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 -

1. Pixelated Memories - Bada Gumbad Complex, Lodi Gardens

Suggested Reading -

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

Bada Gumbad Complex, Lodi Gardens, New Delhi

"For good reason, the most popular place in the park (Lodi Garden) is the extensive lawn on the southern side of what must have been the main mosque, the Jami Masjid, built in 1494. The reason for its popularity is its dome, which is an exact replica of a young woman's bosom including the areola and the nipple. Most mosques and mausolea have domes but they have metal spires put on top of them which rob them of their feminine charm. Not the Bara Gumbad, the Big Dome. You can gape at it for hours on end and marvel at its likeness to a virgin's breast. You will notice that men sprawled on the lawns have their face towards it; their womenfolk sit facing the other way."

– Khushwant Singh, "The Sunset Club"

Radiating immense strength & magnificence, the imposing Bada Gumbad (“Big, domed tower”) is undoubtedly one of the finest structures ever erected by the Lodis – a dynasty that ruled over North India from 1451-1526 AD & left behind numerous tombs & mosques scattered throughout Delhi & its surroundings. Humongous as it is, on the outside the structure gives the appearance of being a double-storied building & has left scholars & architects baffled as to what its true purpose actually is – some surmise that it is a mausoleum dedicated to one of the Generals in the army of Sultan Nizam Khan Sikandar Lodi II (ruled AD 1489-1517), others contend that it is a gateway leading to the small mosque that exists besides it – either case the structure has its own aura, it calls for a visit on its own since no other structure within the landscaped Lodi Gardens can match it, be it in terms of proportions or grandeur. The entire structure, along with the associated mosque & a third rectangular enclosure (which is either a “mehmaan-khana” (guest house) or a “majlis khana” (assembly hall)), stand on a very high plinth that is reached by a wide flight of stairs & is visible from afar. The mosque & the guesthouse face each other & both are built perpendicular to the Gumbad. A few steps up the stairs, one reaches a landing & from here the stairs diverge in three directions – one headed to the mosque, the other to the guest house & the third to the exceedingly large square mound that is located directly opposite the Gumbad’s entrance (that is, in the center of the whole complex) & shelters grave(s) underneath. In my opinion, this elevated rubble mound is the only thing that reflects the Gumbad’s vast proportions & could therefore be construed as the center point of the complex in its heyday when it too would have been ornamented with marble & stone & would have perhaps been led to be the majestic Gumbad – interestingly, the Gumbad complex hides surprises at places one wouldn’t even expect to look at - the mound/grave was once a large water tank, later filled up to accommodate the grave. Even though all the three structures share the same plinth & have certain stylistic & ornamental similarities, they were not planned as a complex nor built at the same time – the Gumbad & the mosque were built in the year 1494 during the reign of Sikandar Lodi; the guesthouse was added later.

The Bada Gumbad (center) flanked by the Jami Mosque (left) & the guesthouse (right)

Ironically, the first structure I entered in was the guesthouse, an unornamented, rectangular building with a flat roof built with dressed grey quartzite with three arched-entrances on its front. The exteriors display lotus medallions around the entrances & a continuous chajja (“eaves”) supported by equidistant stone brackets along the roof; the interiors possess artwork in stone & medallions – all of them now in a ruinous state. The guesthouse is a remarkably undistinguished structure; the interior is divided into seven chambers separated by means of gray granite walls but interlinked by the arched openings in the walls such that the overall picture is that of symmetry & grace – highly incongruous with the ruinous state that the structure finds itself in now. Hornets & insects (the name of which I do not know) buzz around the entire structure, especially in the dark side chambers – although the patterned artwork on the roof of the side chamber has gone black & rotten with time, it is covered in a layer of white insect silk that looks terrifyingly dirty & teems with threatening-looking insects. Nonetheless the remains of the artwork on the flat roof are impeccable – graceful flowers, astonishingly well-carved geometrical motifs & other simplistic designs.

This modest enclosure is either a "Mehmaan khana" (guesthouse) or a "Majlis Khana" (assembly house). In the foreground is the aforementioned rubble mound.

The rectangular mosque, on the other hand, is a picture in contrast – it is supposedly the Friday congregation mosque of the Sultan which explains the lavish treatment that has been conferred on it during its commissioning & construction. The construction of the mosque introduced many new features that were later adopted in all such structures built during the reign of the Lodis & later the Mughals, including the extended courtyard & the simple but highly ornamented five-arch entrance. Its exteriors are decorated in stunning calligraphy & art work; the walls are etched with inscriptions from the Quran. The interiors are richly ornamented with intricate gold-painted calligraphy; the roof displays profuse paintwork in red, blue & golden. The mosque shares some of the features of the guesthouse, such as a chajja supported by stone brackets & dressed quartzite finish. A line of “kanguras” (arched crenellations/ornamental battlements) marks the roof level. A dome each surmounts the three chambers of the mosque, each dome itself topped by a lotus finial. The central dome is relatively larger than the other two domes. The base of the dome (drum) is ornamented with leaf-motif that was a characteristic of Sikandar Lodi’s reign. Five arches – the central one being the largest & the ones at the extremes the narrowest – lead within the mosque. The central arch is surrounded by a projecting rectangular frame that interrupts the chajja that is otherwise continuous along the roof.

The mosque is elegance personified, even though it looks simple from afar!!

The mihrabs (the Mecca-facing wall faced by Muslims while praying) are ornamented with arched niches bearing striking patterns & exquisite craftwork. Intricate artwork consisting of floral, geometric & calligraphic patterns in incised & painted limestone plaster lends the mosque an aura of brilliance & unmatched dazzle. A jharokha (protruding window) marks the far side of the mosque parallel to the Gumbad; the jharokha’s small curved roof too is decorated with calligraphy & geometrical patterns so arranged to form six concentric circles embedded within a larger hexagon. The backside of the western wall (mihrab) has tapering turrets  protruding through it, an architectural addition reminiscent of the style practiced by the Tughlaq Dynasty (ruled AD 1325-1414). The dressed rubble is flaking at places & boisterously displays the material that the entire structure is built with.

The mosque interiors - Now you believe me??!

The Gumbad is open on all four sides – however it can only be entered via the side facing the elevated mound or from a flight of stairs emanating from the garden level along the side facing the mosque. All entrance openings are set within a large, arched niche which is further set in a rectangular frame. Except for the side facing the elevated mound, the rest of the entrances face the landscaped Lodi Gardens, however only the mosque facing side has a double-staircase adjoining it; all the other entrances end in limbo mid-air. The Gumbad’s massiveness can be gauged by the measurements of its sides – each side is 20 meters wide & reaches a height of 12 meters. The monument is crowned by a hemispherical dome which sits on a 16-sided drum (base) – together the dome & the drum rise a further 14 meters. The entire structure sits on an equally massive plinth slightly more than 3 meters high (My height is only 1.8 meters!!).

Grandeur personified - The Gumbad & the mosque as seen from the lawns towards its rear. Notice the protruding window along the mosque's side.

The monotony of the dressed grey quartzite exteriors is relieved by the use of black stone & red sandstone along with decorative features such as arched niches & kanguras. The two sides facing the mosque & the guesthouse are extended to form a rubble backbone around the three structures. Tapering turrets & jharokhas mark this rubble extension on the mosque & guesthouse side. The sixteen-sided drum on which the dome rests is also decorated with kanguras & relieved by arched niches set in rectangular frames. The Gumbad is considered to be one of the first instances in India (& the first in Delhi) where a complete hemispherical dome (that is, forming an exact semi-circle) was used to crown a building. Turrets exist along the corners of the Gumbad as well as the corners of the rectangular frames in which the arched entrances are set. On the outside, the monument appears double-storied, divided vertically in two equal parts by projecting horizontal bands of stone. Arched niches that give the appearance of windows mark both the floors, however only the two ground-floor niches on either side of the entrance are open; the rest have been filled in with granite masonry. Another smaller window exists above each of the entrance.

Look at all the puny people scurrying around the structure!! - View from Sheesh Gumbad

The Gumbad is dark inside; the narrow windows fail miserably to illuminate the interiors. The ornamentation is sparse & consists of paintwork & plaster dressing. There is no grave within nor any inscription detailing the period & purpose of construction giving credence to the belief that the Gumbad is meant as a doorway to the exceedingly small mosque-guesthouse complex. If that’s the case then I believe the Sultan’s guests were disappointed – walking through the intimidating Gumbad they would have expected a magnificent guesthouse only to come across an unremarkable, monastic building that looks more of a horse stable than a royal guesthouse. Nay, even Thomas Metcalfe’s stables in Mehrauli were bigger than this guesthouse (refer Pixelated Memories - Quli Khan's Tomb). But was it too once thickly ornamented with patterns & artwork & covered with cushions & carpets?? I highly doubt it – the thick quartzite walls are as plain as it could get, they never supported any ornamentation on their surface. Moreover the stylistic differences & the different periods in which the three structures were executed do not support the theory that the Gumbad is just a gateway for the mosque. Some scholars also postulate that at one time the Gumbad might have been a gateway to the entire Lodi Gardens. I’d like to believe that the Gumbad was also a tomb, an exceedingly large tomb for a man of superior birth or accomplishment – perhaps a remarkable commander in the retinue of Sikandar Lodi, confidante of the king or a favourite of the people, whose history & legacy have been forgotten but whose tomb survives the onslaught of time & nature.

Intimidatingly huge & yet so serene & inviting!! 

A walk around the plinth gives a visitor the pleasure of exploring the Gumbad from different angles & perspective. The whole structure appears ethereal, inspite of its imposing proportions it appears to be floating among the trees & shrubs that flank it & add to the beauty of the complex. Framed by the walkways, the dense trees with their heavy, overhanging branches & accompanied by its close neighbor, the Sheesh Gumbad (literally “Mirror Dome”, given that its exteriors were once decorated with mirrors), the monument stands testimony to the strength of a man who decided to leave his dignified mark on the world in the form of this majestic structure.

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: 30min
Relevant Links - 

1. Pixelated Memories - Quli Khan's Tomb

Suggested Reading - 

1. Archnet.org - Bara Gumbad Masjid
2. Hindu.com - Article "And live to tell the tale!" (dated Jan 22, 2004) by Ajay Chaturvedi & T.N. Behl
3. Indiatoday.intoday.in - "The Sunset Club (Khushwant Singh)" Review

Diwan-i-Am, Red Fort, New Delhi

Indian history is replete with instances of so many intriguing & interesting personalities that most historians studying it have often been forced to ignore or relegate to obscurity some of the relatively minor characters. Nevertheless, it has never been a source of disappointment to those who wish to find enchanting stories & plots woven in its many schemes. Boasting of numerous sultans, princes & princesses, generals, nobles & warlords, saints, priests & mendicants alike, the scope & expanse of Indian history is enough to confuse even those who claim to be masters over it. & yet one does not understand why many of our historians - both native & foreigners alike - felt compelled to distort historical narratives & introduce scenes & players in order to alter the storyline or prop up new theories that are seemingly absurd to begin with but gain wide currency caused by these misinterpretations & false premises. One such personality that keeps cropping up when one is dealing with the reign of Mughal emperor Shahjahan (ruled AD 1628-58) is the Florentine goldsmith Austin de Bordeaux. Modern historians are no longer sure if Austin actually existed or was a fragment of imagination of those Europeans who took it upon themselves to define & pen medieval & ancient Indian history.

The Diwan-i-Am hall

Austin has been credited with the construction of three of the most widely acclaimed architectural achievements of Shahjahan’s reign – first is the famed Taj Mahal of Agra, some historians, especially the European ones, claim that Austin had a role in laying out the design & the plan of this magnificent mausoleum, but most historians concede that if Austin did exist, his role was merely limited to designing & executing the silver doors of the mausoleum. Second, Shahjahan granted Austin with several kilograms of gold & numerous precious jewels & gems to build a splendid seat for the emperor. The final craft was christened the “Peacock Throne”, you can read about the throne’s history in one of my previous articles here - Pixelated Memories - Diwan-i-Khas, Red Fort. However, even this theory seems largely unlikely as Austin is considered to be one of the greatest frauds alive in 17th century Europe & it is said that he escaped to India after conning several European kings & princes out of their family heirlooms. It would be very stupid of Shahjahan to keep such a person on his payroll & given charge of gold & pearls worth millions of rupees. Given Shahjahan’s shrewd nature & bargaining capabilities, & the intelligence capability of his army – it is not possible that Shahjahan did not know the past of a man he was harbouring in his court & instead of condemning the fraud’s existence & activities, had granted him the position of court jeweller, the title of “jewel-fingered” & a monthly pay of two thousand rupees. Shahjahan is also said to have commissioned Austin to design & execute the pietra dura work on the wall of the Diwan-i-Am palace hall in Delhi’s Red Fort. The Peacock Throne was carried away by the Persian invader Nadir Shah when he overran Delhi in AD 1739. The Taj Mahal’s silver doors were looted & melted in AD 1764 by the Jat invaders who took to plundering Delhi & other neighbouring provinces after the later Mughal rulers proved too weak to retain command over the massive empire bequeathed to them by their forefathers. The only remain of Austin’s superior craftsmanship is the pietra dura work in Diwan-i-Am & even that has come under great scrutiny lately as a result of a series of discoveries of manuscripts & records that actually whitewash the existence of Austin & instead credit native Hindu & Muslim artists for several of the designs & creations that have been attributed to him. One again wonders what reasons could have compelled Shahjahan to retain a man of dubious character & questionable integrity in his court, entertain him & even allow him to conceive & build enchanting artworks in stone & marble when native craftsmen & stonemasons far excelled in the craft of pietra dura (Pietra dura, locally called “Parchin kari”, has been traditionally used in Indian jewellery & construction industry). Moreover what were the previous achievements of Austin that prompted Shahjahan to hire him?? He isn’t even known in France or Florence & no records or remains of his impeccable craftsmanship exist, then why did Shahjahan employ a fraudster with no real skills to boast of?? Furthermore, I am at loggerheads with the accepted belief because of one simple doubt - why don't contemporary writers mention Austin if he was such a skilled (& notorious!!) goldsmith. Court gossipers & sycophants wrote almost everything about their sultan - why not mention that the sultan found an artist in a crook??

Shahjahan loved arches!!

Nonetheless, here is a primer about the Diwan-i-Khas or the “Hall of public audience” – Built with red sandstone, the striking palace was Shahjahan’s idea of a lavish court room where he could meet his subjects, listen to their grievances, take note of petitions & pass judgements & grants. The impressive hall was once covered with a layer of ivory & shell plaster giving it marble-like finish & boasts of nine arches on its front face & three arches on its sides, all supported on sturdy pillars. Chattris (small umbrella domes supported on very thin pillars) adorn the front of its roof. Its stateliness is further spelled out by the arches that give it an appearance of curves & waves. The hall boasts of chajjas (hanging eaves), an Indian architectural innovation that was combined with Islamic design elements by the Mughals. During the reign of Shahjahan & his son & successor Aurangzeb (ruled AD 1658-1707), the hall used to be draped with heavy curtains & was decked with stunning stucco work that incremented its opulence manifolds.

The throne - not made of gold, but impressive nonetheless (Photo courtesy - mountainsoftravelphotos.com)

At present, the most attractive part of the hall is the niche in its back wall where a canopied marble throne (called a "baldachino") rests. The emperor would sit on the throne & listen to his subjects’ grievances, the wazir (prime minister) would sit on a four-legged marble pedestal kept in front of the emperor’s throne. At one time, both the throne & the wazir’s pedestal were inlaid with jewels & designed in such a way that they sparkled & glittered in the daylight. The throne pavilion was referred to as Nashiman-i-Zil-i-Ilahi or “the seat of the shadow of God” & is an impressive piece of craftsmanship with its fluted pillars & curved Bengali roof. The marble wall at the back of the canopy throne is the one supposedly crafted by Austin. The white marble is inset with precious black stone & several stones of different colours are used to create exquisite patterns within the black stone. This is the renowned pietra dura artwork of Diwan-i-Am – the inlay stones are used to create replicas of several birds, flowers & foliage that are worth mentioning. Over 200 types of birds have been depicted in these panels, including numerous mythical birds - the most realistic being the parrot & the crows, but all of them being breathtakingly stunning. Since figurative workmanship is very unusual in Islamic buildings, this sort of pietra dura work is not seen anywhere else in India & this is the sole reason that gives weightage to the theory about the presence of European artists & their influence in Shahjahan’s court. But the most widely renowned panel amongst these is not that depicting any bird – real or imagined, it is another panel, much smaller than the rest, that sits on the very top of the arched niche & depicts the Greek minstrel Orpheus sitting under a tree & playing violin to a charmed audience that sits near his feet & consists of a lion, a hare & a leopard. Orpheus was the son of King Oeagrus & Calliope in Greek mythology – he possessed a melodious voice & was taught to play the lute (& not violin as the panel shows) by the Greek God Apollo. With his songs he could even make inanimate objects obey him. His voice facilitated his inclusion in several mythical adventures & he even travelled to the netherworld to rescue his wife Eurydice from death. However in the context of the Diwan-i-Am, not many people are aware of the image’s history nor has it ever been determined who conceived it & what its purpose was, but most scholars hold that the decontextualized image was meant to serve as a commentary about the just rule of Shahjahan where the mighty (lion) & the weak (lamb) would lie down together & pay obeisance to the king.

Pietra dura artwork behind the throne - Who designed these?? (Notice the small Orpheus panel in the center, top)

After the defeat of the Mughal emperor Bahadur Shah ‘Zafar’ II (ruled AD 1837-57) at the hand of the British during the Sepoy Mutiny/First War of Independence in 1857 & the subsequent takeover of the fortress by the British military, the fort’s riches were confiscated & even those items were taken away which even the previous barbaric plunderers would never have thought of looting – several of the pietra dura panels were damaged, & 12 of these, including the Orpheus panel, were removed from their niches & carried away to be displayed in the Victoria & Albert Museum in London. They were returned to their respective places in 1903 following concerted efforts by the then Viceroy Lord Curzon. What would be interesting to know would be if the story concerning Austin’s employment & position in the Mughal court came into existence before or after the return of these panels. Sadly I could not find any books/sources on the internet that deal with the subject. The Archaeological Survey of India (A.S.I.) accepts Austin’s existence & credits him for the construction of the ornamental marble wall on its website. The A.S.I. put up an iron railing around the emperor’s throne & the accompanying pedestal to prevent visitors from touching the same, but I still don’t understand the point of covering the two & the marble wall with thin synthetic net – it actually perplexed me to see a net thrown over the entire baldachino but then my friend Adil at DHPC explained to me that the net is used to keep the pigeons out. There are actually too many pigeons in the complex if you did not notice already!! The photo of the throne I uploaded here is an old one sourced from another website - here the throne is not covered with the net - having visited the fort complex several times over the past few years, I can say that the net is seldom taken down.

The emperor would enter the hall from the verandah on the first floor towards the back of the hall & follow a passage that opened up on the side of his marble throne. The stairs that the emperor would have climbed to reach his throne from the passage’s exit can still be seen inside the hall, however entry to the passage or the other rooms that exist towards the back of the hall is now prohibited. Although today the back of the hall & the verandah are in a run-down condition with the plaster peeling off & the walls getting blackened due to exposure to the elements, once even these were coated with plaster mixed with shell dust. At that time even the announcement of the emperor’s arrival would have caused all mutterings & whisperings to cease & hush up his subjects, today the hall continuously abounds with the incessant chatter of the visitors. The French traveller Francois Bernier describes his travels through India during the reign of Aurangzeb in his memoirs & recounts how the hall would become the site for many extravagant & majestic ceremonies & how the gifts to the emperor, which often included elephants, oxes, rhinoceros & leopards, would be paraded in front of the hall. The elephants would be decked up with jewels, colours & embroidered clothes & would often steal the show. The emperor would then indulge in a hearty chat with his astrologers, dream interpreters & physicians regarding illness, dreams & other (supposedly ominous) happenings in the kingdom. The nobles would entertain him with anecdotes, stories & debates. Then the emperor would proceed to hear petitions & matters related to day-to-day administration of his empire, he would often impart justice on the spot – often causing an aggrieved party to be compensated, or an oppressor to be whipped or even beheaded. The subjects held the emperor in awe, for them he was the Zil-i-Ilahi, the “shadow of God” , a concept conceived by the mighty Sultan Balban (ruled AD 1266-86) but carried forward by all the later Sultans of India, including the Mughals.

This (now shabby) side was where the emperor entered the hall from.

Visiting the Diwan-i-Am now, one can only wonder with astonishment & disbelief mixed in equal measure at the might & grandness of the Mughal court, but never can be the brilliance of the court & the nobility of gestures be surpassed or even re-achieved. The Mughals brought a certain lavishness to the country, of which the Diwan-i-Am is a prime example. It might be battered & ignored now, but what still matters even today is that once European historians invented figures such as Austin to claim their land’s association with the Mughal structures!! These stories aren’t going anywhere for they too have become a part of the record & been assimilated in the collective Indian history just like the thousands of invaders, travellers & refugees who came to the country & got intertwined in its enchanting life & culture.

Location: Red Fort
Nearest Metro Station: Chandni Chowk Station
Open: All days except Monday
Timings: 10 am - 4 pm
Entrance Fee: Rs. 10 (Indian), Rs. 250 (Foreigners)
Photography Charges: Nil (Rs. 25 for video filming)
Relevant Links -

1. Pixelated Memories - Diwan-i-Khas, Red Fort
2. Pixelated Memories - Red Fort

Suggested Reading -

1. Mythweb.com - Story of Orpheus
2. Wikipedia.org - Pietra dura

St. Paul's Cathedral, Calcutta

My first visit to Calcutta, I was accompanied by some of my closest friends at college and we decided to visit some of the most famous landmarks of the city in a single day – the list included the magnificent Victoria Memorial, knowledge-packed Indian Museum, traditional Kalighat Temple, boring Birla Planetarium and the massive Howrah Bridge. We called it a day after visiting all these spots and stopping by several times to relish the street food and photograph the general life in this ancient metropolis. But the cherry on the cake we saved for the last when we paid a brief visit to the alluringly charming St. Paul’s Cathedral situated in the heart of the city. There seemed so much to do, so much to see – since then I’ve visited Calcutta so many times and yet it holds the same charm for me as the first time. The thrill of passing over the wide and congested Howrah Bridge, the Esplanade Square which is essentially antique like the entire city, the railway stations filled to the brim with travellers young and old, the poverty & squalor around the boon-bestowing Kalighat Temple contrasted with the beautified elegance of the Victoria Memorial – all these are indescribable to someone who hasn’t been to Calcutta. The city simply makes you fall in love with itself with its timeless history, myriad monuments & stagnant culture.

Impressive beyond measure, St. Paul’s Cathedral is one of the most famous landmarks of Calcutta, architecturally, religiously as well as historically. Located besides Birla Planetarium, stone’s throw from the mesmerizing Victoria Memorial complex, the Anglican denomination church was built during 1839-47 largely with funds contributed by the then Bishop of Calcutta, Reverend Daniel Wilson. Given the increasing European population of Calcutta, several of whom occupied seats of great power and supremacy, the construction of a larger, more grand and imposing cathedral was in discussion decades before the commissioning of St. Paul’s, but the exorbitant First Burmese war of 1824-26 had pushed back the plans due to the paucity of funds. Previously, St. John’s Church occupied the position of the English cathedral of the city but it had begun to prove unequipped to house the increasing number of Christians thronging to its hallowed grounds. Several eminent merchants and men of religion put up money along with Bishop Wilson to raise this exceedingly graceful cathedral in order to ensure the English religion in Calcutta could provide faith and succor to its followers as well as awe and inspire the local Indians and other Europeans who had established strongholds and trading posts in Calcutta.

Gothic (Photo courtesy - Greenjaydeep.tumblr.com)

The credit for the stunning Neo-Gothic design of the cathedral goes to the military engineer-architect Major W.N. Forbes who was assisted by C.K. Robinson in modeling the structure after the Norwich Cathedral. The cathedral’s tower and spire were damaged and then completely toppled in the earthquakes of 1897 and 1934 and then the tower was rebuilt on an earthquake-proof foundation according to the plans inspired by the Bell Harry Tower of the Canterbury Cathedral.

Measuring 247 feet X 81 feet with tower height 201 feet, the pristine cathedral sits in solemn isolation in its massive 7-acre compound which is dotted with huge, lush green trees whose dense foliage contrasts with the snow-white structure of the cathedral. The picture is one of peace and harmony, the duo complimenting each other despite the contrasts in their appearance and age. The tall windows with their ornamental shutters and the plasterwork crenellations that frame the church’s walls give it a distinguishably European appearance; the centerpiece is a striking floral pattern embossment in plaster enclosed in a circle right above the entrance to the prayer hall; above rises the tower of the cathedral with a white watch with a black dial affixed firmly at its very top; through the roof rise slender cones topped by crosses which have their origin in the pillars that rise from the ground along each of the windows. 

Once upon a time - The cathedral with its spire yet intact (Photo courtesy - Wikimedia.org)

The interiors are adorned with exquisitely carved stone sculptures and several touching memorial tablets with life-like figurines marking them – the tablets are artwork in themselves when it comes to the skill and the craft that went into their design and execution. The main prayer hall is massive and possesses beautifully carved wooden pews and chairs. Sadly again, photography within is restricted by the permission of the Vicar who was absent the day we visited and hence I was denied the permission to photograph the beautiful interiors by the caretaker present. Vibrantly colorful stained-glass windows, created skillfully by the famous pre-Raphaelite painter Sir Edward Burne-Jones (who was then employed by the company Messrs. Morris & Co.), depicting the life and works of St. Paul to whom the church is dedicated prove to be a feast for even the most discerning art lover. These stained-glass artworks were commissioned in 1872 by the Govt. of India and their designs chosen by Lady Bourke in memory of her husband Richard Bourke, then Viceroy of India, who was assassinated by Sher Ali Afridi, a prisoner at the notorious Port Blair prison (“Kala pani”). Richard Bourke, on account of his being the sixth Earl of Mayo, was more popularly known as Lord Mayo. The central figure represents justice and the inscription below it quotes the Latin translation of Biblical statement Hebrews 4:13 –

“Omnia nuda et aperta suni oculis Ejus ad quem sermo”

“Nothing in all creation is hidden from God’s sight”

Striking - The stained glass windows (Photo courtesy - Rangandatta.wordpress.com)

The Florentine Renaissance-style fresco panels above the altar were designed by Arthur Blomfeld – one isn’t allowed to go near them, anyway it would have been a travesty to photograph them with my poor mobile phone camera! Bishop Wilson, buried in an underground chamber in the church, must be very happy in his eternal sleep to know that his creation is adored and appreciated.

The silence inside the cathedral is intimidatingly disarming – one tries to be cautious lest they make a noise, no matter how low, that will definitely disturb the other devotees and visitors, all of whom sit silently, heads bowed & hands joined in believing stance. The moderately-sized pewter seems more human compared to several other places of worship I have seen.

Interiors (Photo courtesy - Facebook.com/St. Paul's, Kolkata)

One of my friends was secretly clicking photos of the cathedral with my mobile phone and the caretaker, suspecting some wrongdoing, had me under his watchful gaze all the time even though I was simply observing the memorials. He breathing down my neck took away half the fun of being at such an interesting place. After observing every nook and cranny of the place, we decided to take a few minutes break from travelling here and there through the city and running around the cathedral premises and instead sit there in silent contemplation like the others. While my friends prayed for what seemed like eternity (but was actually 5 minutes, that’s how atheists like me feel when struck with believers), I took one last long look around the place hoping am able to return someday here to photograph the place inside out with a proper camera.

Close to the cathedral are several hawkers and vendors offering eatables like momos, chowmein and parathas (Indian bread) stuffed with eggs. It is a wonder that the cathedral proves to be an island of peace and tranquility even though it is situated in one of the most traffic-congested parts of the city and outside its grounds the full blast of Calcutta’s energy, noise and flood of humanity hits one with full force. I believe the cathedral ought to have been one of the more frequented places in the city on account of it being one of the oldest churches in the country and also because the Bishop of Calcutta, who has maintained his seat here since the cathedral’s consecration, has religious jurisdiction over all the churches of north and east India. This also happened to be the first time that I was visiting a church and am actually glad I chose this historic cathedral for the purpose – but then Calcutta is a city of churches, there are so many here and am sure am going to visit a lot many more and document their stories too.

My sorry click could do no justice to the church's splendid appearance

How to reach: Taxis & buses are available from different parts of the city. The cathedral is a short walk from Victoria Memorial & Birla Planetarium (“Taramandal” in Hindi/Bangla, refer link below)
Timings: Morning: 9-12 noon; Evening: 3-6 pm
Sunday service: 7:30 am (short service), 8:30 am (English service followed by Bengali service), 6 pm
Special occasions to visit on: Christmas, Easter, New Year
Entry fees: Nil
Photography/Video Charges: Nil, but restricted by the permission of the Vicar.
Relevant Links -

1. Pixelated Memories - Birla Planetarium
2. Pixelated Memories - Howrah Bridge & Railway Station
3. Pixelated Memories - Indian Museum
4. Pixelated Memories - Kalighat Temple
5. Pixelated Memories - Victoria Memorial

Suggested reading - 

1. Facebook.com/St. Paul's, Kolkata
2. Indianetzone.com - British Military architecture in India
3. Kolkataonwheelsmagazine.com - St. Paul's Cathedral
4. Rangandatta.wordpress.com - Calcutta (Kolkata) Churches
5. Telegraphindia.com - Article "Wedding cake cathedral" (dated Nov 21, 2010) by Samhita Chakraborty
6. Victorianweb.org - Memorial to Sir Henry Montgomery Lawrence, St Paul's Cathedral, Kolkata
7. Victorianweb.org - West Window designed by Sir Edward Burne-Jones, St. Paul's Cathedral, Kolkata
8. Wikipedia.org - Anglo-Burmese wars
9. Wikipedia.org - Paul the Apostle
10. Wikipedia.org - Sher Ali Afridi, assassin of Lord Mayo
11. Wikipedia.org - Viceroy Richard Bourke, 6th Earl of Mayo

Khair-ul-Manazil Mosque, New Delhi

Literally translating to “the most auspicious of edifices”, the ruined yet splendid Khair-ul-Manazil was established by Maham Anga, Emperor Akbar’s (ruled AD 1556-1605) wet nurse, to serve as a madrasa (Islamic seminary) with an associated majestic mosque. It is hard to believe that in those days a wet nurse could accumulate this much social and financial power and commission such magnificent public works – but then Maham Anga was no ordinary lady – assertive and ambitious, she strived to establish control over the Emperor’s psyche and the affairs of the country and for many years reduced the young and inexperienced Emperor to a mere puppet enforcing all her commands. The madrasa complex would have been conceived to exist, both physically and structurally, in continuation with the massive citadel “Dinpanah” (“Refuge of the faithful”, now simply referred to as Delhi’s Old Fort, documented here – Pixelated Memories - Old Fort complex) that Maham Anga’s employer and Emperor Akbar’s father Emperor Nasiruddin Humayun (ruled AD 1530-40 and 1555-56) had constructed as his capital – now however, urbanization and construction of highways have metamorphosed the entire area and the two are separated by the arterial Mathura Road which bears such a heavy flow of traffic that very few visitors and tourists ever venture from the Old Fort–Delhi zoo combine to visit this poor, decrepit, rubble-built structure – of course, many of them do wonder if this too is part of the Old Fort complex or is an individual structure, but rarely does anyone bother to know its name or history, and its massive, well maintained exterior walls and red sandstone gateway are forgotten sooner than it took to drive past them or glimpse them from Old Fort’s gateways. And that’s a pity because the structure is in reality an inconceivably beautiful jewel disguising itself as a mere pauper! But as the Hindi adage goes – only the jeweler can distinguish jewels from stones – in this case too, only the few who venture within are rewarded with spellbinding sights and unparalleled artworks (sadly, very nearly lost now due to the vagaries of time and nature and the pitiable ignorance offered by conservation and maintenance authorities).

Remains of grandeur - Masjid Khair-ul-Manazil

Entered via an imposing, double-storied red sandstone gateway that is very minimally decorated with floral medallions and skillfully carved, slender, ornamental pillars and yet appears very elegant, the structure was commissioned in AD 1561-62, shortly before Maham Anga’s demise – interestingly enough, by this time Emperor Akbar had decided to transfer his administration from Delhi to the province of Agra and the only major activity undergoing in the city was the construction of the unparalleled mausoleum of Emperor Humayun nearby. Nonetheless, several administrators, nobles and military generals – including Maham Anga’s two sons Adham Khan and Quli Khan, the Emperor’s other foster-mother Jiji Anga, her powerful husband Shamshuddin Atgah Khan and their valiant son Mirza Aziz Kokaltash and the mighty and learned generals Azim Khan and Abdul Rahim Khan-i-Khanan – decided to continue calling Delhi their home and commission outstanding mosques and mausoleums here. Standing opposite Khair-ul-Manazil’s majestic gateway, one doesn’t really feel thrilled or overawed by its size and grandeur, but once one stands immediately in front of it and repeatedly fails to photograph its vertical expanse (this has more to do with the limited area available to photograph the facade – the heavy traffic curtails freedom of movement and anyway the iron gate and boundary walls surrounding the structure renders stepping too far useless!) and observes the polished nature of the sandstone and the exquisiteness of the ornamentation, one feels struck by wide-eyed amazement and an uninhibited urge to venture in and explore this gorgeous architectural specimen further. The interiors, sadly, do not live up to the expectations – the enormous mosque, at the end of the vast rectangular courtyard, appears dejectedly ruined while the double-storied chambers that line the two longer sides of the courtyard have fallen apart in their entirety and can only be distinguished by the remains of their walls. The madrasa was designed according to traditional Islamic architecture that is fairly uniform in India as well as Central Asia – there are a total of nine fairly-sized chambers on each of the two floors on either side of the courtyard while smaller boarding rooms punched within larger arched cavities flank each side of the handsome gateway; along the corners on either side of the towering gateway, where the rows of chambers emanating along the longer sides of the courtyard should have overlapped with the chambers along the shorter side in which the gateway is embedded, the extremities of the rectangular courtyard are provided with small, irregularly-shaped, enclosed extensions.

First impressions - The neatly cut red sandstone gateway of the madrasa-mosque complex

In the center of the courtyard exists a deep octagonal tank where, since the mosque’s construction, the devotees perform “wazu” (ritualistic ablutions before offering prayers at a mosque). A large well, still functioning, is also located, slightly offset from the center towards the right, near the entrance gateway. Before heading towards the decrepit mosque, turn around and observe the intricate stucco patterns and medallions etched on the surface of the side of the gateway facing the mosque – it is rare to witness such excellent plasterwork patterns adorning a mere gateway and certainly testimony the immense influence and economic means that Maham Anga must have possessed. A set of semi-destroyed staircases on either side of the gateway which must have once lead to the upper levels now ends midway which is still high enough to yield a panoramic view (and photographs) of the expansive complex, but the bearded caretaker, who must at least be an octogenarian, gets inexplicably worked up when one climbs upstairs and furiously orders the descent (Edit November, 2014: The staircases do not exist anymore! I cannot fathom what happened to them – were they dismantled in their entirety (seems highly unlikely) or incorporated as part of one of the restored and grilled small chambers along the sides of the gateway? The Archaeological Survey of India (ASI) guard on duty has not the slightest clue but territorially (and idiotically!) informs me that photography is not allowed and I shouldn’t disturb the men offering the prayers, only to hear the retort inquiry if he was even aware that the mosque still is under the aegis and protection of ASI for whom he works or have they given him along with the mosque to the Waqf board (in-charge of maintenance of active mosques and burial grounds in the country)? I again encountered the self-appointed caretaker dressed in white kurta-pyjama, the same old man with a short, irregular tuft for beard – strangely, he once again mistook me for an Afghan and began lamenting the poor condition of the mosque and the lack of sensitivity on the part of Government authorities and affluent Muslims, eventually winding the long monologue with a demand for ten rupees so he could light the oil lamps within since the mosque lacks electricity – imagine that, unconcealed woe at the denial of electricity connection to an over 450-year old heritage structure!).

Nearly lost - The colossal gateway and ruins of chambers on either side, as seen from the mosque

The rectangular mosque, slightly better preserved than the madrasa that has very nearly disappeared, is said to have been built without a foundation, a rarity in such massive constructions even today. Internally possessing five interconnected prayer chambers (bays), it has only three arched entrances while the portion where the corner-most of the five entrances would have been had they existed has been subsumed within the last of the madrasa rooms – except for this minor difference in the number of entrances and the existence of the large madrasa adjacent, it is structurally identical to the inconceivably exemplary Qila-i-Kuhna mosque (built either by Emperor Humayun or his vanquisher, the Afghan warlord Sher Shah Suri (ruled AD 1540-45)) gracing the Old Fort complex opposite. The central of the three arched entrances is slightly larger than the other two and embedded within a rectangular embossment that protrudes from the mosque’s front face both vertically and spatially; surmounting the central prayer chamber is an enormous hemispherical dome, slightly flattened towards the top and itself crowned by a perfectly well-formed lotus finial. An inscription set above the central entrance reads –

“In the time of Jalal-ud-din Muhammad who is the greatest (Akbar) of just kings, when Maham Beg, the protection of chastity, erected this building for the virtuous, 

Shihabuddin Ahmad Khan, the generous, assisted in the erection of this good house. How blessed is this good building that its chronogram is “best of houses”. 

Its construction was accomplished by Niyaz Baksh under the supervision of Darwesh Hussain.” 

Shihabuddin Khan was a relative of Maham Anga and also a powerful, though very arrogant and cunning, courtier. The name “Khair-ul-Manazil” when written in Persian script yields the number 969 Hijri (AD 1561-62), the year of its construction, and thus is a chronogram.

Exemplar! - Tile work patterns adorning the mosque exteriors

Flanked on either side by a tapering octagonal pillar that culminates into a rounded conical turret slightly above the roof level, the aforementioned rectangular embossment retains signs of unsurpassable embellishment in the form of vibrantly colorful, enameled tile work and plasterwork bands of Quranic inscriptions. The rich, multi-hued tile work, exceedingly fine and extraordinarily spectacular, proves to be a spellbinding visual treat although much of it has deteriorated and disappeared against the unremitting onslaught of time and vagaries of nature. The gorgeous facade, ignored and forgotten, thus bears a blackened appearance further aggravated by the loss of its architectural features and artistic decoration – the medallions, except for those adorning the flanks of the side entrances, have disappeared in their entirety and so has the row of wide eaves (“chajja”) that would have once run along the entire front face of the mosque except along the protruding rectangular projection; thankfully the skillfully sculpted brackets which would once have supported the eave still survive. The very decorative “kanguras” (battlement-like ornamentation) adorning the roof are also still intact in their ornate existence, albeit in a considerably blackened state. It isn’t difficult to imagine that originally the enviable mosque would have been the treat of the eyes of the locals and would have offered stiff competition to the equally embellished Qila-i-Kuhna mosque which has been adorned not with vividly flamboyant tile work but expensive and graceful tessellation (stone inlay work). And not surprisingly, it is said that the resourceful Maham Anga, leaving no stone unturned in the ornamentation of her magnum, ensured that no two tiles adorning the facade were of the same design – a pattern that also finds resonance in the commendably variegated stucco artwork along the inner surface of the complex’s regal gateway. Each stucco medallion, be they on the mosque’s surface or on the gateway’s, reads the Islamic motto –

“La Allah illah Allah, Muhammad rasool Allah”

(“There is no God but Allah and Muhammad is his messenger”)

"The most auspicious of edifices" - Mosque interiors

Stepping within the mosque one comes face to face with a picture of erstwhile grandeur clashed against present-day deplorable conditions – the mihrab (alcoves in the western wall of a mosque indicating the direction of Mecca; faced by Muslims while offering prayers) retain remnants of very fine and vibrantly painted enameled tile work arranged in numerous geometric and floral patterns in several colors – red, violet, yellow, green, orange and cream, but the rest of the structure is unadorned and exceedingly simplistic. The shorter sides of the rectangular prayer chamber boast of arched side entrances and windows but the same have been grilled and locked to prevent visitors/vandals from entering from these sides. The restoration work which began in anticipation of the Commonwealth Games 2010 (CWG XIX) that Delhi hosted seems to never have been completed and the walls continue to bear the numerous flourishes left behind by painters and masons employed for the conservation-restoration work. The plain interiors, mirroring the limited nature of decoration on the exteriors, appear like the poorer cousin of the better preserved Qila-i-Kuhna mosque whose interiors too unabashedly display excellent tessellation, honeycomb brackets and brilliant paint work in the form of medallions and alcove decoration. But then, unlike the latter, this mosque is still alive, especially on Fridays, with devotees and faithful, though negligible in numbers, who come to offer prayers, clean and sweep the premises and leave behind corn and rice to feed the hundreds of pigeon who call the structure their home. ASI tried to prohibit the practice in 1992 after considering the ruined condition of the structure which was deemed dangerously vulnerable to subsidence, but this step brought it in conflict with the “Masjid Basao Committee” which endeavors for a revival of monumental and abandoned mosques, usually under the aegis of conservation authorities like ASI, for the purposes of prayers and religious ceremonies – the case still continues in the court, but meanwhile prayers are allowed in the premises. The status quo is, in my humble opinion, an ideal solution involving all parties concerned – devotees can be allowed to offer prayers provided they keep vandals out and maintain the structure and its religious sanctity without altering its appearance or constitution in any way (say, paint jobs or modern construction/obstruction), while the restoration-conservation work and hiring/training of guards for the overall protection can be undertaken by ASI – in any case, ASI has already failed for this many years to properly conserve the gorgeous facade and prevent the collapse of some of the chambers.

Such multi-hued vibrancy! - Tile and paint patterns, central of the five mihrabs within the mosque

Along the rubble-built back of the prayer chamber runs a row of alcoves whose high roof is accessible by means of a staircase on either side. A projection in the immediate center of the back wall marks where the rectangular embossment exists along the front face and two tapering pillars in continuation with it reflect the pillars along the latter. The corners culminate into double-storied octagonal towers, the lower levels of which mirror, by means of deep set niches, the long arched windows of the upper levels; four ornamental brackets, identical to those along the front facade that supported the eaves, exist along each side of the towers.

A popular legend associated with the mosque states that once Emperor Akbar, while returning from a hunting expedition, decided to visit and offer prayers at the dargah (mausoleum) of Hazrat Nizamuddin Auliya located nearby. A disenchanted slave let loose an arrow within the mosque precincts to kill the Emperor while he halted for a short rest here, but it missed him on account of his short height and injured a royal guard instead. I doubt we need delve into what must have happened afterwards to that slave! The structure’s dilapidated octagonal wazu tank is said to have been repaired by Amir Habibullah, the Shah of Afghanistan, in the first decade of 20th century when he visited India for a meeting with the Viceroy. Given the historicity of the structure and its association with such notable personalities, it is highly imperative that it be conserved and the excellent artwork it boasts of, currently threatened nearly to the verge of extinction, both by environmental effects and the lacunae that plagues the heritage authorities, be restored and preserved for future generations. At present, it is only because of the hundreds of pigeons who call this dilapidated structure their haunt that this largely unnoticed and forgotten mosque-seminary located at such a busy traffic intersection opposite one of the most visited tourist sites of Delhi displays signs of life. One can only hope that perhaps someday tourists and history enthusiasts too will visit it in hundreds to bask in its erstwhile grandeur and marvel at the unsurpassed skill of the artists and architects whose efforts went into its construction. Then the courtyard that once reverberated with the sounds of students reciting Islamic scriptures and learning geometry, algebra and jurisprudence would once again resound with human voices, only this time they'll be the sounds of children’s laughter and visitor’s exclamations of adoring amazement. Amen.

The other side - The mosque, as seen from the expansive lawns surrounding the ruined Lal Darwaza adjacent

Location: Immediately opposite Old Fort (Purana Qila) (Coordinates: 28°36'27.1"N 77°14'23.7"E)

Open: Everyday, sunrise to sunset

Nearest Metro station: Pragati Maidan

How to reach: Buses and autos are available from different parts of the city for Old Fort complex. The metro station is exactly 2 kilometers away and one can walk or avail a bus/auto from there.
Entrance fees: Nil

Photography/Video charges: Nil

Suggestion: It is advisable, especially for women, to be dressed modestly since the mosque is a place of worship. Also one has to remove the footwear before entering the prayer chamber.

Other monuments in the neighborhood - 

1. Pixelated Memories - Hazrat Nizamuddin Dargah
2. Pixelated Memories - Humayun's Tomb complex
3. Pixelated Memories - Old Fort complex

Quli Khan, one of Maham Anga's sons, is buried in a beautiful mausoleum in Mehrauli Archaeological Park in another part of Delhi. Refer Pixelated Memories - Quli Khan's Tomb.

Suggested reading - 

1. Farbound.net - An old man and a mosque
2. Kafila.org - Article "Saving our heritage" (dated Sept 02, 2012) by Sohail Hashmi