that this structure exists too & will now have to go all the way to the complex (a good 2 hour journey by auto & metro from my home) just to see this one structure. But it would be worth it!!

Plan of the complex (Photo copyright - Anthony Welch)

The tank had dried up several years back as the sources that fed it were diverted for other uses. In 2005, Indian National Trust for Art & Cultural Heritage (INTACH) & Delhi Development Association (DDA) launched an extensive program to develop the lake again using treated sewage water. The program has been a huge success & now the water level of the tank is maintained constant with the aid of treated water & feed from nearby storm water drains. Several steps were also taken up to maintain the continuity of an active ecosystem around the lake including introduction of several fish species & regular cleaning of the tank to remove debris & decaying organic matter. The area around the complex was developed as a residential & commercial zone catering to the city’s wealthy. The market is one of the most expensive in all of Delhi & there are numerous art galleries, upscale boutiques, showrooms & restaurants.

Exquisite!! - A gift from Sultan Sikandar Lodi to Sultan Feroz Tughlaq

You have several options at your disposal once you are done with photographing monuments - visit one of the many eateries in the area & pleasure your taste buds, collect your thoughts sitting in one of the overhanging window of the madrasa (do this only if you can be cautious, there are no barricades to prevent you from falling), sit down near the tank with a cigarette (or a joint!!) between your fingers, or befriend some girls there like I did & let small talk relax you after a long day.

Open: 10 am – 6 pm
Nearest Metro Station: Green Park, however it’s quite a walk away (2.5 km) & it’s better to take an auto from the metro station.
How to reach: Take an auto or walk from the Green Park Metro Station. Ask the locals for directions. If going by car, keep in mind that parking inside the Hauz Khas “Village” is only allowed for the “villagers” & the rest have to park their cars at a parking lot near the village entrance.
Entrance fee: Nil
Photography/Video charges: Nil
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