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 -

1. Pixelated Memories - Agrasen ki Baoli
2. Pixelated Memories - Baoli, Hazrat Nizamuddin Dargah
3. Pixelated Memories - Feroz Shah Kotla fortress and baoli
4. Pixelated Memories - Red Fort Baoli
5. Pixelated Memories - Baoli, Wazirpur cluster

Other monuments within the Archaeological Park premises - 

1. Pixelated Memories - Balban's Tomb
2. Pixelated Memories - Chaumukh Darwaza
3. Pixelated Memories - Jamali Kamali Complex
4. Pixelated Memories - Khan Shahid's Tomb
5. Pixelated Memories - Lodi-era Canopy Tomb
6. Pixelated Memories - Metcalfe's Chattri
7. Pixelated Memories - Metcalfe's Ziggurats
8. Pixelated Memories - Settlement ruins
9. Pixelated Memories - Quli Khan's Tomb

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

R.K. Puram Trail, Delhi

Having visited all the major fortresses, regal tomb complexes and renowned shrines in Delhi, I wasn’t left with any sufficiently huge monument complex where I could cheerily spend an entire day (or at least, till the camera’s battery refused to go on anymore!) photographing, exploring and observing. Given that there are about 1300+ monuments scattered throughout Delhi, a majority in the unlikeliest of locations, it isn’t very difficult to hit upon heritage trails and filter out some groups of structures that stand individually isolated but in close enough vicinity to each other to be covered on foot in a few hours. One such trail is in R.K. Puram – now, R.K. Puram is a relatively well-off area, one of the few properly conceived, planned and executed localities in the city, and there are quite a few medieval tombs here sharing space with beautiful modern Hindu/Sikh temples, simplistic wall mosques and upcoming residential quarters – the last generating the well-documented urbanization pressure on the medieval structures and restricting most, if not all, of them to picturesque oases composed of small un/maintained garden tracts lost in a sea of humanity, commercial establishments, residential buildings and traffic-choked roadways.

Wazirpur Tomb Complex –

Huddled together - The five tombs at Wazirpur complex

Location: Sector– 5, R.K. Puram

Coordinates: (28.562767, 77.175042)

Wazipur Tomb complex, a congregation of Lodhi-era (AD 1451-1526) rubble-built structures located in R.K. Puram Sector –5 and nestled in an extremely small but beautifully landscaped green space consists of a cluster of five tombs the identity of whose occupants is unknown, two wall mosques (“qiblas”), a simplistic stepwell (“baoli”) (now) filled with rubble and garbage, an old well and a grave platform. One of the tombs here has been encroached upon by a family while the personalities buried in the rest are venerated by the local population who regularly leave behind reverential offerings – flowers, incense, earthen oil lamps (“diyas”) and sweets. The tombs are externally and internally exquisitely decorated with intricate stucco medallions skillfully crafted from plaster; the smaller wall mosque too has been ornamented with striking artwork and prettily niches, however the larger bears a rough rubble surface, unadorned and uneventfully executed. Surrounded by clusters of large trees – neem, ashoka, amaltas (Indian laburnum), arjun and frangipani, and inhabited by squirrels and several avian species like sparrows, pigeons and lapwings, the pristine little complex immediately proves endearing not because of the magnificent artwork or designs (which there aren't many), nor because of the superbly-maintained condition of the complex (which is only on paper), but because of the splendid silence and the charming serenity that it affords even to the most wretched of travelers and the most discerning of heritage enthusiasts. For further information, refer Pixelated Memories - Wazirpur Monument Complex

Munda Gumbad –

Munda Gumbad ("Bald Tomb") - A unique landmark on Delhi's cityscape

Location: Sector– 5, R.K. Puram

Coordinates: (28.561165, 77.178832)

A difficult find in the well-laid streets of R.K. Puram, the unbelievably massive but uncompleted tomb boasts of a slightly raised embossment in the center of its stone floor indicating the presence of a single grave deep underneath the high hillock on which it stands majestically. Located within a small square park immediately opposite the Kendriya Vidyalaya of the area, the huge tomb, with its unremarkably bare rubble walls that have been designed to give externally the semblance of a double-storied structure through the use of arched entrances, windows and ornamental niches, has been reduced to a miniature landfill by the nearby residents who dump polythene bags stuffed with domestic waste on a daily basis in the park and often alight fires to get rid of the excessive garbage. Peeping inside the tomb that has been identified to be a Lodi-era (AD 1451-1526) structure and watching the play of sunlight on the huge gaping hole that exists in place of the domed roof, one notices the employment of trabeate arches (stone ledges of gradually increasing sizes placed one over the other in ascending order to span space) for the wide doorways and squinch arches in the corners (to convert the square interiors into an octagonal and a sixteen-sided structure) to support the heavy dome and wonders why the handsome tomb was left incomplete – did the person who commissioned it face an unforeseen depletion of funds, or was there a change in the governance and the new administration looked down upon the person buried or the one who commissioned it, or perhaps some other calamity like a reign change or a miserable war? 

Locked away - Munda Gumbad interiors

One also wonders what would the tomb would have looked like if it were completed – the present structure betrays the conceiving of a gigantic dome resting on a sixteen-sided drum (base) and a filled up western wall that would have acted as a mihrab (wall faced by the devout while offering Namaz prayers since it indicates the direction of Mecca) – would the mihrab have been as wonderfully decorated with white marble, red sandstone and plasterwork as in several other monuments throughout the city, would the dome’s concave surface boast of stunning artwork in incised plaster, or would the walls have displayed a stone or plaster finish with an endearing use of eye-opening medallions and perhaps stone inlay work? The gentle, isolated giant of a tomb raises more questions than it answers – wish at least the locals could answer correctly about its location instead of making a seeker go around in circles!

Sri Venkateswara Balaji Mandir –

Location: Sector– 3, R.K. Puram

Coordinates: (28.558154, 77.181519)

At a slight walk from Munda Gumbad stands one of the finest temples in Delhi – boasting of an array of excellent sculptures depicting mythological and mythical entities, the Sri Venkateswara temple has been built according to traditional Hindu architectural practices and is detailed with design motifs and religious symbolism that is a landmark of South Indian temple construction. Apart from the lofty trapezoidal-pyramidal central shrine (“Gopuram”), passer-bys are also lured in the Vaishnavite temple complex by the numerous Garuda statues that mark the temple complex’s periphery walls – Garuda, a mythical being considered to be the steed of Lord Vishnu (the Hindu God of life and nourishment) is often depicted as a semi-bird, semi-human creature with a beak-like curved nose and huge, powerful wings. 

Sculptural extravaganza - Sri Venkateswara Temple

It is difficult convincing the priests and mendicants residing within to allow photography and even when the managing committee representative yields permission, clicking within the sanctum is out of question – anyway the temple remains locked in the afternoon and opens only in mornings and evenings, so I wasn’t even expecting the priests to open the sanctum for me. The singularly impressive sculptures that adorn the high soaring, pyramidal roof of the temple are unparalleled and display an impeccable diversity in terms of the figures represented and their features. There are several smaller shrines too within the complex, each topped by a slightly domed-roof done up with cross-patching patterns and also ornamented with divine figurines but the most common deity remained the Garuda that could be seen seated atop each small shrine along the front corners. The temple has been commissioned and is being maintained by the Tirumala Tirupati Devasthanams (TTD), an organization that also maintains several other temples throughout the country including the renowned Tirumala Venkateswara temple of Tirupati (Andhra Pradesh), and is dedicated to Lord Sri Venkateswara Swami (an incarnation of Lord Vishnu) and his consorts Bhumi Devi (Mother Earth Goddess and personification of fertility) and Laxmi (Hindu Goddess of wealth, beauty, prosperity and happiness). 

The entire pantheon consisting of the Lord and his consorts, guards and devotees, amidst religious symbolism and traditional motifs

Spread over 1.2 acres and built at the cost of 11.5 crores (115 million) rupees in 1979 on land granted by the government (renovated in 1994 and 2008), the majestic temple also consists of a “Nata Mandir” (music and dance hall) and a “Dhyan Mandir” (meditation hall). Through the exquisiteness of its rich idols and the unmatched skill that went into its fine construction, the temple has definitely found its way into my list of the must-visit shrines in the city, even though I too came across it without any planning or inclination – now am even hoping to take my mom there the next time we pass that way!

Bijri Khan’s Tomb –

Location: Sector– 3, R.K. Puram

Coordinates: (28.558578, 77.181717)

Seated on its immensely raised platform like a rippling warlord and overlooking the continuous flow of traffic whizzing around it, Bijri Khan’s impressive tomb is perhaps the most massive “unknown” tomb I’ve ever come across in Delhi – built at an unprecedented scale and conveying a sense of uninhibited strength and fortitude, the gigantic tomb cradles in its huge bosom five simplistic, unmarked and unadorned cenotaphs. In the news in the recent past for all the wrong reasons – having been ignored by the authorities, standing in a miserable state in a forlorn corner of its own with its ornamentation lost due to the vagaries of time and nature, scaled on one side by a slum settlement and forgotten by most heritage and monument enthusiasts, the tomb saw a flicker of better days when it was “restored” (in reality only plastered over on the insides and landscaped around the plinth level) thanks to the Commonwealth Games held in Delhi in the December of 2010, only to revert to its original isolated and uncared for condition – the slum still exists and it is quite a feat to find your way from the slum side to the tomb, on the other side is a palm reader’s shack while a wide road runs along the front face. 

Enormity exemplified! - Bijri Khan's simplistic but humongous tomb

An iron gate bars visitor entry to the tomb enclosure but the guard quickly appeared after I shouted for him couple of times, and though he reluctantly let me in when I stubbornly refused to go away and brandished knowledge of Archaeological Survey of India (ASI) maintained monuments and laws, he became visibly agitated when I started clicking the structure claiming that he is not even allowed to let in people (yes, even those with genuine credentials), leave aside photography! Why, ASI why? Stepping through the gate and up the steps leading to the plinth, one is greeted by the sight of the guard’s innerwear drying on a clothesline – apart from that and the expensive illumination systems that appeared to have been perennially covered with a layer of mud, the tomb appears in a relatively well-off condition – even the interiors were spic and the plinth area was immaculately clean of debris and garbage unlike several monuments I already encountered on this trail. Sadly, the guard did not budge at all at the prospect of me heading upstairs to the tomb’s dome level and clicking – it would have been excellent to see that gigantic dome up close – in fact following this simple question, he began trailing me like a shadow lest I do something unpardonable, like perhaps clicking the other person who was snoring within the tomb’s precincts – how did he get permission to get in when others can’t?

Bijri Khan's tomb and its dwarf companion

There are no literary records available to indicate who Bijri Khan was – in all probability a very skilled military general or an extremely powerful noble – and why did he command such intimidating respect to deserve this giant tomb, but whosoever he was, he is extremely fortunate in death to have an ASI guard and then too such a diligent one – after all, there are literally hundreds of monuments decaying around Delhi’s ancient landscape! Along one side of the tomb, stands a very small structure, more of a "gumti" (little, domed room) than a tomb proper – though there is no grave within nor any other sign of identification or erstwhile adornment, it is conjectured that the structure functions in the capacity of a tomb – to whom it belongs is yet another mystery, perhaps to a servant or slave to Bijri Khan, or even to his favorite dog (yes, Delhi has its fair share of such inconceivable structures too!). Interestingly, if one is observant enough, one can spot a few signs of the original ornamentation along the front face, like a band of red sandstone chiseled to represent a line of geometrical flowers, besides the usual thick stone pillars carved up to create trabeated arches inspired by Hindu design motifs like auspicious vases and banana leaves that mark the entrances. It is hard not to be impressed by the enormity of the structure when even the red sandstone finial crowning the grand dome seems to convey a sense of superiority. Interestingly, the British, when they came to call the shots in the country, refused to be overawed by the tomb’s grandeur and converted it and the miniature gumti alongside too into fodder stores!

Somber bedroom - Bijri Khan's tomb interiors

Nearest Bus stop: R.K. Puram NAB (400 meters away)
Nearest Metro Station: AIIMS (5 kilometers away)
How to reach: Since the area doesn't lie on any existing metro line and the nearest metro station is actually very far, it is suggested to take a bus to R.K. Puram. Start at Wazirpur complex (refer Pixelated Memories - Wazirpur Monument Complex) and from there ask for Kendriya Vidyalaya school – Munda Gumbad is located opposite the school building. From here, proceed to R.K. Puram Sector– 3 bus stop – Bijri Khan's tomb is immediately at the bus stop, while Sri Venkateswara temple is a couple of meters away in one of the streets close to Bijri Khan's tomb.
Entrance fees: Nil
Photography/Video charges: Nil

Time required for sightseeing: Wazipur complex: 45 min; Munda Gumbad: 20 min; Sri Venkateswara temple: 30 min; Bijri Khan's tomb: 20 min.
Suggested reading - 

1. Incredibleindiaphotogallery.com - Illuminated Delhi monuments >> Tomb of Bijri Khan
2. Newindianexpress.com - Article "Lord Balaji temple opened in Delhi" (dated May 30, 2013)
3. Thehindu.com - Article "250 monuments identified for conservation" (dated Oct 13, 2010)
4. Thuglak.com - Article "Between slum and public toilet, a monument lies neglected" (dated July 12, 2009)
5. Timesofindia.indiatimes.com - Article "Bijri Khan's tomb lies in shambles" (dated May 23, 2004) by Arundhati Basu

Wazirpur Monument Complex, R.K. Puram Sector– 5, Delhi

The Wazipur complex, a congregation of Lodhi-era (AD 1451-1526) rubble-built structures located in R.K. Puram Sector– 5 and nestled in an extremely small green space that (thanks largely to the expansionist urbanization forces of the immediate vicinity) barely defines the boundaries till which the medieval monuments spread out, consists of a cluster of five tombs the identity of whose occupants is unknown, two wall mosques (“qiblas”), a stepwell (“baoli”) and a grave platform. The iron gate, installed to keep out vandals and anti-social elements, is kept semi-locked with a chain but ironically one of the tombs has already been encroached upon and a family of at least six resides within; they have also built a makeshift shanty close to the plinth on which the tomb stands but that is, I suppose, a good thing since they retreat to it every time someone shows up to photograph the structures, leaving only the mattresses, chairs, stoves and cooking utensils in the tomb! Stepping through the iron gate, one can either first head towards the rubble-built baoli and the smaller qibla, or climb up the stairs to examine the tomb cluster – the two sets are on either side of the pathway that demarcates the area.

The five musketeers! (Observe the rubble wall in extreme left - that is the larger of the two qiblas)

The shallow baoli, the simplest and smallest that I’ve ever seen in Delhi, is a fairly uncomplicated structure and possesses a domed turret on each of the two corners where it emerges from the ground. A staircase leads down to the tank level which is filled up with garbage, plastic bottles, polythene and wrappers as well as rubble and construction debris, but incidentally there is not a drop of water despite it being the rainy weather. Interestingly, stone-built water channels emerge from the baoli and end mid-stride in the middle of the green patch, a feature that is unique here – what purpose did they serve? Did the people who lived close to the baoli and/or were responsible for the maintenance of the lawns draw water from the tank and pour it in the channel so as to facilitate uniform distribution across the whole area? I have not an iota of an idea but they certainly do seem interesting. There are shallow chambers built along ledges in the side walls of the baoli where visitors used to sit when the baoli gurgled with the presence of water level which rendered it relatively cooler than the surroundings – at present, sunlight streams down to the tank level and scorches every square inch of the structure; even the pigeons that have made their homes in the niches around the tank wall remain cooped up in their shady nests as a response to the unbelievable heat and humidity. By rapidly flying out in large packs with an aggressive flapping of wings, they are sure to startle an innocent visitor who is quietly photographing the tank and the covered, arched chamber with arched openings in the back wall of the structure.

The simple, two-tier stepwell

Behind the baoli and separated from it by a couple of meters of lush grassy lawn is the smaller of the two wall mosques – a very high platform, part of which is occupied by a large cenotaph, with a thick wall along the western edge flanked by two short stretches of walls along the northern and southern edges. The western wall, possessing five arched niches (the central being the largest and deepest) makes up the little qibla (unroofed wall mosque where devotees face towards the wall which indicates the direction of Mecca (west)) of this striking structure. The thick walls are ornamented with kanguras (battlement-like adornments) on the top while tapering turrets once existed along the corners of each of the three walls, though much of the southern wall and its adjoining turret has since collapsed. Two small circular medallions bearing calligraphy inscriptions exist on either side of the central niche, while a row of miniature arched niches, very prettily designed and executed with varied geometric and floral patterns, runs alongside the top of the larger niches. The compelling designs along the face of the qibla makes it one of the most alluring structures in the entire complex despite its simplicity vis-à-vis the richly decorated tomb cluster – of course, visitors, the unwanted kind, never leave a chance to make a monument “prettier” still, and as evidenced by this small neglected wall mosque, have left an entire load of horrible, horrendous etchings and writings. Given that the complex enjoys a venerated status amongst the population of the nearby urban villages, some devotee had left sugarballs and lighted up an earthen lamp (“diya”) next to the grave. The caretaker/gardener, dragging a heavy water pipe which emerged from the old, flaking well close to the wall mosque, offered no answers when I inquired about the same and was intent on evading further questions – he soon disappeared into nowhere too! 

Graceful isolation?

Between the well and the small wall mosque is the simplest structure of all – a high platform on which sat two graves – being next to the park’s periphery, the platform, with the numerous trees that seemed to be overshadowing it, was inundated with leaves and brilliant golden-yellow Amaltas (Indian laburnum) flowers. Along this periphery, the tomb complex is on a slightly higher ground with respect to the road that runs alongside and the trees, planted on the road’s margins, all conspire to drape it with a green foliage veil, thereby turning the simple scene into one picturesque landscape. Several bird species – mynas, pigeons, sparrows, crows and lapwings can be spotted strutting around in the high grass or approaching and drinking from the numerous water pots kept throughout the complex by the caretakers, and if you are patient enough to spend a quarter of an hour or so trying clicking these super-quick feathered friends, you will definitely be rewarded with a few crisp shots. 

Sneaking on - Red-wattled lapwing

The tightly-packed tomb cluster can be characterized into – (1–3) three very similar tombs sharing a common plinth in the center, (4) the simplistic rightmost tomb seated upon its own separate plinth and (5) the surprisingly well-preserved leftmost tomb which stands slightly away from the other four and is not raised from the ground by a masonry platform. All five tombs have very similar architecture patterns – single square chambers ornamented on the outside with arched niches to yield double-floor appearances, topped by semi-circular domes which sit on high drums and are themselves surmounted by lotus finials (except in the case of the smallest tomb) and the use of kanguras and medallions along the faces as the only form of decoration – only the smallest and the leftmost tombs seems different in that the former only has an entrance along its western face while the latter is open on all four sides – the rest of the tombs have mihrabs (western wall of a structure that acts as a mosque by indicating the direction of Mecca) for western walls and arched entrances along all the other sides. The entrances of the smallest tomb appear to have been bricked in only recently and one can see traces of fresh plaster where the entrance should have been along the front face.

The baoli and the tombs as seen from near the grave platform

The three tombs in the center seem to have recently undergone restoration work – the plaster seems fresh and the medallions have been recreated out of incised plaster artwork, though the interiors appear to have been untouched and still display the raw, rough look with darkened, cobweb-covered walls, bird shit-drenched floors and fragmented medallions. The largest of the three tombs bears exquisite medallions around the front face arches though most of the rest of the faces still seem to be undergoing restoration–conservation work; there are two graves inside, one in each corner of a diagonal and both of them seem to be the subject of reverence as exemplified by the presence of sugarballs, marigold garlands, oil lamps, incense sticks and small piles of grains left behind by devotees – of the two, one is in very good condition and still bears decorative features as well as the wedge that recognizes it as a male grave, the other doesn’t bear any such characteristic feature and might very well be a female grave (unless of course, the features got eroded with time which seems highly unlikely considering the well-preserved state of the first one) – the latter seems to be more favored by the devotees and has been blackened around the head with greasy soot and oil from the lamps and lumps of sugar. I doubt if the occupant of the grave would have approved! While I was there, a sweeper lady came up with a broom and a pail of water and began cleaning up the tomb’s interiors – she scrubbed off much of the soot and grease and also removed the garlands, sweets and incense that was till now adding color to the monotonously antique and rugged structure. Neither she nor the young boy who soon appeared on the scene and began admonishing me for walking in the tomb with my shoes on told me if any government agency has employed them to look after the structures – for the sake of disclosure, let me clarify that am not against people's beliefs nor am I in the favor of preventing someone from worshipping at a particular place or shrine, but there should at least be some balance, sooner or later we will have to learn to let heritage structures be just that and not deface or encroach upon them nor try to convert them into temples or mosques or some other shrine.

Such colors, such vibrance!

The other two tombs are externally very similar to the largest, except for a few minor differences, and have also been plastered over recently – the smallest, with its bricked-up, darkened walls, seems to be in the worst-off condition and has been converted into a storage shed to stock bags full of cement, iron grilles, worn-out chairs and containers full of paint; the medium-sized one displays a profusion of intricate artwork that is not just limited to the exteriors, though its interiors too are being used to store cement bags.

The rightmost tomb, reached by a flight of stairs seems to be another shrine and has also been encroached upon – devotees had left behind incense and sugarballs, but a middle-aged, unshaven man was residing in a corner (complete with mattress, water bottles and a broken chair) and cooking on a stove. He too decided he was in need of a much-desired stroll when I walked in the tomb with my camera, by now I had begun asking myself if people are allergic to me or am I just plain ugly! I still do not understand what the Archaeological Survey of India (ASI) and its authorities in Delhi are doing if so many people are residing in heritage structures throughout the city (nay, the country)? What use is restoration work if people are anyway going to despoil the cenotaphs with grease and oils and light up fires inside tombs? 

Such has become the condition of "Incredible India!" that people are willing to live in tombs for lack of employment and residential opportunities!

The leftmost tomb, though not having been restored as yet and exposed to the rubble walls underneath the flaking plaster, is located immediately to the east of the longer qibla wall and displays the most excellent artwork of all five tombs both on its interiors and exteriors. The qibla wall, officiating as part of the periphery of the little tract of land in which these structures stand, has been completed out of unplastered random rubble masonry and boasts of nine double-arched niches set within larger square alcoves, the central being the largest and the penultimate ones on either side of it larger than the rest. The dome surmounting the tomb appears gently curved, resembling a budding female breast, while the artistic medallions and alcoves inside have been preserved in a condition superior to the rest of the structures. A glittering pearly-white Gurudwara peeps from behind the qibla wall while lofty telephone towers that look like monstrosities adjacent to these charming structures emerge from the ground nearby.

The exquisite medallions and kanguras (battlement-like ornamentation) adorning the front facade of the leftmost tomb

After about 45 minutes of going about and clicking the structures, the tomb complex becomes a bit boring, largely because, despite the presence of several structures, there isn’t much to explore about and admire – firstly, the structures do not retain most of the artwork that once embellished them and hence there isn’t much to gaze at and be overawed by; secondly, the structures are constrained in such a limited span of land that there are only as many photography compositions and angles that one can try without being too repetitive and mediocre; and lastly, given that the history behind these tombs – their construction, commission and the life stories of those buried within (Who are they? Why do people venerate them so? The three tombs seated on the common plinth might have been related somehow – if so, how? And what about the other two and the grave platform opposite?) – has been forgotten, or probably was never put to pen, and hence they do not capture a visitor’s interest as several other monuments that dot Delhi’s landscape sincerely do. Suggested only for enthusiastic dedicated heritage-seekers.

PS: Though it has been claimed that the tomb cluster allows wheelchair access, there is no way a wheelchair can be pushed in the aforementioned semi-closed gateway, nor up the (as of now) debris and construction material ridden ramps. Also, as is the case with most heritage structures in the country, there are neither toilets nor drinking water outlets – be prepared! 

The baoli's twin turrets and water channel

Location: R.K. Puram Sector– 5

Nearest Bus stop: R.K. Puram NAB (400 meters away)

Nearest Metro Station: AIIMS (5 kilometers away)

How to reach: Since the area doesn't lie on any existing metro line and the nearest metro station is actually very far, it is suggested to take a bus since the monument complex is just across the road from the bus stop. One just has to ask for directions and walk till Gurudwara Guru Nanak Sabha – the entrance to the monument complex is couple of meters prior to the Gurudwara.

Entrance fees: Nil

Photography/Video charges: Nil

Time required for sightseeing: 45min

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