Pixelated Memories: Conservation

Showing posts with label Conservation. Show all posts

February 17, 2016

Loharheri Baoli, Dwarka Sector-12, Delhi

“Hogi is dher imaarat ki kahani kuch to,

Dhund alfaz ke malbe me ma’ine kuch to”

(“Surely a story hides behind these ruins somewhere,

Search the debris of words, the meaning is there somewhere”)

– Shahpar Rusool, Urdu Professor,

Jamia Milia Islamia University, Delhi

Bubbling with fantastically-conceived hyperbolic tales and mythology, oral folklore always conceals within its spellbinding florid exaggerations thoroughly disguised minute kernels of truth which resiliently resist, and often irreversibly shatter, even the most endeavoring communal forgetfulness and/or malicious attempts to whitewash history.

Comprised of huge staircases leading down to deep vertical shafts of associated wells, “baolis” (step-wells) are massive medieval water-management and congregational monuments majestically scattered throughout northern and western-central India. Considering their limited numbers and unparalleled ornamental adornments, they are unquestionably and quite conspicuously the most cherished monuments vis-à-vis the multitudes of contemporaneous religious and funerary edifices, extravagantly opulent palaces and formidable fortress-strongholds littering the immense landscape.

Substantially smaller than most of its magnificent counterparts intermittently peppering the city, the recently-discovered Lodi-era (AD 1451-1526) baoli in Dwarka’s Sector-12 is historically believed to have been christened “Loharheri Baoli”, deriving from the contiguous presence of a small settlement of ironsmiths (“lohar”) whose hydrological and congregational requirements the tiny edifice was to fulfill. Perplexingly though, this satellite suburb would have been considerably distant from the extensive settlements of medieval Delhi whom the ironsmiths would have professionally catered. Fortunately for the enthralling step-well, this historical anomaly renders it one of the few medieval monuments in this part of the city (the only other, that too several kilometers away, is the desolately forgotten and grievously brutalized Hastsal Minar delineating the ruinous remains of Mughal Emperor Shahjahan’s hunting estate (refer Pixelated Memories - Kaushal Minar, Uttam Nagar)).

Lost and found

Walking the unclogged, strangely sanitized streets of Dwarka – almost reminiscent of post-apocalyptic, post-humanity scenes from science fiction movies – feels singularly bizarre and a tad bit bewildering. Unlike the rest of terribly overpopulated, thoroughly urbanized and ubiquitously commercialized west Delhi, minutes pass here before one spots another pedestrian walking purposelessly or expectantly sniffing around buildings, vehicles seldom blare horns, and the colossal multi-storied soaring residential buildings too are unbelievably distantly spaced and uniquely designed.

Accessed via a narrow wicket-gate puncturing the high walls enveloping the towering Gangotri Apartments whose peripheries it discreetly, in fact almost invisibly, adjoins, presently the extensively restored and impeccably maintained three-tiered baoli is existential within a vast garbage-carpeted barren tract of land sporadically shrouded here and there by sorry-looking miserable tufts of weeds and grass irrepressibly rising from amidst the collected assortment of foul-smelling plant and vegetable waste, an overabundance of cow dung and dog droppings, innumerable polythene bags filled with domestic non-biodegradable rubbish, discarded construction material, and worthless shards of glass and plastic glinting in the sunlight.

Although the Gangotri complex and Dwarka International School prominently located barely a stone’s throw away are not insignificant landmarks, the bewildered locals, it seemed, faced insurmountable difficulties either comprehending my modest intentions or offering directions, consequentially sending me on a to-and-fro walk in search of the elusive baoli which being an unadorned, rubble masonry-built underground monument is easy to miss even from the immediate vicinity.

“In India it is not a good idea to ask just one person’s opinion, especially as far as directions are concerned. Not wishing to appear discourteous or unhelpful, they will say the first thing that comes into their head rather than honestly and far more usefully admitting that they do not know. It is best to ask as many people as possible and opt for the majority view. This does not necessarily mean that you will then be going in the right direction – it just gives you a slightly better chance of doing so. We therefore asked as many people as possible but we still ended up lost.”

– Josie Dew, “The Wind in My Wheels” (1992)

First impressions

Moderately proportioned and truly parched owing to the disastrous lowering of water-table over the centuries, the mesmerizing edifice was conveniently forgotten and interred underneath layers of earth and thick undergrowth, which culminated in its unsurprising obscurity and disappearance from contemporary literary records and monument censuses. Like its almost similarly designed cousin associated with the Wazirpur group of monuments in R.K. Puram (refer Pixelated Memories - Wazirpur Monument complex), this beautiful rectangular edifice too possesses immaculate rows of ornamental alcoves lining the longer sides along its two levels. There isn’t however any other functional feature or artistic adornment perceptible, except the presence of the likewise-dry circular well-shaft hugging its rear. Unexpectedly though, especially considering the perennial paucity of heritage enthusiasts and touristic visitors and the wretched uncleanliness of its surroundings, not the slightest trace of garbage can be noticed anywhere within the baoli's earmarked area – certainly a most commendable achievement on the part of Archaeological Survey of India (ASI) and Indian National Trust for Art and Cultural Heritage (INTACH) which restored the edifice and Delhi Development Association (DDA) to whom this tract of land belongs.

Isolated case?

Location: Pocket-1, Sector-12 Dwarka

How to reach: Walk/avail an auto/rickshaw to Gangotri Apartments/Dwarka International School from Dwarka Sector-12 Metro station which is about a kilometer and a half away. If walking, head towards Hotel Radisson Blu and take a left turn from there. The small baoli is located about a kilometer from this point on the right side of the arterial road in a vast barren expanse in the very shadow of Gangotri Apartments.

Entrance fees: Nil

Photography/Video charges: Nil

Time required for sightseeing: 20 min

Relevant Links -

Another monument located in the neighborhood - Pixelated Memories - Kaushal Minar, Uttam Nagar

Other baolis in the city -

Suggested reading -

September 09, 2014

Rajon ki Baoli, Mehrauli Archaeological Park, Delhi

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

The well of the masons

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

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

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

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

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

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

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

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

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

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

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

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

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

Forested and forgotten - The baoli mosque's backyard

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

Entrance Fees: Nil

Nearest Bus stop: Lado Serai
Nearest Metro Station: Saket
How to Reach: The Archaeological Park's entrance is immediately opposite Lado Serai bus stop and at the intersection of Mehrauli-Badarpur and Badarpur-Gurgaon roads. The metro station is further away and one can avail a 10-min bus ride from Saket to Lado Serai. Sandstone markers indicate the routes to different monuments inside the park.

Photography/Video charges: Nil

Time required for sightseeing: Approx. 30 min
Note – There are no facilities (toilets, food or drinking water) available within the Archaeological Park. While you can avail food & refreshments at one of the restaurants at Lado Serai, you can only find toilets at the shopping malls close to Saket Metro Station, almost a kilometre away. The park remains deserted in the evenings and is best avoided then by female enthusiasts.
Other famous baolis in Delhi -

Other monuments within the Archaeological Park premises -

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

March 15, 2014

Baoli, Hazrat Nizamuddin Dargah, New Delhi

This article is part of the series about Nizamuddin Dargah Complex, New Delhi. The composite post about the Dargah can be accessed here - Pixelated Memories - Hazrat Nizamuddin Dargah.

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It is unimaginable that the beautiful Dargah complex of Hazrat Nizamuddin Auliya, awash with flocks of people, can harbor any secrets in its bosom. Thronged by thousands of devotees every day who have come to pay their respects to the famous saint or beseech him to grant their desires, the massive complex has as its centerpiece the tomb of Hazrat Nizamuddin, one of the most revered personalities of medieval India who is adored with equal measures of fascination and attachment even today. Narrow alleys lined with small window shops emerge like veins from the heart that the dargah has become for this teeming, throbbing locality that is christened after the gentle saint as Nizamuddin Basti – most of these traders sell flower petals woven together and colorful cloth sheets for offering at the graves within the complex; many also stock prayer material, skullcaps and rosary beads; a few shops are dedicated solely to exquisite artworks and brilliantly conceived pieces of pottery and stonework, the expensive kind that must have been only available for the use of the rich and high in the saint’s time – the alleys emerge into relatively wider streets, these only different in the sense that the shops mostly are small eateries offering traditional Muslim non-vegetarian fare of minced meat, khameer roti (traditional bread softened by yeast fermentation and tandoor (Indian oven) baked), sheermal (saffron-flavored traditional bread), beef and sweet tea with a thick dollop of cream to sweeten it further, that make up the web of interlinked, interwoven pathways that the devout have to traverse to reach the Dargah. It’s a wonder that despite the heavy footfall, the dargah packs a few secrets – a story here, a belief there, a structure hiding somewhere – while the stories of Jahanara Begum and Muhammad Shah, whose marble enclosure tombs are located in the courtyard of the saint’s tomb, exist only in history books now; the intricately composed and skillfully executed tomb of Atgah Khan peeps from behind intervening buildings that condemn it to isolation; but the biggest treasure that the complex has relegated to obscurity is the huge baoli (“step-well”) that the saint had commissioned in his life time.

Hazrat Nizamuddin's Baoli

Physically, the baoli is large, perhaps the largest in Delhi; its rectangular catchment area filled with dark green, murky water that belies the belief (for me, not for the faithful devotees who drink it in the hope of longevity and disease cure) that the water is pure and has miraculous healing capacity on account of it being blessed by the saint himself. Historically, the myths and stories associated with the baoli are even more interesting than the structure itself – it was this step-well that provoked a verbal and political duel between the saint and the then Sultan Ghiyas-ud-din Tughlaq (ruled AD 1320-25) that ultimately culminated in the latter’s death. At the time when Ghiyas-ud-din had commissioned work on his massive fortress-citadel that was to be known as Tughlaqabad after his dynasty’s nomenclature (refer Pixelated Memories - Tughlaqabad fortress), laborers and masons were already absorbed in the construction of Hazrat Nizamuddin’s baoli. The sultan, already involved in a bitter monetary feud with the saint over non-return of hefty religious grants that the latter was given under the previous regime, decreed that all workers would henceforth work only on the construction of his fortress and not take any other projects till it was completed. Out of respect & adoration for the saint, the devout workers began working on the fortress during the day and on the baoli during the night. Enraged, Ghiyas-ud-din banned the sale of oil for lighting the lamps – Sheikh Nizamuddin overcame this obstacle by blessing the baoli’s water and asking his workers to light their lamps with it – miraculously, the lamps lit up with ordinary water! Such was the offence that the Sheikh took over Ghiyas-ud-din’s actions that he cursed the under-construction fortress city thus –

“Ya rahe usar, ya base Gujjar”

(“Either it remains barren or be inhabited by nomads”)

Ghiyas-ud-din was then on a military campaign in Bengal; fumed at hearing the Sufi’s words, he decided to punish him when he returned to Delhi. Word of it reached Hazrat Nizamuddin’s ears and he issued another prophecy, this one pertaining to the Sultan himself –

"Hunuz Dilli dur ast”

(“Delhi is yet far away”)

Both these prophecies proved true – on his way back from Bengal, Ghiyas-ud-din was killed at Kara (Uttar Pradesh) when a wooden canopy collapsed over him during the reception arranged by his son Muhammad Juna Khan. On succeeding to the throne, Muhammad Tughlaq decided to abandon Tughlaqabad on account of it being cursed & chose to build his own citadel opposite it. Tughlaqabad still remains deserted and isolated from the surrounding semi-urban population.

Splash!!

The only step-well in Delhi that has never dried up in about 700 years (it was constructed in AD 1321-22), the baoli is fed by seven underground springs that keep it recharged perennially. The faithful believe that these springs formed a secret, underground fountain whose wooden base was built by “Ballishtiyas” (pygmies the size of a man’s palm) on the orders of the saint. Recently, the Aga Khan Trust for Culture (AKTC) restored much of the baoli to its original state – a process that involved emptying the tank of its water in order to pump out the sewage & toxic sludge to improve the water quality, relaying leaking sewage lines, rebuilding the collapsed portions, restoration of the arched windows and addition of jaalis (stone lattice screens) on the windows, clearing of the passageways connecting the Dargah and the baoli and facing the same with white plaster over the walls and marble along the floor. A forgotten passage has also been discovered – it supposedly connects Hazrat Nizamuddin’s tomb with the baoli and was used exclusively by the saint and his close associates. The underground fountain has also been discovered and it has been sufficiently proved that humans, and not “Ballishtiyas”, were responsible for the construction of the baoli’s fountain. The results of the project are dramatic if compared to old photos – the rectangular tank is lined with grey Delhi quartzite stone (each stone fragment was X-rayed from multiple directions to spot any voids behind the wall); the gaps where portions of the walls had collapsed or caved in have been filled; passageways connecting the baoli to the Dargah are no longer unkempt, but faced with white plaster and marble that add luster and a certain degree of respect to the once-dilapidated structures (though they are still brimming with beggars who sit/lie against the walls or roam around asking for alms and food); but few visitors venture here and only locals can be seen sitting or bathing on the steps leading to the baoli; work is underway on the tombs that sit atop the terrace facing the passageway. Two of these tombs – Chini-ka-Burj (named thus because of the use of colorful glazed tiles as ornamentation on its interiors) and Bai Kodal dai’s tomb (the history and identification of its occupant are no longer known) – are in pretty desperate need of repairs as can be observed from the photographs here (though I couldn't make out which is which because of the lack of sufficient reading material and information).

In dire straits..

As part of the conservation-restoration project, both these tombs are out of bounds for visitors and photographers, the guards on duty at the baoli informed me that even photographing the baoli at present is out-of-question but thankfully they let me after I told them that I’m supposed to do an article on it. There is no stopping the kids who climb into these ancient tombs and structures and jump straight into the water tank; many of them obliged the photographer in me by climbing even higher, to the roofs of the structures, and jumping from there. Splash, splash they went; shrieks and laughter resounding in the entire compound, mixed with the shouts of those who were out of the water already and getting sprinkled at by the jumpers only to be retorted at for having got out of the tank so soon. The area has been closed to visitor entry by means of a large iron gate with another small gate built into it; the presence of bamboo poles along the small gate to support the weight of the entire gate further compound the entry by acting as barbicans. Along came a devotee through this prohibitive entrance, a hoity-toity lady with a DSLR slung in her neck and a designer bag on her shoulder, who dipped her hand in the tank and gulped down the water (completely aware of the kids bathing around her and the mingling of soap and wastes with the spring water). The new and modern meets the old and traditional here, but I couldn’t bring myself to get the water to touch my lips.

High flyer!

The tombs and the rest of the remaining terrace portion have been severely encroached upon and badly need attention – the plaster has mostly disappeared from the walls and the bricks and rubble present a picture of gross neglect and ignorance, air conditioners protrude from the walls of the dwellings that have come up on the terrace portion between different medieval structures and drip water into the tank, the ornamentation work has also been lost, arches have been filled in with bricks to close them off and make rooms out of tombs – as part of the conservation work, the AKTC has born relocation costs for shifting several families to alternate housing sites (being provided by the Municipal Corporation of Delhi) and is even paying for their upkeep – the efforts are no doubt commendable, but why pay encroachers and vandals is something I can’t grasp – they were aware that what they are doing is wrong, both legally and morally, weren’t they? The encroachment is so pervasive that it prevents the penetration of sunlight into the water tank (penetration of light upto 50 feet is a prerequisite to keep the water free from biologically harmful algae and bacteria)

Circles and octagons - Cleaning up the tank (Photo courtesy - Facebook.com/Humayun's Tomb - Nizamuddin Basti Urban Renewal Initiative)

One has to walk gingerly on the steps of the baoli since they are slippery from all the water that dripped off the bodies of the swimmers returning from the tank; the debris and bricks of one of the walls that filled up one of the arched entrance and has now been taken down are stacked in a corner and further lend soil and sand to create sludge on the steps. Eyeing the medieval structures, one wonders what they might have looked like originally and how they will look like once the restoration work is complete; the reverie is only broken by the splash of another high jumper; one begins to hope the kids are allowed here even after the place is open to tourists in its gleaming-shining avatar. Me?? Heading back, I was engrossed in thoughts in total disregard to my own atheism and even against the tenet of Islam that prohibits endearing the dead to grant wishes; I hoped Hazrat Nizamuddin would bless this structure again like he earlier did and it will bloom into a beautiful oasis where people from all walks of life and every economic strata would converge like they used to when the saint walked the earth.

Utopia revisited (Photo courtesy - Visual Pilgrim/Nizamuddin Shrine)

Location: Hazrat Nizamuddin Dargah
Open: All days, sunrise - sunset.
Nearest Metro Station: Jorbagh (however it is some distance away & one needs to take an auto)
Nearest Railway Station: Hazrat Nizamuddin Railway Station
How to reach: Walk/take an auto from the metro station/railway station to the Dargah. The baoli can be accessed from the narrow shop-lined alleys behind the dargah. Ask the vendors/locals for directions.
Entrance fee: Nil
Photography/Video charges: Nil.
Time required for sight seeing: 30 min
Relevant Links -

Suggested Reading -

May 25, 2013

Isa Khan's Tomb Complex, New Delhi

India has always assimilated within itself the multitudes of travelers, invaders & refugees who thronged to its shores & frontiers in huge numbers in search of knowledge, wealth, peace & fame. These visitors brought with themselves knowledge & traditions, their own culture often at loggerheads with the existing Indian belief system, their art & architecture seemingly unique & entirely different from Indian art, & yet India acknowledged & accumulated their wealth of knowledge, their individuality in terms of art & technique, & the immutability of their culture & traditions. Often these new groups went on to rule Indian territories – the earliest example being the Aryans who arrived from Central Asia, perhaps the Russian confines, & pushed down the original Dravidian population of the country. Much later, the followers of Islam showed up on the frontiers guided by both religious & monetary motives. The Hindu rulers had always confined themselves from South India to Delhi & Rajasthan, considering Punjab & Sindh as frontier towns. The Muslim invaders who came settled in the country, soon becoming part of its soil & stories. They forgot their origin & became one of the people, & went on to include even Punjab, Sindh & the north-western portions of modern-day Pakistan into the country’s administrative reach. Fed up with recurrent Mongol raids from Central Asia, Sultans like Balban (ruled AD 1266-86) & Alauddin Khilji (ruled AD 1296-1316) adopted aggressive frontier policies & even brought large swathes of Afghanistan under their control. The Afghans & the Turks too, like the previous waves of settlers that had come in, began considering themselves Indians in due course of time. Mongols too came & settled in the country. All the races, religions & tribes began to intermingle & an exchange of ideas & beliefs ensued – at times the different groups would work in tandem, at others they would be at loggerheads. Soon the Mughals arrived on the scene & displaced the Lodi Dynasty - the then sovereigns of India. The Mughals & the Afghans shared common culture & possessed no dislike for the native Indian Muslims like some of the initial settlers displayed, yet they entered into a battle for control of territories & resources. It wasn’t just a battle for territorial supremacy, it was also a fight for cultural & artistic dominance – even though the lines between native Hindu & Islamic arts had ceased to exist by then & the fusion form of Indo-Islamic art & architecture had been created. When it comes to comparing tomb architecture, the Afghans, like their predecessors the Sayyids & the Lodis, specialized in building octagonal tombs, a tradition for which the death knell was sounded by the Mughal technique of building square tombs laid out in a square garden (“charbagh”). Like in life, so in death, they had to share common land & resources & often come together for the ultimate good – the tomb of Isa Khan, the last of the octagonal tombs in India of its kind, stands right at the entrance of the complex renowned for the Humayun’s Tomb, the first of the square tombs built in the Charbagh pattern that ultimately annihilated the octagonal tomb architecture.

Isa Khan's Tomb

Azam-e-Humayoon Masnad-i-Ali Niazi was born in the year 1453 to Niyaz Aghwan, the Amir-i-Hajib (“chief chamberlain”) to the Afghan Governor of Bihar Sher Shah Suri. An Afghan warlord, Isa Khan belonged to the same tribal group as Ibrahim Lodi (ruled AD 1489-1526) who had previously reigned over the vast lands of the Indian subcontinent. This genealogical background & the proximity to the who’s who of the Afghan administrative hierarchy saw Isa Khan rise his way to power & soon became one of the most powerful Afghan nobles in early 16th century. In AD 1540, Sher Shah defeated Mughal emperor Humayun (ruled AD 1530-40 & 1555-56) & chased the latter out of the country, Isa Khan became one of his most trusted lieutenants & was given the governorship of Mianwali (in modern-day Pakistan) as a reward for his unflinching loyalty & battle-worthiness. Following Sher Shah’s death, Isa Khan served his successor Islam Shah Suri (ruled AD 1545-54) & ensured that Islam Shah retained his throne against the advances of his brother Adil Shah. Isa Khan concentrated great power & influence in his hands in the process. He built his tomb in the year 1547-48 while he was still alive. Tombs in those days were built in large gardens, complete with walkways, fruit-bearing & shade-giving trees & artificial water bodies – they were generally commissioned by the person who wanted to be buried there & were used as retreats by the said person while he was alive & later by his children. Isa Khan was buried in the tomb in the year 1548 when he died at the ripe age of 95 after having enjoyed the fruits of success, power & reputation.

Here lies Isa & his family

There exist a number of firsts that can be claimed by Isa Khan’s Tomb – it is one of the first tombs that came up in what is today the Humayun’s Tomb Complex, a World Heritage Site & supposedly sacred land close to the Dargah of Delhi’s beloved Sufi saint Nizamuddin Auliya (refer Pixelated Memories - Hazrat Nizamuddin Dargah). Isa Khan’s Tomb also has the honour of being surrounded by a sunken garden, the first in the country & built in such a manner that the garden within the tomb enclosure is about 1 meter below the level of the central raised pavilion on which stands the tomb. The exquisitely designed Taj Mahal was a culmination of several architectural practices developed over several decades – though it is built in the Charbagh pattern mastered in the construction of Humayun’s Tomb, the sunken garden that surrounds it is drawn upon Isa Khan’s garden. Interestingly, the very first of the five octagonal tombs of this type that exist in Delhi belongs to Khan-i-Jahan Malik Maqbul Telangani, the prime minister of Feroz Shah Tughlaq (ruled AD 1351-88) & is located in the teeming narrow lanes of Nizamuddin Basti just across the road. Isa Khan’s tomb was the culmination of several centuries of architectural & artistic innovation & the inclusion of Hindu motifs in Islamic structures – the lotus finial that tops the tomb being the most glaring example of all. Lotus appears throughout history in Hindu art & buildings. The octagonal tomb also features chattris raised on the parapet above each of its sides – chattris (domes mounted on slender pillars) too were a distinct Hindu architectural motif, adopted by the Muslim architects, especially those belonging to Lodhi, Suri & Mughal dynasties. Isa Khan’s Tomb is also the first monument in India to be restored by a private organization – the Aga Khan Trust for Culture (AKTC).

The octagonal tomb is surrounded by a wide verandah featuring a tapering pillar at each corner which support the roof & the eave (“chajja”). The roof is marked by a line of kanguras (battlement-like ornamentation). The pillars rise higher than the roof level, thereby giving an appearance that the roof possesses slender minarets standing on each corner. The dome rests on a 32-sided drum (“base”), which too features similar slender minarets on each corner. Large chattris exist on the roof above each side of the tomb, the overall effect is that of striking symmetry & grace. Each face of the tomb consists of three arched entrances decorated with blue, red & white plaster work in impeccable geometrical & floral patterns. Blue glazed tiles also ornament the tomb elsewhere. The verandah is reached by climbing a flight of five stairs & as one steps into the verandah, one notices the fine jaalis (“stone latticework”) that have been incorporated into three of the walls of the tomb. One does not fail to admire the captivating patterns that adorn the recessed niches that are built into the roof of the verandah – painted with white & grey, these incised patterns in plaster add a subdued flamboyance to the otherwise solemn structure.

Intricate!!

Inside the tomb, the red walls seem inviting, the six graves are led to somber rest – two of them are incredibly large & built with marble & red sandstone, the rest are comparatively smaller & constructed out of stone. Although three walls of the tomb are marked by latticework, the one on the west is marked by a mihrab (western wall of a mosque/tomb that indicates the direction of Mecca & is faced by Muslims while praying) embossed with several patterns & flanked by calligraphic Quranic inscriptions. However, the most bewitching feature of the tomb is its ornamental ceiling – the mesmeric floral design is done in brilliant shades of red, blue & green & surrounded by a band of inscriptions. The patterns are colossal, gorgeous & radiant. I kept clicking the roof in a bid to get the perfect photograph that would do justice to its enthralling nature. The ceiling had suffered decay as a result of water seepage & neglect & had been spoiled rather badly – apparent from old photographs that AKTC had displayed outside the Tomb enclosure while the repair work was still on. The AKTC has done brilliant work on the ceiling – employing & training master craftsmen to recreate the original patterns, carrying out repairs & reconstructing collapsed & damaged portions. Unlike its geographical relative Humayun’s Tomb, Isa Khan’s Tomb appears more human, its grandness muted & the grey of its wall appears more at peace with itself than the crimson red of Humayun’s Tomb’s.

The tomb's mesmerizing roof - painstakingly restored by the AKTC

Close to the tomb & down the central plinth stands the associated mosque, itself mounted on another wide platform. The prayer chamber is entered by means of three arched entrances, each of them ornamented with glazed tiles of blue, green & yellow color in a number of interesting patterns – the central arch is however more grand & is flanked by red sandstone borders themselves ornamented with arched niches. The medallions too are crafted admirably & some of them too are covered in blue tiles. The central chamber is surmounted by a huge white dome while the other two are mounted by large chattris. The dome sits on an octagonal drum & is topped by a lotus finial, its interiors are dressed in grey Delhi quartzite stone. Though the chattris have turned black over time, perhaps once they too were decked with tiles or plaster. A deep well, now closed by means of iron grilles, exists right outside the mosque & shares the wide platform – it must have been once used to serve the purpose of ablution before prayers.

Isa Khan's Mosque

While externally the mosque is built of dressed grey quartzite stone ornamented with red sandstone, the interiors are simplistic in design & the ornamentation has been kept to a minimum & confined only to the dome & the mihrabs. A passageway in one corner leads upstairs to the level of dome, however the staircase was dark & dank & one could make out several bats cooped up inside – I did try to get in once, but ran away as soon as some of the bats got agitated by my presence & began flying around!! The staircase is so dark that even light from mobile phone torch could not suffice in lightning it up & actually failed miserably.

Inside the mosque

The sunken garden that surrounds the tomb is enclosed by a series of small cells. The enclosure (called a “Kotla”) thus formed comes into view on the right as soon as one crosses the ticket counter of the Humayun’s Tomb Complex. The dome of Isa Khan’s Tomb can be seen rising behind the cell arcade. A symmetrical, though ruined, rubble gateway leads to the enclosure & one can have a clear view of the tomb, the mosque, the surrounding enclosure & the sunken garden from the steps of the gateway. Stairs on the side of the mosque lead up to the roof of these cells, but climbing up the roof is sadly not allowed (One can climb up when the guards aren’t around though). Most visitors content themselves with strolling around the enclosure on newly mowed green grass, listening to the sounds of peacocks that appear to be just around the corner but can never be seen. Sitting in one of these cells, away from the scorching heat, looking up at their curved roofs & the alcoves or admiring the tomb is also a good way to wile one’s time while wondering what to do next.

Hiding treasures behind - the entrance to Isa Khan's enclosure as seen from Humayun's Tomb Complex

As part of the meticulous restoration drive, the AKTC craftsmen repaired & restored the tomb, mosque & the surrounding sunken garden. Numerous archaeological discoveries were also made & the broken finial of the tomb was also found buried close by. AKTC made repairs, plugged leaks, restored the plaster & also the marvelous pattern on the inside of the dome. Artists were specially trained to create ceramic tiles as it is still done in parts of Uzbekistan in order to give the original glazed tile finish to the structures. A new finial was built for the tomb correct to its original specifications & hauled up to be installed atop the dome. Apart from this, the structures were studied using modern, state-of-the-art techniques like Laser-assisted 3D scanning & documentation was done. Soil was removed from the sunken garden, the whole area was landscaped & citrus plants were planted (since the original garden had them). The only thing that looks out of place is the newly built wall that emerges from near the entrance to Isa Khan’s Tomb & demarcates the garden just after the ticket counter & Bi Halima’s enclosure – it appears discolored compared to the original wall in whose continuation it has been built. However the wall’s construction was important for restoring the original plan of the area which was manipulated when the British brought down the walls to build carriageways & laid roads & railway lines (The Government recently gave permission for razing down another road that separates Humayun’s Tomb Complex & Nila Gumbad, although I reported on the state of the Gumbad several months back, AKTC-led conservation work has started full swing a few days back. Hopefully the Gumbad too would be a part of the larger complex soon enough!! Read more about the Nila Gumbad & its pitiful condition here - Pixelated Memories - Nila Gumbad). Apart from monument conservation, AKTC is also helping improve the socio-economic conditions in the Nizamuddin Basti area, one of the most densely populated localities in Delhi, by building schools, providing holistic education & training to youngsters & developing skills for artists & craftsmen. My last encounter with AKTC artists at Ghalib’s Tomb - Chausanth Khamba Complex was indeed a great experience. Seeing them work diligently & with surgical precision on marble was impressive. I have already written a post about Ghalib’s Tomb which you can read here - Pixelated Memories - Ghalib's Tomb

One of the placards designed by AKTC as part of their restoration campaign

Isa Khan’s enclosure was thrown open for visitors in a grand event on the World Monuments Day (April 19) & was attended by thousands of school children in addition to the members of the bodies that helped bring Isa Khan’s Tomb back to life – Indian Government’s Ministry of Culture, AKTC, World Monuments Fund (WMF), Archaeological Survey of India (ASI) & New Delhi Municipal Corporation (NDMC). The event was also attended by a direct descendant of Isa Khan. A fitting tribute to a powerful Afghan I would say.

Location: Humayun's Tomb Complex
Open: All days, 8 am - 6 pm
Entrance Fee: Rs 10 (Citizens of India, Bangladesh, Nepal, Bhutan, Sri Lanka, Pakistan, Maldives, Afghanistan Thailand and Myanmar), Rs 250 (Others) (Children up to 15 years free)
Nearest Metro Station: Jangpura
Photography charges: Nil
Time required for sight seeing: 45 min

Relevant Links -

Suggested Reading -

May 12, 2012

National Zoological Park, New Delhi

Since its establishment in 1959, the National Zoological Park has become a premier institution, unique in that it tries to provide a habitat as close to natural as possible to the over two thousand species of animals and birds that call it home besides also housing hundreds of plant species. In addition to functioning as an educational-recreational zone, the zoo is also involved in several research study projects, breeding programs for endangered species and the organization of national and international biodiversity and zoo regulation campaigns and seminars. Amongst the most sincere of all its initiatives is the planting of sign boards and information panels throughout its 176-acre compound to educate the visitors about the organism they are viewing as well as provide knowledge about the causes for the decline of the said organism’s natural habitat and the need to maintain ecological balance for conservation of species and natural resources. Established in 1959, the zoo, located idyllically in the shade of the massive fortress christened as Dinpanah (“Asylum of the faithful”, now referred to as Old Fort, refer - Pixelated Memories - Old Fort), is one of the best picnic spots in the city, ideal for a family outing, especially when the weather is right. The fortress and its numerous bastions and curtain walls can be seen from various points along the visitor routes and make for interesting backgrounds while clicking the flora and fauna, more so since there are a number of spots where the bastions project out of absolute wilderness and amaze the visitors. Along one of its sides, the zoo complex is flanked by a railway track and a passenger in the passing train can spot several animal enclosures – many a times the passing trains scare the deer roaming quietly (would have liked to use the word “freely”, but it would have been an oxymoron when referring to their enclosures) who then swiftly dash away to another glade, away from the prying eyes of the visitors.

The docile Hog Deer (Axis porcinus)

Conceived in 1952 by the Indian Board for Wildlife, the zoo was planned according to inputs from M.E.F. Bowring Welsh (Society for Prevention of Cruelty to Animals) and Carl Hagenbeck (owner of the famed Hamburg Zoological Park, West Germany) and executed by N.D. Bachkheti (of Indian Forest Service) at its present location with funds from the Indian govt. and gifts of animal and plant species by several state govts.

Within the huge complex, one can take either of the two circuitous routes (marked with color arrows on the ground all along the route) that border the numerous enclosures and mini-complexes that some of the larger animals are provided with. Along the routes, the enclosures have been marked with helpful information panels detailing the organism’s characteristics – even the trees that flank the routes have been pinned with name tags (both local and scientific names) with larger metallic panels affixed to the ground nearby (though even I know that hammering nails in a tree trunk retards the growth, don’t the zoo authorities? The panels could have been affixed on the ground, right?). Signages and the placement of zoo maps (depicting directions, map position with reference to the zoo compound and the route to reach other enclosures) at regular intervals are definitely a positive step to assist the visitors and ensure coordinated movement. We decided to take the left route which led to the bigger animals like caimans, nilgais and tigers – despite spending an entire day in the complex, we left out several of the bigger animals as well as entire sections – so huge is the complex that a day seems less if covering the place in its entirety is the mission! The day didn’t really prove much fruitful for me at least – possibly because I don’t own a camera and it was quite difficult to click the animals that had huge enclosures to themselves and the freedom to retreat to far corners. I might have made do, but my cousins had decided to tag along and they (not being used to photography and sustained walking throughout the day) had to stop every few minutes at one or the other refreshment stalls to get ice creams or cold drinks.

Much helpful - Every enclosure has at least one information panel; several have three

Because it was summer season and the scorching sun overhead was spreading its terribly hot fangs all over the city, most of the bigger/sensitive animals were either removed from their enclosures and kept in specially air-conditioned and protected rooms to shield them from the dry, sultry winds or had made their way to their dugouts and dark corners – nonetheless, we were able to see several of them – lions, tigers, monkeys, alligators, leopards, panthers, jackals, besides migratory birds of various species. But most of all, the zoo has an abundance of deer – roaming about in their large, heavily-wooded compounds, separated from visitors by wire-mesh boundaries, most of these creatures have become tame – among those that I remember are goral, black bucks, chinkaras, sambhars, Hog deer, nilgai and sika – the Hog deer have become domesticated enough to approach us and feed on leaves straight from our palms! I must admit they posed rather handsomely for the cameras.

The zoo officials do their best to provide the animals comfortable environment in the extreme seasons that Delhi experiences – when the mercury soars, fans and desert coolers are installed in the enclosures with the more sensitive animals being removed from the public enclosures and placed in shaded rooms to avoid their being irritated by visitors and heat, the fluid intake of the animals is increased and they are supplied with juices (watermelon, wood-apple) and rehydration salts while at the same time monitoring the food and meat intake, special grass covers and nets are also thrown over the enclosures, especially the ones housing the birds; in winters, heaters are employed in the enclosures and blankets are thrown into the enclosures to keep the animals warm and cozy, jute covers are used to cover the bird enclosures.

Ironically, discolored and dirty - Sambhar Deer (Cervus unicolor)

Peacocks roam freely throughout the compound, however they are quick and it’s difficult clicking them – their counterparts however around the nearby green Sunder nursery-Batashewala complex are relatively calm and can be photographed if one is cautious enough and doesn't make much noise. Migratory birds also flock here in abundance, especially around a huge marsh that was introduced with the purpose of providing these bids with a nesting and feeding site – there’s a Mughal-era canopy (“barakhamba”, twelve-pillared dome) too next to the marsh, possibly a tomb once, today people sit in its shade and observe the birds.

Next we headed to the giraffe and elephant enclosures – the elephants have a large dugout fitted with a deep pool to themselves – the dugout slopes gently such that from one side it appears the elephants are below visitor’s level but on the other side they come level and then one truly appreciates their massiveness – I was on the other side when the three elephants, who were soaking in the pool, eloped towards suddenly, giving a splendid show to the impressed audience. Two of the elephants began copulating then, much to the laughter and shriek of the people present – you have to see an elephant’s penis to believe the size of it – it’s literally like a thick pillar!

In their own silent world - Giraffes (Giraffa camelopardalis)

As mentioned earlier, the bigger animals like lions, tigers, rhinoceros and bears have their own separate compounds with lush vegetation, small watering holes and a deep moat separating them from the onlookers. It being desperately hot, most of the animals preferred to dunk down into the shallower section of the water bodies or find some respite under the shade of the larger, shady trees, prompting the disappointed and insensitive visitors to create a ruckus, banging the enclosure walls and at times even projectile water bottles and similar stuff towards the animal – one wonders who is actually the beast in the picture?! The animals do not always oblige the visitors by reappearing; frustrated the unruly visitor moves on to the next enclosure but the entire scene does beget the question – are zoos really necessary? Breeding programs apart, isn’t the display of wild animals in constricted, often times unhygienic enclosures in controlled environments against their natural instincts and in all probability physically taxing and mentally stressing?

The zoo also boasts of a dark and damp underground “Reptile House” where pythons, boas, cobras, lizards & turtles are displayed in glass cages – the low-light condition, though suitable for these creatures, is prohibitive for photography and I had to give up after a few amateur attempts.

The Humayun Darwaza of Old Fort looming above a portion of the zoo complex (Notice the info panel (foreground right) detailing the aspects of the fortress)

Among the facilities that the zoo provides efficiently are wheelchair access and open-roof mobile van service to tour the large complex – personally, I prefer to walk and would suggest against availing the van as one tends to miss out on some of the less promoted but nonetheless beautiful and momentary scenes – magnificent peacocks strutting over trees and enclosures, fierce hornets building their nest in the rotten and crumbling wood work of a tall watchtower, lush vegetation and moss overtaking some of the secluded corners of the compound, colorful, multi-varietal mushrooms rearing their heads on dead and rotting logs here and there, big red ants swarming in and out of their deep burrows – it is these smaller events, individual but interconnected, that make one feel as if cradled in the heart of nature, close to both life and spirit that makes one experience a oneness with these tiny souls. To escape the freezing cold of their original countries, migratory birds like pintails, shovelers, teals and storks too come from as far as Europe and Russia and make the zoo their second home during the winter months (mid-Oct-March).

Food articles and drinks (except for water bottles and infant milk) are not allowed within the zoo premises and the same can only be bought at a small refreshment kiosk that stands in the middle of a glade close to a tall Kos Minar (for details about the communication-espionage system that the Kos Minars facilitated as mile markers, refer – Pixelated Memories - Kos Minar, Faridabad). I did photograph the tapering tower, one of the tallest I’ve seen in Delhi-NCR, perhaps because it faces no danger of being buried under asphalt during laying of roads or of being brought down under pressure from urbanization-commercialization lobbies, but the photos didn’t come out so good and were mostly burnt out – I’ll perhaps visit the place sometime again with a camera and do a separate post about the tower and the Mughal tomb and link them back to this and the larger post about Kos Minars. Within the zoo there's also a Mughal-era serai (inn) referred to as Azimbagh Serai, the largest such structure amongst the entire network that existed in Delhi along the historic mega-highway Grand Trunk Road – am doubtful if visitors are allowed access to it since it falls within the precincts of the complex’s residential quarters, will try to gain permission the next time I visit. The serai will soon be given a facelift in a monumental restoration-conservation project being undertaken by the Aga Khan Trust for Culture (AKTC) as part of the larger Humayun’s Tomb Complex – Sunder Nursery – Nizamuddin Basti revival initiative. Situated close to the administrative block is the zoo complex's library stocking books and research material about the life forms and natural systems.

Kos Minar - A medieval "mile marker" (Photo courtesy - Wikimedia.org)

Though it has been designated as the model zoological park for the country, the zoo does suffer from several organizational and animal care issues – newspaper reports have in the past pointed to the lack of hygiene in the enclosures and the murkiness of the water bodies where the animals drink as well as find shelter during the heat; deaths too have been reported with the causes varying from stress, animal-animal conflict, lack of sanitation and most recently the flow of sewage water in the open grounds; I felt some of the animals like the sambar deer and blackbucks were living in over congested spaces. However, the zoo does deserve credit for its successful breeding and conservation programs for rhinos, swamp deer, Asiatic lions and most notably, the Manipuri brow-antlered deer which also feature in the zoo’s logo.

Highly endangered, the brow-antlered deer were gifted by the state of Manipur to the zoo in 1962 and since then the zoo has shown remarkable progress in breeding and nourishing these rare animals and even distributed many to Kanpur, Ahmedabad, Junagadh, Hyderbad, Lucknow and Mysore zoos.

Manipuri brow-antlered deer on the zoo's logo (Photo courtesy - WWFIndia.org)

One of the most horrifying and inescapable facets of a visit to zoo and life in India in general is the insensitive nature of the visitors and a complete lack of basic manners and education – littering is common despite there being a ban on importing food substances and cartons/packs/polythenes within the zoo complex as well as placement of dustbins throughout the compound; harassing the animals when they are sleeping or in their cave/dugout; shouting (usually at animals but not restricted to the same) is another common observation. Given that the zoo sees a footfall of 5000-6000 visitors on normal days and 12000-13000 on weekends and holidays, even a fraction of them acting as miscreants becomes a significant number that all the stakeholders including the zoo guards, other visitors and most importantly, the animals have to cope with.

Calm but highly dangerous - Spectacled Caiman (Caiman crocodilus)

By the time we came out of the zoo complex it was already evening; the numerous shops at the zoo periphery that dealt in stuffed toys, cheap picture books (suitable for kids only) and costly coffee-table books had begun their business; so had the vendors on foot or cycle selling thin booklets about animal/plant/insect lives, balloons, key rings and animal-shaped toys. For the sake of posterity I too bought a thin booklet even though it was marked “Ages 10-15”. Definitely an experience worth reminiscing about, now I know why a lot of old people state that visiting zoological parks and botanical gardens with their grand/kids bring back memories of their own childhoods. I shall visit again, have to document the kos minar and the serai too – but then it would be with a camera and hopefully in winters when the animals aren’t removed from their enclosures to protect them from the summer sun. Till then..

One of the large maps that are placed strategically along the pathways throughout the complex

Nearest Bus stop: Purana Qila (Old Fort)
Nearest Metro Station: Central Secretariat
Nearest Railway Station: Hazrat Nizamuddin
How to reach: The zoo is situated right next to Old Fort (refer link - Pixelated Memories - Old Fort). The bus stop is immediately outside the larger fortress-zoo complex while one has to avail the facilities of an auto if deboarding at metro/train station (will cost around Rs 40 either case).

Open: All days, except Friday
Timings: April 01-Oct 15: 9am-4.30pm; Oct 16-March 31: 9.30am-4pm
Entrance Fee: Indians: Rs 40 (adults) and Rs 20 (children upto 5yrs of age and senior citizens); Foreigners: Rs 200 (adults) and Rs 100 (children upto 5yrs of age)
For concessions related to school visits, refer page - Nzpnewdelhi.gov.in - Timing and Tariff
Photography charges: Rs 100; Video charges: Rs 1000 (For other charges refer page - Nzpnewdelhi.gov.in - Timing and Tariff)
Facilities available: wheelchair (free), mobile van, luggage room, ATM facility
Not permitted within: Eatables (except milk and infant food), tobacco and alcoholic products, inflammable materials and matchsticks, polythenes/cartons/tetrapacks, firearms and sharp objects (scissors/knives), musical/sound instruments, bags (except purses, laptop/camera bags)
Relevant links -

Also see - Pixelated Memories - Alipore Zoo, Calcutta