Sultan Garhi, Vasant Kunj, Delhi

“This blessed building was commanded to be erected by the great Sultan, the most exalted emperor, the lord of the necks of the people, the shadow of God in the world, the bestower of safety on the believers, the heir of the kingdom of Sulaiman, the master of the seal in the kingdom of the world, the helper of the chief of the faithful, the sultan of sultans who is specially favored by the Lord of the worlds, Shamshuddin Waddin Abul Muzaffar Iltutmish the sultan, may God perpetuate his rule, as a mausoleum for the king of kings of the east Abul Fath Mahmud, may God forgive him with his indulgence and make him dwell in the center of the paradise, in the year 629.” 

– Translation of the inscription carved on the entrance to Sultangarhi 

As a child, Shamshuddin Iltutmish was intelligent, handsome, hardworking and displayed signs of understanding wisdom and a gifted intellect that often provoked the jealousy and a misplaced sense of inferiority in the neighborhood kids and even his own brothers. Such was the chagrin his inconsiderate and devious brothers experienced when faced with his piety and fine knowledge that they eventually decided to deprive him of paternal love and the noble upbringing his affluent family could afford and had him sold as one of the many slave boys to a merchant from Bukhara (Uzbekistan). The man, a dealer in slaves and fine merchandise, further sold the boy to Qutbuddin Aibak, the meritorious lieutenant and the foremost of slaves of Muizuddin Muhammad ibn Sam, the Sultan of Afghanistan (also otherwise known as Muhammad Ghuri), who later went on to become the Sultan of Hindustan. Following the death of his master in AD 1210 and the subsequent incompetent rule of his successor Aram Shah, Iltutmish decided to capitalize upon the disgruntled nobility and the disenchanted armed forces and with their aid ascended the enviable throne of Delhi. He who once was an undesired but forever grateful child, now ruled over the massive Indian subcontinent and wielded considerable influence as the “Sultan-i-Azam”, the great emperor; a formidable military commander and an unparalleled administrator, he boasted of fearsome fighting capabilities and a fiercely loyal backing of powerful armies and slaves; yet he remained a tender-hearted father when it came to his children upon whom he doted and lavished immense affection while attempting to fulfill all their demands and wishes as best as he could. Had he been able to foresee the future, he would have been shocked and appalled at how his progeny would butcher each other after his death, but we shall connect the various threads of Delhi’s often horrific and rotten history later in this article.

Sultan-i-Garhi - Seated in a forest

Iltutmish delegated the administration of the eastern territories of the subcontinent to his eldest and favorite son Nasiruddin Mahmud, entitled him “Malik-us-Sharq” (“Lord of the East”) and appointed him the Governor of the fertile and affluent land of Bengal (Lakhnauti). He always knew that among all his children only his daughter Razia was capable of inheriting and governing the colossal kingdom over which he reigned supreme, but he continued to groom Nasiruddin Mahmud as an efficient administrator-general and his heir-apparent. But it was not meant to be – following ill health brought about as a result of Bengal’s climate, Nasiruddin passed away in the year 1229, leaving behind him a distraught father, grieving siblings and mournful subjects. Considering himself to be a sinner and an inconsiderate creation of God, he decreed that his body should be thrown down in a dark underground cave and not subjected to a royal funeral and burial in magnificent mausoleum. The inconsolable Sultan did bury him in a cave, but this cave was especially custom-built above the ground for the purpose – thus came into existence Sultan-i-Garhi, “Emperor of the Caves”, an octagonal crypt enclosed within a miniature square fortress with massive walls and gigantic bastions (“burj”) that lend it an undeniably masculine, militaristic appearance. One of the least known major monuments in Delhi, the mausoleum, built in AD 1231-32, has the fantastic reputation of being the oldest existential monumental tomb in the city (and in the entire country since the only earlier royal mausoleum of the subcontinent – Qutbuddin Aibak’s tomb in Lahore – is in Pakistan) and it is so different from the later tombs and religious shrines that it superbly succeeds too in living visually the role of grand old monument. Seated, unarguably with an indisputable sense of conviction and steadfastness, upon a raised plinth (3 meters high) in the thoroughly vegetated southern ridge forests where thorny bushes and stunted trees compete for space with blasted rocks and infertile outcrops, the 800-year old tomb is enclosed by thick, high walls and built almost entirely out of golden-brown Delhi quartzite stone.

Up on the plinth and inside the enclosure - The octagonal crypt and the pyramid-surmounted mosque

The characteristic unyielding nature of the quartzite renders it highly unsuitable for sculptural and inscriptional purposes, thereby necessitating the use of an alternate construction material in combination with the former – in this case, the requirement is fulfilled most notably by white marble highlights which has been utilized in constructing the massive projecting entrance of the mausoleum as well as the interiors. In fact, after one does overcome the initial gasps of shock and awe at witnessing the inimitable majestic fortress-tomb rise from the ground in the middle of the unrelenting forest, it is the splendid beauty of the gigantic rectangular entrance, neatly carved into strips of straight lines ultimately culminating into graceful strips of calligraphy that renders visitors speechless. In an instance of unbelievable irony, shared sacred culture and peaceful cohabitation, the local population, both Hindu and Muslim, over the ages began considering Nasiruddin Mahmud a saint and venerate him despite his everlasting conviction of his status as an eternal sinner – the telltale signs of people visiting the tomb complex and offering prayers begin right at the entrance (they are observable in the ridge forest too in the form of rusted and poorly painted signboards indicating the direction to “Peer Baba” (“Revered Sufi saint”), as Nasiruddin is now reverentially referred to as) – climb up the high staircase and either side, near the bottom, the calligraphy characters have turned black as a consequence of regular lighting of oil lamps and incense. Continuing since decades, in a tradition unaffected by any political or religious attempts at introducing chasms between members of different religions and belief systems, and as a sign of heartwarming coexistence between these people of varying faiths and their mutual admiration and acceptance of each other, the mausoleum is especially visited by reverential locals in large numbers every Thursday when prayers are allowed and free food (“langar”) is distributed to everyone irrespective of any differences of faith, creed or gender. Newly-wed brides from the surrounding villages are also brought to the mausoleum by their relatives to seek blessings of marital happiness from the saint. The locals also regularly clean and take care of the shrine, without in any way making any modifications to the original structure – and this, the involvement of the locals, in my opinion, is possibly the best possible manner in which a monument can be conserved for future generations compared to either totally blocking the locals out or giving them such a free hand that they encroach upon the monument and its associated structures.

Stunning! - Details of the inscription carved into the entrance frame

The interiors are exceedingly straightforward – sheltered colonnades, composed of unadorned, simplistic rectangular pillars plundered from Hindu temples destroyed by Emperor Iltutmish, exist along the eastern (entrance) and western sides of the square enclosure, while the other two sides have arched windows built in the walls and looking down upon the vast spread of dense green forest and ancient sets of ruins surrounding the mausoleum (more on that later). Windows also pierce the eastern and western sides, but here the more dominant visual factor is the white marble entrance and the serene mihrab (western wall of a funerary zone/mosque indicating the direction of Mecca, to be faced by Muslims while offering prayers) composed of the same material – interestingly, if one observes carefully, the windows are arched only visually, but not architecturally – the unique corbelled arch technique has been employed here where stone blocks forming a wall are merely carved to resemble curved arches – the style originated immediately following the invasion of the Indian subcontinent by Turkish Muslim armies and the incessant insistence of the new commissioners of buildings and tombs for them to possess arched entrances and openings, a concept alien to the incorrigible native Hindu artists and sculptors who were only capable of constructing trabeates (where stone ledges of gradually increasing sizes are placed atop each other to span space). The splendid mosque/mihrab, surmounted by an enormous pyramidal roof that boasts of an intricate circular floral sculpture along its spellbinding interior side, is a bewitching artistic entity – the white marble has been dexterously and immensely patiently sculpted into detailed bands of floral and geometric motifs and Quranic calligraphy inscriptions. The fluted pillars, supporting the immensely heavy roof on equally heavy brackets, are constructed out of equally flawless white marble for use around the mihrab, but are composed of the same luster less quartzite in the rest of the colonnaded section. Immediately next to the mihrab’s wall is a shallow concave depression hollowed in the marble floor where devotes leave sugar balls, marigold flowers and incense sticks as a mark of faith towards the sanctity of Nasiruddin Mahmud and his boon-bestowing capabilities, but the sugar balls especially attract an enormous number of big ants and flies, the result being the entire floor area is crawling with these creepy, large insects!

Exquisitely detailed - The tomb's associated funerary mosque

The corner bastions and the towering pyramidal roof rise way above the canopy of the surrounding forest and can be seen even afar from the Mehrauli- Mahipalpur road that runs on considerably higher ground skirting the forest territory. Quell the excitement to explore the octagonal crypt just a few minutes more and head to the prominent corner bastions gracing the fortress-tomb – these too possess rather ordinary, but simplistically beautiful, carved floral medallions along the undersurface of their shallow conical domes – the distinctive domes themselves are raised from corbelled stonework and are no insurmountable feats of architectural excellence, but the view from the arched windows in these corner towers is scarily fascinating – one is so high above the ground that it is spellbindingly thrilling and shuddering at the exact same moment!

At last, one heads to the crypt, raised further almost a meter above the ground (that is, the 3 meter high plinth level) in the form of an octagon faced with white marble and possessing stairs along one side leading upstairs and along another heading downstairs – part of the octagon seems to have been constructed from the remains of desecrated Hindu/Jain temples and the same is observable from the lengthy spans of exquisitely sculpted stone fragments that compose the top edges of the octagon just inside of the marble periphery and concentric with it. There isn’t any purpose to step up the stairs to reach the crypt’s roof unless one wishes to observe the numerous pigeons that flock and flutter to feed on the grains and water left for them by the devotees and the guards (yes, the premises are ticketed, though there wasn’t another visitor except me the entire day and am sure the revenues must be disappointing to an extreme degree) – pointing to the stairs that lead nowhere, some historians contend that the tomb was never completed and a dome or roof was meant to cover the octagonal crypt later, but then the obvious question is if the entire fortress-tomb could be raised in two years, why not a small domed chamber in the next few months while the Emperor was still settled in Delhi?

Spookiest tomb I have actually been to in Delhi. This photo of the crypt has been brightened to an extent - it is several shades darker in actuality.

Stepping down into the uncomfortably dark and damp cave chamber is perhaps the scariest dreadful experience I have ever encountered in my short life – supported on extremely plain, unadorned rectangular pillars is the heavy roof of the cave under which rest three graves, each of them draped in a length of light green cloth as is suitable for the sarcophagus of any saint and garlanded with marigold flowers. The largest grave, situated along the western face of the dark cave and ensconced between two of the pillars is said to be that of Nasiruddin Mahmud, though there is neither any sign of ornamentation nor recognition – the faithful have tied numerous letters, deep red threads, pieces of cloth and silver foil, in order to beseech the prince and his family to grant their wishes and fulfill their dreams (“mannat”) upon which they shall return to express their grateful respects and remove the symbolic application (“arzi”), that is the thread/cloth/letter, from the pillars. As I already confessed, I was scared witless on stepping into the deep chamber, more so since I was the only one there and it had suddenly begun to rain and howl furiously, slamming the wooden door of the crypt against the walls – I have no qualms in expressing the fact that I did not step down the last high stair but instead went back upstairs, hoping that the door wouldn’t now slam in the other direction and leave me stranded in a pool of utter darkness and dread! The tomb complex is considered haunted and very few venture here after dark – legend goes that a saint meditating here was burned alive and his ashes scattered around much before the construction of the mausoleum (though it isn’t remembered why this violent and horrifying act was perpetrated), the saint is often spotted at night as a glowing apparition flitting between the trees and traversing the tomb, especially in and around the crypt. Spooky!

My heart thumping through my chest I stepped out of the crypt and spent a considerable few moments regaining my composure before finally deciding that a sojourn up the staircase leading to the roof of the entrance is regrettably necessary if I wish to click the standard photograph that every visitor to the mausoleum clicks – the one depicting the octagonal chamber with the colonnaded pavilion and the pyramidal roof of the mihrab in the background. Here it is –

A view from upstairs. Notice the ridge forest stretch far in the background.

An extremely jovial dog, a resident of the mausoleum, ran upstairs on spotting me there and decided that he was in the mood for a brush and a jog – it was extraordinarily hard to make him run back even after playing and patting for over twenty minutes, but probably I shouldn’t have since the guard’s companions forcefully chased him out of the tomb complex and into the forest when he ventured to sit close to them. Sad.

Adjacent to the mausoleum and towards its left is a single pavilion tomb – a rather elongated, egg-like dome surmounted on pillars – but there is no grave underneath. The dome rises from an octagonal drum (base) adorned with a row of tall kanguras (leaf motif battlement-like ornamentation) and there exist sixteen pillars in total (three to each of the eight sides) arranged in an alternating fashion such that eight are carved out of quartzite slabs and the other eight are built from dressed rubble; just below the roof along some of the sides, the tomb also features remains of wide projecting, slanting eaves (“chajja”). The unique dome, so unlike the ones that surmount the corner bastions of the mausoleum, is said to have been a replacement ordered by the architect-emperor Feroz Shah Tughlaq (ruled AD 1351-88) against the original, damaged one (it is contended that the marble mihrab inside the mausoleum is also a handiwork of the formidably skilled artists and sculptors employed by Feroz, but the design patterns and inscriptions resemble those at the entrance to such an extent that they appear almost identical). Though only one exists now, there were originally two identical pavilion tombs – the first built in AD 1236 commemorated Ruknuddin Firuz Shah (ruled AD 1236) while the second raised in AD 1242 housed the remains of Muizuddin Bahram Shah (ruled AD 1240-42), the other brothers of Nasiruddin Mahmud. Their father considered them incapable of executing governmental decisions or conceiving public works and symbolic actions, therefore disregarded them when it came to governance and administration and instead decided to appoint his magnanimous daughter Razia as his successor. But soon following Iltutmish’s death (he is buried in the Qutb complex, refer Pixelated Memories - Iltutmish's Tomb), Ruknuddin, then the Governor of Badaun (Uttar Pradesh) and Lahore (Pakistan), conspired with the conniving nobility to deny Razia her claim and ascended the throne of Delhi, but as Iltutmish had projected, he proved to be a worthless ruler who spent most of his time in the company of buffoons and fiddlers and in satisfying his sexual urges. The governance was left to his ambitious mother Shah Turkan who decided to punish all the nobles and Governors who had offended her when she was just a slave handmaid – she had many of them killed, others rose in rebellion against her authority and refused to acknowledge Ruknuddin’s ascension to the throne – the final thread snapped when she had Iltutmish’s younger son Qutbuddin killed and the conspiracy to murder Razia too leaked out. The rebellious, disgruntled nobles arrested her and Ruknuddin and had them both murdered in prison. Ruknuddin was the Emperor of India for six months, seven days. It was then that, in a decision that is considered extraordinarily progressive for the age in which it was agreed upon, the Turkish nobility and armed forces accepted the ascension of Razia Sultan, Ruknuddin and Nasiruddin’s sister and the most efficient child of Sultan Shamshuddin Iltutmish, to the throne of Delhi. I have already recounted Razia’s brief reign and life here – Pixelated Memories - Razia Sultan's Grave. It is a pity that while her brothers got such magnificent mausoleums, she was constricted to remain in eternal sleep in an unmarked, unadorned sarcophagus besides the other sister Shazia. Bahram Shah, Razia’s third brother and her murderer, became Sultan after her execution but remained sovereign only in name while the real powers were appropriated by the nobility, especially the Naib-i-Mamlikat (“Commissioner”) Ikhtiyaruddin Acitigin and Wazir (“Prime Minister”) Muhazabuddin. When he began to consolidate his powers and had some of the more powerful officials executed on the pretext of ignorance and non-execution of his orders, the other nobles came together and had him murdered too. Ruknuddin’s son, Alauddin Masud Shah (ruled AD 1242-46) was placed on the throne afterwards to act the symbolic pretense of there being a sovereign.

Buffaloes for company! Who'd have thought a Sultan is buried here?!

Scattered around the mausoleum in very close vicinity to it are numerous other ruins too, most prominently residential quarters but also Tughlaq-era (AD 1320-1414) mosques. There is a small mosque immediately opposite the entrance too, just across the wide open space that separates the tomb from the forest facing it; another set of residential ruins is located further away from the tomb along the unpaved pathway leading to it from the Mehrauli-Mahipalpur road, sadly though these ruins are totally enclosed by means of walls and pointed wires in order to keep vandals/encroachments from accessing them. The other set of residential quarters, situated immediately besides the tomb and spread over a vast area but entirely enveloped by vegetation, are fascinating in terms of their historic antiquity as well as the confusing incomprehension they impart to the impartial rigidity otherwise accorded to the entire area by the militaristic mausoleum. The individualized residential units seem to indicate that several nuclear families occupied these; in certain places there are stairs too leading to upstairs apartments, these however have ceased to exist and any signs of there remains or scattered rubble have been totally obliterated by nature as if they did not even exist. Vibrantly-colored yellow, green and black butterflies flitter around while Wren’s warblers jump querulously from branch to branch even though Red-vented Bulbuls refuse to leave the secrecy of the undergrowth and only confirm their presence by intermittent chirps and quick flights in and out. Stepping through thorny bushes and interminable dense undergrowth that proves unbelievably non-negotiable at times, one has to explore the structures and their ordinary features – I was trying hard to find a pillar that bears a Sanskrit inscription commemorating the digging of a well on the occasion of a wedding in AD 1361, but could not locate it in the utterly chaotic ruins and vegetation.

Faith - Letters and threads tied by devotees beseeching the saint to grant their wishes

Behind the mausoleum and past the pavilion tomb is a immensely gigantic well – the largest I have ever seen at 7 meters diameter – dated to Tughlaq-era, the well is considered amongst the oldest in Delhi but now remains shrouded by convoluted vines threading their way in and out. Coming up near it are modern structures – a grave on a rubble platform has been recently raised to more enlarged proportions and covered with white tiles, cement pillars have already been built on each corner of the platform and are being heightened even further, possibly with the purpose of erecting a roof over the central grave and the less distinguished ones near it – am not sure what the Archaeological Survey of India (ASI) people and the guard are doing, but the constructions are in complete disregard of the Monuments Act 1958 which prohibits any construction in a 300 meter radius around a monument or heritage structure. The constructions might even be a euphemism for land encroachment in the form of a religious structure and need to be restricted with an immediate effect – let’s hope the ASI takes adequate and befitting action, though they have so far failed to even acknowledge my mail (accompanied by photographs) in this regard. The tomb otherwise has been superbly maintained by the authorities, very clean and unharmed by vandals and graffiti, and I suppose they can’t either be faulted for the shrubbery overtaking the settlement ruins because it will continue to grow and turn into the thick undergrowth it was when I visited soon after every time they clip it.

This brings us to an end in the sojourn connecting the threads of essentially some of the most important and renowned Emperors and Empresses of Slave Dynasty of Delhi – another instance where numerous far flung and often relatively little known and forgotten monuments are connected to each other through strands of history and filial relationships. One has only to open one’s eyes and see all these dots connect to each other and form a vast pattern that is Delhi’s amazingly fascinating history in itself, and then even the ghastly wars and bloodthirsty massacres seem to fall in place with generous Emperors and inconsiderate military commanders. This is Delhi, the city of cities, my beloved.

Panoramic view depicting the crypt, mosque (left) and the entrance colonnade (right)

Location: Southern Ridge forest, opposite Vasant Kunj Pocket C-8 and Ryan International School, just off the Mehrauli-Mahipalpur road

Nearest Metro station: Chattarpur

Nearest Bus stop: Vasant Kunj Pocket C-8
How to reach: Buses are available from different parts of the city for Vasant Kunj and Chattarpur. If coming by metro, take a bus from the metro station to Vasant Kunj Pocket C-8 – the branching unpaved pathway leading to the ridge forest and mausoleum (rusted signboards indicate the directions to “Peer Baba”) is about a hundred meters or so prior to the bus stop on the road from Chattarpur. If unsure, ask locals for directions to “Peer Baba ki Mazaar” or “Rangpur-Malikpur pahari” (Hill ridges of Rangpur-Malikpur) since that’s how the locals identify the complex.
Entrance fees: Citizens of India, Bangladesh, Nepal, Bhutan, Sri Lanka, Pakistan, Thailand, Myanmar, Maldives and Afghanistan: Rs. 5/person; others: Rs 100/person. Free entry to children up to the age of 15 years.

Photography/Video charges: Nil

Time required for sightseeing: 1 hr

Relevant Links - 

1. Pixelated Memories - Iltutmish's Tomb
2. Pixelated Memories - Razia Sultan's Grave

Suggested reading - 

1. Blog.tehelka.com - Article "Saanjha Chulha: Exploring Delhi’s Sultan Garhi Tomb" (dated Oct 30, 2013) by Rana Safvi
2. Footlooseindilli.blogspot.in - A story from Sultan Garhi
3. Thehindu.com - Article "DDA gives facelift to Sultan Garhi tomb" (dated June 06, 2003)

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

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

Shrouded by foliage

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

Protected by bastions

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

Adorned by lotus brackets

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

Surrounded by graves

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

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

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

Framed by ruins

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

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

1. Pixelated Memories - Balban's Tomb
2. Pixelated Memories - Jamali Kamali Complex
3. Pixelated Memories - Khan Shahid's Tomb
4. Pixelated Memories - Metcalfe's Chattri
5. Pixelated Memories - Metcalfe's Ziggurats
6. Pixelated Memories - Ruins, Mehrauli Archaeological Park
7. Pixelated Memories - Quli Khan's Tomb

Quli Khan's Tomb, New Delhi

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

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

Mohammad Quli Khan's Tomb

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

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

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

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

The first level & the abundant vegetation around it

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

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

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

The profuse paint work inside the tomb

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

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

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

Metcalfe's stable

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

An ornamental lamp post, in all probability built by Metcalfe

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

Fluttering around

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

1. Pixelated Memories - Ahinsa Sthal
2. Pixelated Memories - Alai Darwaza
3. Pixelated Memories - Azim Khan's Tomb
4. Pixelated Memories - Balban's Tomb
5. Pixelated Memories - Jamali Kamali Complex
6. Pixelated Memories - Khair-ul-Manazil Mosque
7. Pixelated Memories - Metcalfe's Chattri
8. Pixelated Memories - Metcalfe's Ziggurats
9. Pixelated Memories - Old Fort
10. Pixelated Memories - Qutb Complex
11. Pixelated Memories - Qutb Minar
12. Pixelated Memories - Siri Fort Remains

Metcalfe's Chattri, Delhi

As recounted some posts back, there lived a British officer who went by the name of Sir Thomas Theophilus Metcalfe who was absolutely in love with Delhi and its numerous magnificent ruins. The entire Metcalfe family was employed by the British East India Company – Sir Thomas was posted as the British Agent (Negotiator) at the courts of Mughal Emperors Akbar Shah II (reign AD 1806-37) and Bahadur Shah “Zafar” II (reign AD 1837-57); his father started as a soldier in the Company Army and eventually became the Company Director before retiring with considerable personal fortune to a life of politics and entitlement; his elder brother Sir Charles was the assistant to then Resident (Ambassador) Sir David Ochterlony and later also served as the Governor-General of India, Governor of Jamaica and Governor-General of Canada; lastly his son Sir Theophilus John officiated as the Chief Judge of Delhi. As a consequence of the Mughal Emperor’s waning political and military control over the immense subcontinent and the occupation by Company forces of the political and territorial space vacated by the Emperor’s nominal sovereignty, considerable power came to be placed in the hands of prominent Company officials like the Metcalfes. Sir Thomas used his power and influence to purchase the tomb of Mirza Muhammad Quli Khan, a foster brother of Emperor Akbar (ruled AD 1556-1605) and a valiant military General, and converted it into a suburban country house (refer Pixelated Memories - Quli Khan's Tomb) by adding annexes and servant quarters around it. As already mentioned, Sir Thomas loved ruins – he talked and wrote about them and had their sketches painted and sent to his daughter Emily – the only thing left to do was create more ruins. Now that’s not a very easy thing to do. But his heart was set on doing so – he filled the area around his country house with all sorts of unique structures – Ziggurats (stepped pyramids), guardhouses, small bridges spanning artificial canals, chattris (umbrella domes surmounted on rectangular pillars), stables and circular dovecots. I had seen the ziggurats while visiting the renowned Qutb complex adjacent, the same have been documented here – Pixelated Memories - Metcalfe's Ziggurats and Guardhouses and Pixelated Memories - Qutb Complex. I came across the smaller of his chattris a few weeks back – it is one of the relatively popular monuments within the Mehrauli Archaeological Park, an area designated as possessing considerable heritage interest (the other, larger but less well-known chattri is located opposite Metcalfe’s country house/Quli Khan's Tomb, see photographs in the link mentioned). The sprawling archaeological complex, situated in the immediate vicinity of Qutb Complex, contains monuments and ruins from virtually every dynasty that ever ruled over Delhi in the last millennium and yet is one of the least visited and heard about places in the city. So when I say Metcalfe’s chattri is relatively popular, I simply imply that most history seekers and Delhi-lovers have heard about it, a few have seen it and it is part of the itinerary whenever some photography/history club does a photowalk in this area.

Comfy on a gentle slope

The Chattri is now referred to as Metcalfe’s Folly – according to Encyclopedia Britannica, a folly is “a costly, non-functional building erected to enhance a natural landscape”. Now one might ask who builds a chattri in the middle of nowhere?! But actually, chattris were fairly famous architectural additions in those days – Hindu architects had invented them and the royalty, especially Rajputs, had them constructed to commemorate their dead kings and queens; Muslim rulers and aristocracy who came afterwards adopted these as ornamental additions to grace their magnificent gateways and majestic tombs. Thus we see chattris affixed over Humayun’s tomb and the gateways of Old Fort in Delhi, in Taj Mahal in Agra and as freestanding monumental sepulchers in Rajasthan and Haryana (I’m yet to visit any monument located in any part of the country except Delhi and Calcutta, my two hometowns – sometimes I feel disturbingly sad for missing out so much heritage and travel!). But without diverting from the topic – Sir Thomas took an instant liking to the concept of a freestanding chattri, but he did not know where to fix it – his country house was a renovated old tomb and a chattri would have actually spoiled it, his town house (near Red Fort, in present day Old Delhi) was built in a colonial fashion with colonnades and porticos – perplexed, he eventually decided to build chattris close to his country house. So he selected a corner of his impossibly large estate from where he could get an unhindered view of the gigantic Qutb Minar looming in the background and atop a lofty hill he placed his chattri. It’s a fairly simple structure – six pillars emerging from the corners of a hexagonal rubble base and supporting amongst themselves a small, now blackened, umbrella dome. The geometrical patterns etched on the rough, simplistic pillars resemble those that adorn some of the most unornamented pillars that Qutbuddin Aibak pillaged from the Jain and Hindu temples that he had razed to construct his magnum Quwwat-ul-Islam Mosque (“Might of Islam”/Qutb Mosque) over their ruins. It seems that city Romeos have attempted to seek vengeance from Mr. Metcalfe for the ruin East India Co. brought to the subcontinent by carving their initials and love letters on the unornamented dome of the chattri – in fact even when I was photographing the structure and the sloping hill it sits on, one couple lay embracing each other on the gentle, concealed slope behind the folly while another sat nearby deeply engrossed in conversation. Oblivious to it all, a middle-aged lady strolled around with her son. Dishearteningly, except for these six people and a few craftsmen-masons restoring the more famous edifices located opposite (see links at the end of this article), there wasn’t a single soul to be seen in the vast complex. Am sure you would have understood how very popular the park and the chattri are!

Come closer

Many people consider the chattri an ugly or unremarkable addition to Delhi’s landscape and contend that it shouldn’t have been there in the first place. I might be an exception, but to my eyes it almost blends in with its environment and in fact makes the area more picturesque. Sir Metcalfe ought to be given some credit – he had the guts to live in a tomb and attempted, in his own resolved way, to beautify an area that is dotted with splendid, centuries-old tombs, mosques and ruined structures whose identity has been long lost in the leaves of history! And what’s more, he almost did succeed!

Sadly, after his death in 1853 and the battle for control of India in 1857, the area around the chattri and his country house fell into disuse and was soon reclaimed by vegetation. The Archaeological Survey of India (A.S.I.) is presently excavating the entire complex and restoring the structures within. Since tourists seldom visit this part of Delhi, there are no shops or facilities in the immediate vicinity – no food and drinking water, no toilets. A good pair of shoes might come in handy, given that the thorny bushes and stones that carpet many of the unpaved paths are yet to be removed.

Location: Mehrauli Archaeological Park
Open: All days, Sunrise to Sunset
Nearest Metro Station: Qutb Minar

Nearest Bus stop: Lado Serai Crossing
Entrance Fees: Nil
Photography/Video charges: Nil
How to Reach: If coming by metro, start walking from Qutb Minar station towards Lado Serai crossing. The archaeological complex's entrance is located on Mehrauli-Gurgaon road and there are sandstone markers along the periphery wall to indicate its existence. Car entry is also from the same entrance and the parking area is immediately opposite the small hill on which the chattri stands. Alternately one can deboard at Saket metro station and take a bus from there to Lado Serai crossing. The informal, unmarked entrance (a gap in the boundary wall) to the complex is located opposite the crossing behind the makeshift shops of flower sellers along Mehrauli-Gurgaon road. This entrance too leads straight to the chattri. 

Time required for sightseeing: About 15 min
Note – There are no facilities (toilets, food, drinking water) available within the Archaeological Park. While snacks, fritters and bottled water/cold drinks can be purchased at shops located at Lado Serai or opposite Qutb complex, toilet facilities are only available within the latter or at one of the many shopping malls at Saket, over 2.5 kilometers away. It is better to be prepared. Also female travelers are advised to avoid the complex post-evening because of the unsafe, secluded nature of the place and absence of visitors.

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 - Gandhak ki Baoli
5. Pixelated Memories - Khan Shahid's Tomb
6. Pixelated Memories - Lodi-era Canopy Tomb
7. Pixelated Memories - Metcalfe's Ziggurats and Guardhouses
8. Pixelated Memories - Mughal tombs and Choti Masjid Bagh wali
9. Pixelated Memories - Quli Khan's Tomb
10. Pixelated Memories - Rajon ki Baoli
11. Pixelated Memories - Settlement ruins

Other monuments located in the neighborhood - 

1. Pixelated Memories - Hazrat Kaki's Dargah
2. Pixelated Memories - Khirki Mosque, Saket
3. Pixelated Memories - Qutb Complex
4. Pixelated Memories - Tughlaqabad - Adilabad - Nai-ka-Kot Fortress complex

Other monuments in Delhi that feature chattris - 

1. Pixelated Memories - Abdul Rahim Khan-i-Khanan's Tomb
2. Pixelated Memories - Humayun's Tomb complex
3. Pixelated Memories - Isa Khan's Tomb
4. Pixelated Memories - Muhammad Shah Saiyyid's Tomb
5. Pixelated Memories - Old Fort complex