Pixelated Memories: Archaeological Park

Showing posts with label Archaeological Park. Show all posts

September 29, 2014

Gandhak ki Baoli, Mehrauli Archaeological Park, Delhi

A few posts ago, I wrote an article pertaining to Rajon ki Baoli in Mehrauli Archaeological Park (Pixelated Memories - Rajon ki Baoli). Continuing with the thread, we head to Gandhak ki Baoli located not very far from the former at the periphery of the park and demarcating the vast complex from the congested, overcrowded Mehrauli village. The easiest way to reach the baoli therefore is not through the forested archaeological complex stuffed with thorny shambles and dense overgrowth, but from the outside – simply walk from Adham Khan’s tomb/Mehrauli bus terminal towards the adjacent shrines dedicated to Hazrat Qutbuddin Bakhtiyar Kaki and Sardar Banda Bahadur (the nondescript route is indicated by numerous markers and painted signage along the road), the baoli is only a couple of meters from the bus terminal along the route. In a commentary on the neglect on the part of authorities towards this beautiful medieval structure, though there are direction markers leading to the shrines, there are none indicating the presence of the baoli.

Containing water rich in sulphur ("gandhak") that is considered beneficial for skin ailments, the baoli was constructed during the reign of Sultan Shamshuddin Iltutmish (AD 1296-1316) – one belief is that the Sultan himself swiftly commissioned the baoli when he arrived uninvited to Hazrat Qutbuddin Bakhtiyar Kaki’s monastery and learnt that the saint, not being able to avail potable water for the purposes of bathing and ablutions, was forced to remain in a disheveled and unwashed state. The unadorned structure possesses five levels and diminishes in thickness as it descends deeper underground in order to withstand the increased subterranean pressure. The two monotonously plain arms of the baoli are composed of rough rubble and stone; simplistic narrow walkways define the boundary between the successively less wider levels and there are neither chambers circumambulating the structure nor alcoves ornamenting the surface as is the case with most baolis throughout the city. Only the topmost level displays a rudimentary cloistered area utilizing thin pillars that are reminiscent of pillars observed in the nearby Qutb complex (refer Pixelated Memories - Qutb Complex) that were derived from Hindu and Jain shrines for the construction of Quwwat-ul-Islam mosque; the lower levels display just two pillars demarcating the wall that separates the baoli tank from the well shaft behind. Despite its location in a naturally arid region unable to retain monsoonal overflow, the baoli continues to remain brimming with cool water for a major part of the year – in fact, though I visited the monument in scorching June and July, it was filled with water till just below its topmost level and local children were diving from the terraces into the tank. The splash of divers, combined with the laughter and shrieks of kids and the shouts of the elders sitting along the stairs and exchanging everyday news and gossip, is indescribable since it immediately transports an onlooker to a time framed eight centuries ago when the baoli was constructed since the scene hasn’t changed at all since then. This is one baoli that, true to its original purpose, continues to function as a venue for social congregations while providing respite from the sweltering heat.

Water, water everywhere

The baoli has not remained untouched by the urbanization pressure exerted by an ever expanding congested neighborhood and while its periphery has been wedged in by high iron railings, the entire area around has been engulfed by thickly populated residences and shanties – notwithstanding the important legislation prohibiting construction activities in a 100 meter radius around a monument, the baoli’s backyard has been taken over by a slum and commercial establishments are being ominously raised and run along the road snaking adjacent to the baoli unmindful of its historicity or heritage value. Though Delhi High Court severely reprimanded the municipal authorities and police way back in March 2014 on account of their failure to curb construction activities, I noted buildings coming up and being renovated immediately opposite the baoli as late as July 2014. As it is, the baoli already remains dry part of the year and is experiencing a decrement in its water level on account of the relentless massive water supply requirement of the local population, the construction work further compounds the problem many fold and endangers the baoli structure. It would be a major loss if the neglected baoli is any further damaged – the serene experience of being magically transported back in time and being alienated from the noise and commotion that ensues outside the enclosure is simply otherworldly and would be hard to replicate if this majestic 800-year old water monument is lost. There was a era long gone by when divers would jump in the water chasing after the coins thrown by visitors – that age is never coming again given Delhi’s depleted water table and the impossibility of reviving it; hope we don’t reach a situation in the future when people rue the absence of water in the baoli.

And not a drop to drink! (Photo courtesy - Wikimedia.org)

Sincerest thanks to Rangan Datta, a very warm person and an amazing blogger chronicling Calcutta's culture and monuments (Rangandatta.wordpress.com) for visiting the Mehrauli area with me and helping explore almost a dozen monuments, including this baoli.

Location: Mehrauli Archaeological Park
Open: All days, Sunrise to Sunset
Entrance Fees: Nil
Nearest Bus stop: Lado Serai
Nearest Metro Station: Saket
How to Reach: The Archaeological Park's entrance is immediately opposite Lado Serai bus stop and at the intersection of Mehrauli-Badarpur and Badarpur-Gurgaon roads. The metro station is further away and one can avail a 10-min bus ride from Saket to Lado Serai. Sandstone markers indicate the routes to different monuments inside the park.
Photography/Video charges: Nil
Time required for sightseeing: Approx. 20 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 famous baolis in Delhi -

Other monuments within the Archaeological Park premises -

Also located nearby -

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 –

September 09, 2014

Rajon ki Baoli, Mehrauli Archaeological Park, Delhi

Despite the presence of river Yamuna, Delhi has always been besieged by a deficiency of water, a problem further magnified by an amalgamation of extremely long spells of sweltering summer and the proximity to vast arid regions of Haryana and Rajasthan towards the south and west of the state. The medieval-era population of the city, thus overwhelmed, resorted to construction of wells, dams and artificial lakes to hold water during the short but cheerful monsoon and make it available for agriculture and daily consumption when the summer became scorching. Of all such practical water conservation and transfer structures built, the most aesthetically pleasing were the “baolis”, or step wells, that are even centuries later regarded as a brilliant fusion of architectural and artistic sensibilities conceived to serve simultaneously the purpose of both form and function. The general plan of a baoli consists of an enormously deep subterranean shaft equipped with a wide staircase descending to the water level, the face opposite the staircase outfitted with numerous shallow chambers and passages for the people to rest in and enjoy the considerably cooler ambiance, while the two arms connecting the staircase and the baoli face might possess similar chambers or ledges for the patrons to walk on that also act as diving boards facilitating plunges into the deep tank underneath for the more adventurous. There are, of course, exceptions to this rule – the baoli in Delhi’s medieval citadel Feroz Shah Kotla (refer Pixelated Memories - Feroz Shah Kotla) is circular, so are numerous other baolis scattered throughout north and central India; the one in Red Fort is L-shaped (refer Pixelated Memories - Red Fort Baoli) and though most baolis commissioned by Islamic rulers and patrons are relatively plain and unadorned, the ones built by Hindu kings and patrons are very finely detailed and sculpted into places of religious devotion and congregation. These step wells were not just source of water for daily ablutions and washing, but were also used for gatherings, leisurely swimming and as a resort against the sweltering summer heat.

The well of the masons

The historically important settlement at Mehrauli, considered to be the oldest populated region in Delhi and its vicinity, would have once faced an extreme scarcity of water given that the area is dotted by natural rocky outcrops that would not have been capable of retaining water runoff, hence the presence of several baolis, dams and water reservoirs here spread over more than a millennium of construction and architectural development. Rajon ki Baoli, also known as Rajon ki Bain, not the most popular, nor the largest or deepest, but certainly one of the most beautiful and architecturally prominent baolis of the city hides in plain view in the wilderness of Mehrauli Archaeological Park, camouflaging itself amongst numerous other medieval structures.

The beautiful baoli complex - On the right terrace are the tomb-mosque complex

Said to be constructed by a certain Daulat Khan during the reign of Sultan Sikandar Lodi (ruled AD 1489-1517), the grand baoli is said to be christened considering that it was used as a residence by local masons (“rajon”/”mistri”) till around the early 20th century. Descending down four levels, the baoli today holds a very small amount of black gooey water (hence the alternate name “Sookhi baoli” or “the dry step well”) and is not in use for any particular purpose except dumping wastes and polythene packets, but it nonetheless retains its original graceful charm and architectural beauty, especially since it has been very recently restored as part of the overall conservation effort for the entire archaeological complex being spearheaded by the Archaeological Survey of India (ASI) and the Indian National Trust for Art and Cultural Heritage (INTACH) – the baoli’s magnificence has more to do with the sudden thrill that one unexpectedly experiences on entering the small enclosure that makes up the circumference of the baoli and its associated structures since the descending structure slowly reveals itself to the eye as one walks towards the broad staircase. On either side run a row of chambers along the first level culminating into a circumambulatory cloistered and enclosed passageway on the baoli’s opposite face. The levels down below, except for the chambers on the face, are entirely plain and display the rough hewn rock and the bare rubble framework of the entire structure. On the left side though, a few large fragments of the underlying rock still protrude from the walls and it set me thinking as to why these fragments were never removed even though the baoli has been in existence for over five centuries and has been in use for a major part of its age. The walls also have small shallow alcoves where once earthenware lamps (“diyas”) would have been lighted up for ease of use during night gatherings and ablutions.

Dry and desolate - Another view of the baoli's structure

Staircases on either side lead up to the terrace level and from here one can spot the vast expanse of the archaeological park spread around and even make out the domes and outlines of several tombs and wall mosques (“qiblas”) strewn around the historic baoli complex. On the right terrace exist a small rectangular mosque and a distinctive twelve-pillared canopy tomb (“barakhamba”). Opposite the tomb is an alternate entrance that connects the terrace to that particular side of the archaeological complex. The entrance gateway is a compelling structure, it is always interesting to observe the trabeate arches (thick stone ledges of subsequently increasing sizes placed one over the other to span space), invented (and modified to resemble arches) by Hindu masons for their Muslim patrons and emperors in the immediate aftermath of the first Muslim invasions in the country (late 12th century), but the touch of Hindu influences, in the form of elephants and round vessels overflowing with vines or floral outbursts, is ubiquitous in the entire structure despite the fact that it was being used several centuries after it was first modified for use in Muslim religious buildings. Though the construction of a proper arch (Roman arch) had been mastered by the time the baoli complex was developed, the artists and sculptors continued to use the trabeate arch and ornament it in the fashion of yore proves that the unique design found resonance amongst the patrons who commissioned these structures. Proceeding towards the mosque-tomb duo one occasionally peeps down on the expansive stairs of the baoli – the depth and the square strength of the structure, combined with a fear of heights and an inability to swim, gave me a sudden rush of adrenaline and set my heart racing apace!

Blue! - The twelve-pillared tomb and the mosque adjacent

The tomb is a handsome little structure with a perfectly round dome embossed with an inverted floral imprint and surmounted by a lotus finial. Very well preserved considering its vintage, the tomb displays remnants of blue tiles ornamenting the kanguras (battlement-like ornamentation) along its roof and drum (base) of dome. A red sandstone plaque embedded in the side facing the entrance gateway is inscribed with calligraphy text detailing that it was commissioned in AD 1506 and constructed during the reign of Sultan Sikandar Lodi. Externally, the tomb appears to be an exact, though slight larger, architectural replica of a similar tomb that stands opposite the baoli complex and has been mentioned about here – Pixelated Memories - Lodi-era Canopy Tomb, but when one peeps in one can make out numerous differences, for instance this tomb doesn't have any decorative sandstone brackets along the dome’s concave surface for ornamentation, but does possess a fairly well-defined incised plaster roof medallion and a pretty band of calligraphy above a strip of decorative alcove patterns.

One of the gorgeous stucco medallions on the mosque's surface. Similar medallions of several exquisite designs also adorn the baoli's cloisters.

The mosque adjacent, though restored and plastered over externally, remains untouched internally and presents a strange gloomy picture as if it sits at the interface of two extremely different and separated time periods – one modern, glowing and majestically ornamented, the other dark, decaying and subjected to isolation and neglect. Indeed there couldn't have been a better picture of contrasts, while on the exterior the gorgeous and very exquisite medallions beckon visitors, the interiors are draped in layers of cobwebs and small mud nests of hornets. Nonetheless, the mosque retains an outward appearance of serenity, further magnified by the silence and seclusion it espouses – the three wide arched entrances throw in large swathes of light and set the double pillars, the intricate clusters of brackets along the roof and the medallions adorning the walls ablaze in a play of light and shadows. The mihrabs (wall of a mosque indicating the direction of Mecca, to be faced by the faithful while offering prayers) have been sculpted skillfully and ornamented with intricate medallions and elaborate rows of calligraphic inscriptions interspersed by dexterous use of convoluted and striking floral and geometric patterns. Through staircases built in each edge of the mosque’s front face, one can climb up the domeless roof and observe the majesty of the gigantic baoli foreshadowed by the perfect dome of the tomb seated between and the vibrance of the brilliant blue tiles shattering the dull monotony of red sandstone. Hundreds of peacocks that nest in the trees surrounding the baoli take to air suddenly and without any provocation and dazzle every onlooker – from the workers intent on restoring the baoli’s structure to the visitors marveling at its beauty – with a noisome flutter of wings and shuddering of entire trees when they alight.

Dark and ignored - The mosque's interiors and the distinctive Lodi architecture influences

Climbing down, I headed to the cavernous cloistered passages on either side of the baoli – I still cannot fathom why all medieval monuments have such narrow stairs built in their walls, and then too with such far-spaced steps – hoping that in those days the walls flanking the flight of steps weren't engulfed in thick layers of spider webs like they are today, the dark and narrow staircases still are disasters waiting to happen! The elegant symmetry of the passages, with rows of arched openings on one side looking down to the baoli and walls lined with solid pillars culminating in arched walkways, is beyond belief picturesque. The silence is mesmerizing, one can easily be lost here and spend hours with a book or with earphones plugged in without the outside world bothering or even knowing. One can also climb, through similarly narrow staircases, to even lower levels of the baoli, if not inhibited by a fear of rough uneven staircases and the surface holes one is supposed to descend into to reach and explore them.

One of the passages and one of the most common click of the baoli

It is a pity that the baoli, delightfully bejeweled with stunning medallions and fine stucco moldings in several patterns, is nestled amidst such a wilderness in the extreme corner of the vast archaeological complex, with only thorny bushes, feral dogs and stinking pigs for company, though it is in a much better condition structurally and aesthetically when compared to the twelve-pillared canopy tomb immediately opposite it and across the unpaved pathway, or the other assorted crumbling and forgotten structures that encircle it on all sides throughout the massive complex, but one has only to walk around behind the baoli to see that the mosque’s walls are still blackened and at several places reveal the rubble base underneath, or that the arcade around the octagonal well abutting the baoli on its backside is entirely assimilated in vegetation and can do with a much-desired clearing of the thorny foliage. One can only hope that in a few years when the structures in the archaeological complex have been properly excavated and restored and the park is entirely developed and lined with walkways and gardens, the baoli would be a centerpiece, far more renowned and attractive than it is today.

Forested and forgotten - The baoli mosque's backyard

Location: Mehrauli Archaeological Park
Open: All days, Sunrise to Sunset

Entrance Fees: Nil

Nearest Bus stop: Lado Serai
Nearest Metro Station: Saket
How to Reach: The Archaeological Park's entrance is immediately opposite Lado Serai bus stop and at the intersection of Mehrauli-Badarpur and Badarpur-Gurgaon roads. The metro station is further away and one can avail a 10-min bus ride from Saket to Lado Serai. 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 famous baolis in Delhi -

Other monuments within the Archaeological Park premises -

Suggested Reading - Terrascape.in - "The baolis of Mehrauli" by Sohail Hashmi

August 13, 2014

Chaumukh Darwaza, Mehrauli Archaeological Park, Delhi

In an isolated corner of Mehrauli Archaeological Park, forgotten by the residents of the ancient city of cities that is Delhi, ignored by archaeological-conservation authorities and tourists alike, reclaimed by vegetation and foliage and veiled by a blanket of dense trees and brilliant sunshine, come face-to-face remnants of several centuries of human existence that culminated into a highly advanced yet culturally sublime civilization whose roots stretch back to several eons in history. Standing testimony to the residence of skilled builder-craftsmen and exceptionally talented artists in this part of the world, these monuments, that have long since passed from the collective memory of those who still inhabit the surrounding country, represent a fusion of several architectural and artistic cultures, a coming together of traditions that had made journeys worth several thousand miles and an equal number of years in time, a flowering of new forms of art and construction from the stalks of existing knowledge and traditional practices. Of all the structures in the vast open plain here, the most frequently overlooked and seldom written about is probably the oldest, and yet it doesn’t play the part of the elderly. In the shadow of the renowned Qutb Minar and Quwwat-ul-Islam mosque, respectively the oldest Islamic structures in the magnificent city and amongst the oldest in the country, enclosed by a curtain of trees and consigned to a sorry existence by layers upon layers of rotting, stench-emitting garbage that seem to grow exponentially, the Chaumukh Darwaza (“four-faced gateway”) happens to be the earliest construction in the region – one of the few surviving gateways of the majestic Lal Kot, the erstwhile gigantic “red fortress” of the Tomar and Chauhan Hindu Rajputs (AD 736-1192) who reigned over immense territories stretching all the way from modern Rajasthan and Haryana to the frontiers of Punjab. Of the thirteen gateways of Lal Kot, Chaumukh Darwaza happens to be the most easily accessible and yet it is rare for a tourist to venture in and explore this section of Mehrauli Archaeological Park despite its proximity to the handsome tomb of Quli Khan (refer Pixelated Memories - Quli Khan's Tomb) – it might have something to do with the huge number of monuments, in different stages of excavation, that are being restored and made visually palatable throughout the massive archaeological park and especially enroute to the gateway, or with the notion that after numerous exquisitely adorned and intricately carved tombs and mosques, a simplistic rubble masonry wall running division between modern residential quarters and medieval heritage structures holds little artistic and architectural value – and yet, it is this long stretch of thick curtain wall, intermittently interspersed with bastions and slight turns, that once demarcated the ancient Hindu citadel from the surrounding countryside.

Delhi's original gateway!

The defensive gateway doesn’t appear eight centuries old, it has been repaired time and again by the numerous dynasties that reigned over the country with Delhi as their seat of strength – the immensely thick sloping walls and the squat, low appearance, made more prominent by the thick base, conveys unparalleled strength and obstinate steadfastness, and is reminiscent of the architecturally-rich Tughlaq-era (AD 1325-1414) construction which was known for its lack of ornamentation and emphasis on function over form. The gateway is said to be one of the principle entrances to the city – it isn’t hard to drift into a world of imagination and fantasy and visualize it as being flanked by low makeshift bazaars composed of tents and small wooden pedestals where traders and merchants stock fruits, vegetables, flour and spices, along the paved tracks are brought bundles of cloth and stocks of firewood by means of horse and bullock carts and a steady stream of people – merchants, travelers, pilgrims, soldiers and criminals – traverse in and out all the time while sentries posted on either side inspect people and their wares in the midst of continuous hum of the chatter of people, jovial cries of children, barks of domesticated dogs, and shouts and music of conjurers, snake charmers and acrobats.

One of the bastions along this stretch of the wall; the gateway peeps from behind the vegetation in the background. The corners have fallen apart where the wall makes extreme turns and one can cross to the residential colony opposite Quli Khan's tomb from there.

Alas, today heaps of garbage and construction debris being dumped right upto the raised, paved pathway leading to the gateway turn a hopeful visit into a futile excursion since the way to the gateway is blocked and one has to traverse through a flood of food packets, polythene and vegetable waste beside glass shreds and piles of stone and cement, in the company of groaning dump trucks and waste-filled trolley tractors – one begins to wonder if this is actually the backyard of the Qutb Complex, a World Heritage Site, and the magnificently restored monuments stand just around the corner. Oh Delhi, what have you done!

Location: Near Quli Khan's tomb, Mehrauli Archaeological Park (Coordinates: 28°31'24.6"N 77°11'14.8"E)
How to reach: One can walk from Quli Khan's tomb (red sandstone markers within the park indicate the way to the tomb); alternately one can access the gateway from Qutb complex.
Open: Sunrise to sunset
Entrance fees: Nil
Photography/Video charges: Nil
Time required for sightseeing: 20 min
Relevant Links -

Suggested reading -

Thehindu.com - Article "Monument stripped of old stones" (dated Sep 08, 2003) by Mandira Nayar

December 13, 2013

Lodi-era Canopy Tomb, Mehrauli Archaeological Park, New Delhi

Mehrauli, which is the oldest continuously inhabited area in Delhi (it was apparently named “Mihroli” after King Mihr Bhoj who reigned several millennia back), is nowadays famous for the largest archaeological space in the city – the Mehrauli Archaeological Park. More of a necropolis spread over several acres that boasts of tombs, baolis (“step wells”) & wall mosques, the Archaeological Park also houses a lone canopy tomb not unlike many others seen in different parts of the city. Blackish in hue & retaining much of its original ornamentation, the canopy tomb dates back to the reign of the Lodi Dynasty (AD 1451-1526) & consists of a umbrella dome resting on twelve pillars. It stands next to Rajon ki Baoli, one of the finest step-wells that exists in the city; but sadly the local population, possessing but little education & being largely unaware of the heritage spreading over several millennia strewn around them, have condemned both the baoli & the tomb to the fate of a pig sty – filth (black as tar & equally thick), thorny outgrowth dense enough to prove non-negotiable & a large population of four-legged beings comprising equally of dogs & pigs & consisting of a few cows too that call this sewage & polythene filled pit their dear home are what lie in store for a visitor curious enough to brave the curving track of the Archaeological Park to reach this particular point.

Shrouded by foliage

If you still haven’t got the bigger picture, let me assure you that the path leading to the tomb is perfectly fine – a simple mud track cleared of debris & vegetation; in fact even on nearing to a certain extent the scene is pristine – the ruins of the semi-octagonal bastions at the corners of the wall that makes up the perimeter around the plinth on which the tomb stands give the appearance of a miniature fortress, a stone stronghold forgotten in this dense vegetation meant to guard the graves assigned to it for safe keep. The honks of cars & the chatter of humanity is lost on the way to this virgin corner; modernity is left behind; brilliant red birds, big black ants & vividly-colored butterflies are company here. Occasionally one might come across another person who would be as surprised on seeing you as you are on seeing them in this distant corner...
It is the stench that first reaches the visitor - the decay around cannot be ignored, not even if you put all your attention into photographing the structure!! Next comes the sight & sound – pigs grunting at you would not have been so terrifying if they were not so large & not accompanied by dogs that bared their teeth at the slightest pretext!! The pristine, virgin monument turns out to be part of a desolate, forsaken corner. Rubble from collapsed & collapsing structures is strewn around the tomb; the double staircase leading up to the plinth level is surrounded by this downpour of debris - at some places, the only way to reach the plinth is to leap over heaps of rubble collected on/around the stairs.

Protected by bastions

The dome of the tomb rests on an eight-sided drum (base) & is ornamented with leaf motif emerging from the lotus finial. The drum too displays leaf motif though of a different design while the roof of the tomb is marked by a row of kanguras (battlement-like decorative pattern). The pillars that support the dome are simplistic rough, rectangular blocks possessing ornamentation only along their top where they mutate into four-pronged brackets to support the weight of the dome. The inside of the dome reveals floral artwork in incised plaster directly underneath the finial – it appears that once the design must have encompassed most of the dome but it was lost with time & subsequent restoration work limited it to the present state. At each point where the pillars meet the dome, the brackets take a decorative form resembling a lotus bud with more curves sprouting out of it topped by an intricate design; a row of ornamental arched alcoves inlaid within rectangular niches & flanked by floral plasterwork moves around the inside of the dome dividing it into two halves horizontally - but not all the alcoves & lotus brackets are the same - many are simply shorn of all decorative features that their counterparts proudly flaunt, perhaps some conservation artist thought its better to have a plain plaster surface than display remnants of the original artwork.

Adorned by lotus brackets

Several graves are scattered underneath the canopy, more surround it, covering both the plinth & the ground around the tomb with a carpet of dead & their mausoleums – some of these are in perfect conditions with their rounded tops & sharply-defined edges, others are broken & crumbling, some even have grass sprouting through their broken faces. There must be at least a score graves here – the canopy seems to be a favorite burial spot at the time!!

Surrounded by graves

The red-sandstone plaque installed by INTACH (Indian National Trust for Art and Cultural Heritage) close to the tomb reads –

“The colonnaded tomb stands on a rather large plinth over which are several graves. In a ruinous condition, the staircase to the plinth leads from each side of an arched opening that leads to a flat domed chamber. The corners of the plinth are emphasized by semi-octagonal bastions. Towards the east of the tomb canopy are remnants of another similar building.”

I assume it’s not just me but every heritage enthusiast-photographer who feels a strange thrill, a sudden rush of adrenaline at discovering a hitherto hidden & largely forgotten structure such as this tomb. No matter how debilitating the stench around it is, or how dangerous those big, bad dogs appear, there is a beauty in such structures that defies their surrounding & the condition they have been subjected to. If only the whole of the Archaeological Park is landscaped & beautified (much like the unbelievable conversion by Lady Willingdon of the erstwhile Khairpur Village to the splendid stretch now known as Lodi Gardens) so that more people can behold the architectural gems that the Park houses.

Framed by ruins

Some heaps of debris scattered right & left only adds to the charm of these centuries-old monuments!! Be there to see for yourself! (& while you are at it, you can also spare some time for the other monuments in the park, am adding the links at the end of this post)

Location: Mehrauli Archaeological Park
Open: All days, Sunrise to Sunset
Nearest Metro Station: Saket
Entrance Fee: Nil
Photography/Video charges: Nil
How to Reach: After getting down at Saket Station, one can walk to Lado Serai bus stop. Buses are available from different parts of the city for Mehrauli & one can alight from the bus at Lado Serai stop itself. The unmarked entrance to the Archaeological Park is through an iron gate opposite Ahinsa Sthal (situated couple of hundred meters away from Lado Serai, refer Pixelated Memories - Ahinsa Sthal)
Time required for sightseeing: 20 min
Note – There are no facilities (toilets, food & 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 kilometer away.
Other monuments within the Archaeological Park -

May 31, 2013

Quli Khan's Tomb, New Delhi

History is a strange subject – it deals with myriads of personalities, millions of events & thousands of ifs. Shades of grey intersperse its extremes time & again – there is no such thing as a good or bad person, the only thing that matters to history is perspective & outcome. Such is the fickle nature of history & historians that often a powerful character is lost in the reams of pages, other times even a minor character is exposed to the scrutiny of the future generations due to the flick of a single action or event. There is perhaps not an iota of doubt that Mohammad Quli Khan, the subject of this article, perhaps never did anything that warranted his exclusion from the layers of history – he was not your ordinary guy next door, but a powerful general in the army of the Mughal emperor Jalal-ud-din Muhammad Akbar (ruled AD 1556-1605), at one time his powers must have been vast considering he was the foster brother of the emperor himself. & yet, nobody knows who our hero was, what his capabilities & achievements were, if he ever fought in any major battle to win territories for the emperor, if he ever vanquished the enemies of the land or if he was a beloved of the people. On the outset of this article, one can also debate if he passed on to the dark side & was corrupted by power, if the people disliked him & wanted him dislodged from his position of authority. We do not know that either. Did he fall out with the emperor & the latter had him killed?? After all, history does remember his blood brother Adham Khan, that powerful general whose very name brought terror to the hearts of his enemies, who brought rape & plunder to the territories he was asked to subdue,& who was finally brought to his end by the orders of the very emperor he had grown up with & pledged his unflinching loyalty to.

Growing up as a child, Akbar did not stay much with his father Emperor Humayun (ruled AD 1530-40 & 1555-56). Humayun was defeated by the armies led by the Afghan warlord & Governor of Bihar Sher Shah Suri in AD 1540. As a precaution against future complications, Sher Shah chased Humayun out of the country & the latter was forced to seek asylum with Shah Tahmasp, the Sultan of Persia. During this period, Akbar was raised by his wet nurses Jiji Anga & Maham Anga – the two brought him up like their own child, Jiji’s husband Atgah Khan became a second father to the young prince, Maham Anga’s sons Adham & Quli became Akbar’s playmates & brothers. In 1555, Humayun returned to India assisted by the Persian forces & displaced Sikandar Suri, the last of the Sur Dynasty rulers & the then emperor of India. Humayun passed away a year later as a result of injuries suffered in a fall & the young prince was crowned emperor at the tender age of 14. He elevated Quli Khan, Adham Khan & Atgah Khan to the position of army generals & they rose further on account of their unflinching loyalty to the empire & battle worthiness.

Mohammad Quli Khan's Tomb

Sadly, there are no records to tell us anything about Mohammad Quli Khan. His mere existence would have been lost to the tricks of history were it not for one single structure that refuses to cease to exist almost 400 years after his death – his tomb, built somewhere in early 17th century. The structure, relegated to a pristine, forgotten corner of Mehrauli Archaeological Park, is one of the most stunning tombs in the entire city of Delhi. Its magnificence is matched only by its seclusion, its brilliant stucco work & vibrantly-colored tiles that could have been the treat of the city hide their secrets well. The tomb, part of a larger complex, is built in a splendid manner with great effort having been taken for landscaping – it stands on a high plinth while the entire complex is built in a multi-layered manner, the lowest level being that of the Archaeological Park where it shares space with scores of other tombs & mosques, including that of the mighty emperor Ghiyasuddin Balban & the mystic Sufis Jamali & Kamali. It is not known who built the tomb – it could have been commissioned by Quli Khan himself, or emperor Akbar (provided Quli died before Akbar’s demise in AD 1605) or his successor Jahangir (ruled AD 1605-28), or even by his mother Maham Anga who possessed great power & command on account of being a second mother to the emperor.

As one follows the trail within the Archaeological Park & traces one’s steps towards Quli Khan’s tomb, one reaches the first level of the complex which is defined by a raised path snaking its way through dense vegetation, the stone margins that flank it interrupted b hexagonal bastions at regular intervals. One comes across a small irregular structure, built in such a manner that it looks as if several rectangular boxes of different sizes are stacked against each other – this is the entrance to the tomb complex that was added by Sir Thomas Metcalfe, a British officer of Scottish descent who acted as the British Agent (negotiator) at the court of the Mughal emperor Bahadur Shah “Zafar” II from 1835-53 & had bought the entire complex from the emperor, had it remodeled & converted into his country estate for use during the monsoon season & christened “Dilkhusha” (“Delighter of the heart”). It has often been claimed that Metcalfe removed Quli’s sarcophagus from the tomb & had it replaced by a billiards table, but it can be dismissed as a myth & an exaggeration of the amount of change that Metcalfe wreaked on the tomb complex – in all probability, Quli was buried deep underneath his tomb’s central chamber. Metcalfe did of course make several additions to the octagonal tomb & its surroundings – large cells (annexes) were built on two of its sides to accommodate him & his guests (it is said that he rented the place to honeymooning British & Anglo-Indian couples, what did they feel like sharing their “honeymoon suite” with a dead general??), he had canals dug around the complex & a Lodi-era dove coat near the above mentioned entrance to the estate was converted into a boat house, servants were hired for the upkeep of the place, a large stable was built close to a large rubble wall that is said to be the original boundary of Lal Kot/Qila Rai Pithora (the original citadel of Delhi) on the other side of the tomb. & then there are the most impressive additions that Metcalfe did to Mehrauli landscape – his quintessential ziggurats (stepped pyramids) & chattris (large hemispherical domes surmounted on thin pillars) where he would sit for hours & adore the towering Qutb Minar in the background. The reason usually given to explain Metcalfe’s refurbishing this tomb is not so exciting & romantic however – he wanted to keep an eye on Zafar when he visited his summer palace Zafar Mahal nearby. I have previously written posts about another of Metcalfe’s chattris that graces a small hillock opposite the Jamali – Kamali Complex & his ziggurats which you can access from here – Pixelated Memories - Metcalfe's Chattri & Pixelated Memories - Metcalfe's Ziggurats.

Metcalfe's Chattri (foreground), Quli Khan's Tomb & Azim Khan's Tomb (right side, background)

The entrance Metcalfe built now opens up to a large compound so thickly covered with vegetation that you almost expect a dinosaur to jump out from amongst the trees, little blue flowers sparkle with the rain drops that just fell, green grass beckons a visitor to come lie in its soft embrace, a few puppies loiter around with not a care for the world. The places is beautiful, so are the ladybugs that come flying out of nowhere & land suddenly on dead logs waiting to decay & mix with the dark wet soil, & so too are the white flowers that have sprung up in the bosom of shadows & in the thick of decay to prove that life always finds a way. The boat house is medium-sized & composed of two concentric cylindrical structures – the outer one is slightly shorter in height & consists of several arched entrances & small square holes on its inside surface to house pigeons, the inner cylinder has square entrances & square alcoves built into its walls – the only thing common to the two is the scribbling that they have been subjected to, apparently some youngsters decided to celebrate the birthday of the singer Bohemia & release of Akon’s new album here. It’s a pity that a singer today has become more important than our country’s architectural heritage dating back several centuries. The streams & canals that Metcalfe built are gone now, buried under layers of earth & overgrown with vegetation. In fact, it comes as a surprise now that this boat house was used for the purpose of keeping boats & swimming – the area is totally landlocked & it is a bit difficult to imagine that at one point in time, someone could have swum here!!

The first level & the abundant vegetation around it

Up the staircase that leads to the tomb, the strikingly peaceful & enchanting tomb comes as a surprise, it stands in a sprawling open ground, once a garden but now covered with dry grass & wild bushes. College kids were practicing a play they are supposed to enact in their college’s drama event next to the tomb’s entrance, on the expanse next to the tomb another group of local kids were busy at a game of cricket with stone blocks as wickets. The tomb stands on a high plinth & its yellowish walls seem inviting enough. Each side of the tomb is inset with an arched niche, alternate sides have an entrance built into the niche. Exquisite bands of calligraphy border the niche, the medallions are either inscribed with Quranic calligraphy or floral patterns, the entrances are surrounded by a profuse tile work in blue & yellow, while the non-entrance niches are surrounded by intricate stucco work mirroring complex floral patterns. Both the roof of the tomb & the drum (base) of the dome is ornamented with a row of kanguras (leaf-motif supposed to look like battlements but purely for ornamental purpose). The dome is topped by a lotus finial which is surmounted by a lightning conductor that looks more like a cracker rocket & lends a unique character to the entire structure. The tomb has been recently restored as part of the run up to Commonwealth Games 2010 which were hosted in Delhi, it is stunning enough to blow one away, its seclusion & quiet charm guarantees to impress one into believing that this is one of the most charming, if not the most charming, tomb in Delhi. In fact, this is one of those few structures where words failed me in describing the wonderful monument that now stood in front of me. As part of the tomb’s restoration, most of the additions made by Metcalfe were removed, ruins of a single arched chamber stands next to the structure now, perhaps to give an estimate of what the tomb looked like with the additions. Metcalfe was so impressed with the structure & the surroundings that he wanted his daughter Emily to come stay with him here & had built a room for her too. It is said that one of the extensions was furnished with cupboards & housed Metcalfe’s personal library. During the 40 years he spent in Delhi (“Dehlie” as he would have called the city), he preferred to spend most of his time here. Sadly, most of the treasures housed here were either moved to other places following Metcalfe’s death in 1853 (apparently as a result of being poisoned by Zafar’s senior queen Zeenat Mahal) or were lost in the revolt of 1857 (were Metcalfe alive in 1857, he would have been heartbroken at the plight of his beloved city). After the British takeover of Delhi, Mehrauli was relegated to the background & this whole area, teeming with medieval tombs, mosques & baolis (stepped wells), was reclaimed by nature & dense vegetation & only a monument or two that would bob up from amidst the tree cover were spared the ignonimous fate of being lost & forgotten. It is only recently that the presence of so many of these structures came to light, & as the present condition of the park illustrates – most of the structures are still in different stages of excavation & conservation. Quli Khan’s Tomb is no exception. From close to the ruins of Metcalfe’s additions, one can climb down a flight of stairs to reach the lower levels where a few chambers exist, but these have been barred & locked with iron grilles, rightly so to keep out vandals & inebriated fellows in this mostly lawless park complex.

The tomb & the ruins of Metcalfe's annexes - View from Metcalfe's stable

Towards the top on the inside, the corners of the octagonal structure are lopped off to convert it into a sixteen-sided structure on which the dome rests. The base of the dome is marked by arched niches, all decorated in brilliant blue & red paint work that guarantees to dazzle visitors. Similar art work is used to embellish the arched windows, the recessed corners & the roof too, though much of the central artwork on the dome is now gone & only the medallions remain. Pigeons flutter about in the place, the whole structure resonating with their coos which are magnified several times by the silence the place affords.

The profuse paint work inside the tomb

A quick run around the complex promises to yield even more treasures, photographing the chattri against the tomb or the Qutb Minar that never seems to take its eyes off you is exhilarating. So is chasing butterflies in the large complex in a bid to photograph them. Through the vegetation, one can see Azim Khan’s Tomb peeping down from the high hill it sits upon (refer Pixelated Memories - Azim Khan's Tomb). Azim was apparently the guy who helped Akbar defeat & subdue Quli’s brother Adham after the latter went on a rampage in Malwa, the kingdom in central India that he besieged & conquered on Akbar’s orders. Sadly, contemporary documents are also silent on Azim’s history & credentials – why is that Adham, who was corrupted by power still finds mention in history books, but the (apparently) good guys Quli & Azim are forgotten?? That’s a question that would always haunt visitors to the tomb of Quli Khan.

Once a Lodhi dove coat, then Metcalfe's boat house, now its just another set of graffiti-covered ruin

Next I headed to the stable where Metcalfe housed his prized horses, a large rectangular structure complete with arched entrances & divided into inner & outer chambers. There is a small tank towards the back which too was once perhaps used for swimming purposes, given the presence of stairs leading down near one of its corners. Another set of stairs close by (beware of the cobwebs) lead up to the upper levels of the stable from where one can have an unhindered view of Quli’s Tomb as well as look at visitors going past Smith’s cupola or the small wall mosque in the Qutb Complex next door that is separated by just a rubble wall. The Alai Darwaza appears quashed from this point, the Qutb Minar seems even thicker & mightier, one begins to appreciate the proportions & design of the wall mosque. From here, you can also see the tank behind the stable which was perhaps once filled by Metcalfe’s retinue of servants for his horses. They must have thought their boss (“Matka” as they pronounced his name) was mad to live next to ruins & tombs while his spatial mansion in Old Delhi’s Civil Lines area gathered dust (The city house is now under the auspices of the Defence Research & Development Organisation (DRDO) & remains out of bounds for visitors).

Metcalfe's stable

After the more famous structures, you can have a peek at the Lal Kot wall & be amazed by the fact that it has been standing here for more than a thousand years, watching dynasties come & go, contemplating upon the development of newer & finer techniques of art & architecture, observing humans at close & feeling them betray their kindness & barbarianism by turns. A small gap in the corner where the wall comes in contact with the enclosing wall of the Qutb Complex (built recently, but made to look like the older wall) is from where you can cross over to the outside of the Archaeological Park & observe modern settlements coming up close by. One wonders if these settlements too would encroach upon these lands & destroy these wall fragments & tombs like it has been done elsewhere in Delhi, most notably the destruction of the fortress of Siri to make way for newer cities to come up (refer Pixelated Memories - Siri Fort Remains). Close by, another gap in the complex wall leads one out on a cemented road that is flanked by a small dump yard. There are a few structures standing here too – a bastion that could be an addition to the original Lal Kot wall at a much later stage, a large trapezoid gateway with thick tapering walls & arched openings on all its sides, thick lamp posts that were definitely added by Metcalfe given their odd shapes & apparently ornamental function. Trucks & tractors make a beeline for this extended compound, dumping & carrying away debris & construction material at regular intervals, the juice cartons, polythene bags, water bottles & potato chips wrappers come as a bit of a shock since very few tourists, if any, would come in this corner of the complex. Does this mean that the Govt. agencies in-charge of the adjoining Qutb Complex, a World Heritage Site, are responsible for this mess (refer Pixelated Memories - Qutb Complex)?? Thankfully, residents of the area around the park have taken it upon themselves to keep the park clean & free from encroachments – a daunting task given that the complex is almost 100 acres with numerous entry & exit points, an open drain running through it & the amount of waste that is being generated & dumped here is humongous. But then they say, a spark is all that is needed!!

An ornamental lamp post, in all probability built by Metcalfe

In case you are interested, you can pay a visit to the tomb where Quli Khan’s brother Adham Khan & mother Maham Anga were laid to rest by emperor Akbar. It stands close to the bus terminus, in another part of Mehrauli but very close to the Archaeological Park & can be reached by flagging down a bus or an auto going to the bus terminus & asking your way to Bhool Bhulaiya (as it is locally called). Adham’s Tomb is not as eye-opening as Quli’s Tomb considering the emperor was pissed at him for having murdered Atgah Khan in a fit of rage & jealousy & had him thrown off the ramparts of his fortress in Agra. One can also visit the Old Fort of Delhi which was the citadel of Akbar’s father Humayun & where Maham Anga commissioned one of the most magnificent mosques of Delhi, Khair-ul-Manazil (refer Pixelated Memories - Khair-ul-Manazil Mosque). The whole family’s history could be traced through the streets of Delhi, wish the books were not so silent on Quli’s life & times!!

Fluttering around

Location: Mehrauli Archaeological Park
Open: All days, Sunrise to Sunset
Nearest Metro Station: Saket
Entrance Fee: Nil
Photography/Video charges: Nil
How to Reach: After getting down at Saket Station, one can walk to Lado Serai Bus Stop. Buses are available from different parts of the city for Mehrauli & one can alight from the bus at Lado Serai stop itself. The Lado Serai stop is situated at a crossroad & at one side, one can see a large domed-structure seated on a high hill (Azim Khan’s Tomb) rising high behind the trees & the traffic. Walking towards this structure, one comes to a recreational park called Ahinsa Sthal (“Abode of Non-Violence”), marked with a large signboard (or simply ask for Ahinsa Sthal from the locals & shopkeepers, check if they are aware of its location - they weren’t when I visited the area in December 2012). The unmarked entrance to Mehrauli Archaeological Park is through an iron gate opposite the Ahinsa Sthal, a few metres back in the direction of the bus stop.
Time required for sightseeing: About 1 hr
Note – There are no facilities (toilets, food & 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 kilometer away.
Relevant Links -