South Ex. Trail, Delhi

"Dehli

Refuge of religion! Refuge and paradise of justice!

Long may it endure!

Since it is a heavenly paradise in every essential quality,

may God keep it from calamity!"

– Amir Khusro, "Qiran al-sa'dain", 14th century

Surprisingly, if there is an area in Delhi which renews one's faith in humanity's obstinate permanence and repetitive resurgence despite recurrent cataclysms and mortality-induced banalities, it would be South Ex., the commercial heart of the city, that is intriguingly strewn with ornate monuments over half a millennium old that have weathered centuries of oppressively sweltering summers and bone-chilling winters and yet, with its fascinating hodgepodge of designer showrooms, multi-storied coaching centers, glimmering neon signs and glitzy restaurants, appears as new as a fresh idea. Amidst the serpentine, perennially crowded, maze of ubiquitous glass and cement mega-structures are scattered a few miniature, painstakingly adorned early Lodi-era (AD 1451-1526) mausoleums that each stands within a small landscaped grassy lawn of its own and are in such close vicinity to each other that one necessarily feels that they were originally intended as a cluster existential within a larger garden complex but have since become drastically estranged from each other as a result of burgeoning urbanization and commercialization of land space. Needless to say, the disproportionately minimal space around each of these structures renders photography and visual composition exceedingly difficult, but does indeed propel one to imagine what these might have appeared like in their erstwhile majesty when surrounded by vast open grassy plains as far as the eye could see.

Desolation! - Kale Khan ka Gumbad

Kale Khan ka Gumbad –

Coordinates: 28°34'12.5"N 77°13'08.2"E
Literally translating to "Tomb of the Black Khan", the decrepit (yet ruggedly elegant) square mausoleum, the first that a solitary visitor wandering into the back lanes of South Ex's otherwise glittering expanse encounters, encapsulates in itself the mortal remains of Mubarak Khan Lohani who was a nobleman during the reign of Bahlol Lodi (ruled AD 1451-89) and whom many historians consider to be the father of Darya Khan Lohani (more on him later). The crumbling yet evocative edifice, built in AD 1481 and royally seated upon a high sloping mound of its own, dominates the area around itself despite the circumstances it finds itself in presently – the small lawn that surrounds it, though landscaped with a shroud of green grass and rows of palm trees, has become an oasis for couples shopping/feasting nearby, students attending coaching classes and smokers wishing for a respite from the sweltering sun and a corner to sit around and gossip.

Externally, the tomb's walls are conceived to present a double-storied appearance wherein narrow alcoves are set on either side of the larger central arch which is itself set within an even larger arched depression which in turn is set within a projecting rectangular facade. The roof, before culminating into the perfectly executed semi-circular dome, translates into a row of "kanguras" (battlement-like ornamentation) lining also the drum (base) of the dome.

Spotted on the trail

Entrances mark three of the sides while the fourth (western), that lacks any opening, functions in the capacity of mihrab (western wall of a mosque/tomb that indicates the direction of Mecca and is faced by Muslims while offering namaz); the interiors, even more dilapidated than the exteriors which at least display some semblance of having been plastered as part of a restoration effort in the past, retain remnants of plasterwork medallions and a eight-cornered star pattern adorning the dome that might have been vibrantly painted and decorated once but at present offers not the slightest clue to its original glorious existence; there are two graves within, possibly those of Mubarak Khan and his wife. Why the tomb is referred to as that of the Black Khan is a matter of conjecture, but some suspect it might be because of Mubarak Khan's dark complexion, even though no historic records specifically refer to it. Interestingly, of all the Lodi-era monuments, it has been dated to be the earliest and represents a crucial step from pre-Lodi mausoleums (that were predominantly octagonal or otherwise built like a small forceful structure complete with buttresses and thick walls) to the innovation of highly symmetrical square structures – all the more reason for its restoration and conservation for future generations to observe, research and understand.

Hemmed in - Bhure Khan ka Gumbad

Bhure Khan ka Gumbad –

Coordinates: 28°34'20.4"N 77°13'14.9"E
Another distinctive tomb whose nomenclature perhaps invokes a reference to the complexion of the person interred even though the actual identity remains unknown, "Tomb of the Fair Khan" is similar to Kale Khan ka Gumbad in almost all aspects with the only exception that is slightly perceptibly better embellished with a smattering of decorative plasterwork patterns, tapering fluted pillars and brilliant blue tile work along its front facade, inverted lotus finial surmounting the dome and pendant-shaped medallions marking the space in the dome interiors where the larger painted star-pattern is extended so that its vertexes project to intersect the row of ornamental alcoves that adorn the base of the large dome. A large grave occupies most of the interior space and even the squinches (diagonal added between two arms of a corner so as to span space and convert a square structure successively into a octagon and then a polygon/circle to support the heavy dome) are better defined and decorated. Thoroughly filled with cobwebs and foul-smelling refuse, a narrow staircase next to the entrance leads upstairs to the roof level, however the panoramic view around is entirely impeded by the surrounding whitewashed buildings and treeline. The tiny tomb exists in a deplorable condition, wedged between towering houses that overshadow it on two sides, a parking lot turned into a dump yard-cum-cow shed on the third and barbed fences demarcating the extent of the meager confine of land surrounding the tomb on the fourth. The only possible way of entering this fenced-in space if one wishes to observe the monument close and personal is by jumping over the fence along the dump yard side at the cost of spoiling one's shoes with muck and cow shit, or worse, tearing one's trousers on the barbed wires!

Silence and serenity - Bade Khan (left) and Chote Khan (right) ka Gumbad

Bade Khan – Chote Khan Tomb complex –

Coordinates: 28°34'23.7"N 77°13'11.6"E
The only facet of the identities of Bade Khan ("Big Khan") and Chote Khan ("Small Khan") apparent today is that they were eminent noblemen in Lodi regime and possibly shared a relationship amongst themselves such as that of father-son or teacher-pupil. It is contended that originally the three architecturally and artistically similar tombs of Bhure Khan, Bade Khan and Chote Khan were included within the same larger complex but have since become partitioned into two different complexes as a consequence of glaring blunders that Archaeological Survey of India (ASI) committed in an overzealous attempt at monument conservation whereby without any prior notification they demolished buildings constructed by a certain Nahata Group of Traders and Builders who had overtime come to own the crucial land between the tombs. Following this, the Nahata Group pressed legal charges against ASI demanding financial compensation for illegal demolition and the entire area has since been fenced in with barbed wires with notices put up threatening action against trespassers. Thankfully, the remaining plot has been beautifully maintained as a garden by the ASI and there are towering trees flanking the circumference, green grass carpeting the lawns and flowering shrubbery demarcating the walkways. Young children from nearby slums and construction sites run around playing games of their own making, a few walkers stroll around the walkways and the tombs function as majestic bedrooms for a few laborers and gardeners.

Exquisiteness personified - Stucco patterns, Chote Khan ka Gumbad

Though the better preserved Chote Khan ka Gumbad is kept grilled and locked most of the time, the friendly caretaker will instantaneously open it up if requested. Lavishly embellished with an extravagant layer of incised plasterwork patterns crafted into rows upon rows of intricate Quranic inscriptions and floral motifs, the cream-pink exquisite tomb is unarguably architecturally and artistically the most delightful of the lot traversed in this particular trail. The use of vibrant blue tiles along the facades, tapering turrets projecting along the tops of the rectangular embossments that frame the arched entrances, stone latticework ("jalis") to mark the two openings which do not function as entrance gateways (the fourth side functions in the capacity of a mihrab) and hexagonal "chattris" (umbrella domes surmounted on slender pillars) mounted on the corners of the roof contrasted against the massive perfectly designed dome lend further credence to the ornamental conception of the mesmerizing structure. Where mankind failed, further charm is added by nature in the form of colorful parakeets that flutter around the tomb's chattris and sides and sleepy-eyed owls that occasionally peep through their nest holes in the walls.

Inside, the arches engulfing the squinches, the curve of the entrances and the smaller decorative alcoves that fringe the base of the dome too are layered with stucco inscriptions. The sober red sandstone mihrab is exceedingly simplistic and yet undeniably touching while the impressive star pattern adorning the roof couldn't have been envisaged more gracefully. I'll let the photographs do the talking since words fail to convey the eminence of the alluring structure.

"Hey, look! What's that bespectacled guy with the camera trying to do?!"

Bade Khan's spectacularly prominent tomb, though irresistibly simplistic and covered only with red-brown stone rubble, is literally gigantic and has been externally conceived to appear triple-storied through the assistance of narrow arched alcoves and windows on different levels. The massive tomb packs numerous intriguing surprises such as the occasional blocks of singular sculpted stones bearing calligraphic inscriptions embedded within the walls relieving the continuous monotony, corbelled doorways crafted out of red sandstone lintels artistically carved to generate the appearance of arches, small chattris surrounding the colossal dominant dome, the use of detailed stone latticework to close off two of the entrances and most interestingly, ornamental semi-octagonal pillars ("pilasters") built within the walls along the corners – a feature that is unique to this particular tomb amongst all medieval structures in Delhi. The shallow dome rises from a sixteen-sided drum (base) whose each corner is marked by a slender tapering turret. The grand interiors are relatively better preserved and the plasterwork medallions, cobblestone floor, red sandstone mihrab, star pattern adorning the roof and the five large sarcophagi are all intact. The incised plaster medallion inside the star pattern, displaying collinear bands of inscriptions and floral and geometric motifs, is amazingly well preserved and fascinatingly intricate.

Notice the unique corner towers! - Bade Khan ka Gumbad

Darya Khan Lohani's Tomb –

Coordinates: 28°34'20.1"N 77°13'00.3"E
The contrast between the tombs of Mubarak Khan and Darya Khan couldn't have been more glaring. Constructed in a three-tiered setting, one of the most unusual, although grievously neglected, tombs in the city belongs to Darya Khan Lohani, the "Mir Adil" (Chief Justice) during the reigns of Sultan Bahlol Lodi (ruled AD 1451-89) and Sikandar Nizam Khan Lodi (ruled AD 1489-1517). It today functions as a forgotten and ignored traffic roundabout in Kidwai Nagar where it delineates the urban village setting of Kotla Mubarakpur from the exceedingly posh South Extension I. What can be said to constitute the tomb proper is raised from the surroundings by an immensely high square platform which possesses remains of circular bastions along the corners – rubble slopes continue to hinge the platform to the ground around on all sides, however it is deduced that along one of the sides originally existed a regal gateway which has since been reduced to rubble by nature's fury. One wonders how much of the irrevocable damage was heaved to the fragile monument by the enormous heat, noise and material pressure exerted by the annual Dussehra festivities that saw effigies of the demon lord Ravana being burnt in its immediate vicinity till a few years back!

Unusual and beckoning - Darya Khan Lohani's tomb

Upon this pedestal and exactly symmetrical with it is another comparatively smaller pedestal accessible via staircases on three sides and crowned on each corner by a domed twelve-pillared stone pavilion (chattri/barakhamba). In the center of this second pedestal lies a moderately high circular edifice (which presently acts as a site for the locals to sprinkle grain and sweets for the birds and insects which flock to it in hundreds every day) on which in an excessively simplistic grave enclosed in white marble sleeps Darya Khan in eternal slumber. Only one of the four square chattris survives in its entirety while the rest exist miserably in different stages of ruin – the interior surfaces of the domes were inscribed with floral medallions and handsome bands of calligraphy, possibly Quranic, but that couldn't save them from destruction, the pillars are thick, perfectly carved and thoroughly unblemished, the use of squinches to successively convert the square configuration to circular is immediately notable, kanguras (battlement-like ornamentation) decorate the proportionately high octagonal bases of the domes.

Amongst ruins, here lies Darya Khan, a powerful Afghan noble

Pigeons find resting space upon the large domes and underneath meet doting couples looking for a quiet cozy corner, laymen coveting some space to doze around or play cards and locals congregating to gossip. There have been attempts to landscape the upper platform with rows of palm trees extending alongside the sides and shrouds of grass carpeting the entire area. Ashoka trees reach out from the lowermost surface and, much to the pleasure of squirrels who like nothing more than hopping around, spread their wide, crinkled branches over the domed pavilions.

In view of full disclosure, I find these ruins more fascinating than the splendid whole.

It would be fitting to end this article with words drawn from R.V. Smith, my favorite chronicler of Delhi's history and monuments, reflecting upon the neglect and ignorance faced by these tombs in particular and almost all monuments in the country in general in terms of restoration-conservation and historic appreciation –

"The gumbads (domes) of Delhi are also repositories of history which, however, are not given the attention they deserve. Domes came into prominence during the Muslim period, though there certainly were domed buildings before that time, but Hindu temples and other edifices, by and large, lacked the finesse and excellence of the domes that came up later."

Symmetry, stars and medallions - Inside Chote Khan's mausoleum

Nearest Bus stop: South Ex. I
Nearest Metro station: AIIMS
How to reach: From the Ring Road, take the street beginning immediately besides Nalli Sarees or the Louis Philippe store and you will come across Kale Khan ka Gumbad after walking less than half a kilometer. Afterwards walk straight with your back to Ring Road and ask directions for Bade/Chote Khan ka Gumbad and the locals will direct you. Darya Khan Lohani's tomb is located in the middle of a roundabout known as Dr. Shyama Prasad Mukherjee Chowk near Kidwai Nagar market/post office.
Entrance fees: Nil
Photography/Video charges: Nil
Time required for sightseeing: 20-25 minutes per monument
Other trails in the city - 

1. Pixelated Memories - Lodi Road - Jawahar Lal Nehru Stadium Trail 
2. Pixelated Memories - R.K. Puram Trail 

Suggested reading -

1. Timesofindia.indiatimes.com - Article "Heritage bylaw delay hits locals" (dated Mar 9, 2014) by Richi Verma
2. Timesofindia.indiatimes.com - Article "Lodi Tombs in South Extension stand divided" (dated June 29, 2012) by Richi Verma

Muhammad Shah Saiyyid's Tomb, Lodi Gardens, New Delhi

"The black, pensive, dense

domes of the mausoleums

suddenly shot birds 

into the unanimous blue"

– Octavio Paz, late Mexican diplomat-poet-writer,

in his poem "In the Lodi Garden"

The year was 1434 AD. The whole country was aware that Wazir Sarwar-ul-Mulk had some nefarious designs in his mind even before he had conspired with rebel nobles to have the Sultan coldly murdered. Sultan Mubarak Shah Saiyyid is dead, long live the Sultan. Mubarak (ruled AD 1421-34) had efficiently safeguarded his domains against dangers both within & without while he lived but he could not foresee his own men conspiring against him, primarily because he had managed to break their influential hold over the kingdom through the newly devised system of frequent transfers to different parts of the country. The most able & resourceful sovereign of the Saiyyid Dynasty died leaving behind no heir to continue his lineage. The unscrupulous Wazir (Prime minister) was now openly involved in court intrigues over the choice of a successor for the deceased Sultan. That the Wazir had accumulated vast power & influence in his hands through his cunning & treachery was no secret – even the Sultan knew of it & had tried to check the same by appointing several nobles over the Wazir leading to open hostilities & eventually resulting in his own grisly murder - and now when one after the other the Sultan’s favored nobles began falling to their death, the power & cold-heartedness of the Wazir was most apparent. Worried, the nobles conceded to allow the Sultan’s nephew Muhammad Shah to succeed his uncle in the hope that he might be able to rein in the deceitful Wazir. Muhammad proved to be a pitiful excuse of a Sultan – he was fully aware of Sarwar-ul-Mulk’s involvement in his uncle’s murder yet failed to take action against him - his loyal nobles kept getting murdered or exiled & he was unable to stop it. Losing his patience over this long drawn out process, Sarwar-ul-Mulk decided to take forward action & made arrangements to murder the Sultan himself; only he did not reckon that the palace guards were still obedient to their real master – they seized the Wazir as soon as he made his intentions clear & finished him off real quick. With the last thorn in his side gone, the Sultan embarked upon a life of luxury & debauchery – displeased with his lax attitude & unconcern over administrative affairs, many of the nobles who once stood by him revolted. Muhammad’s sorry reign – one that saw inefficient governance, his enemies getting stronger, nobles & generals revolting & power accumulating everywhere except in the hands of the Sultan – came to an end in mere 10 years with his natural death. His son Ala-ud-din Alam Shah (ruled AD 1444-51) took the throne & embarked upon the construction of a massive mausoleum for his father.

Muhammad Shah's final resting place

The brief Saiyyid reign (AD 1414-51) saw a relaxation in the architectural austerity measures that were the hallmark of Tughlaq-era (ruled 1325-1414 AD) construction before the Saiyyid’s began their rule – the fusion of Hindu elements in Islamic construction details came in vogue – floral patterns, lotus finials & chattris were motifs drawn from Hindu iconography. But the Saiyyid reign had begun after another phase of Delhi’s fall – the Central Asian plunderer Timur had just invaded India & ravished the northern provinces including Delhi, spreading rape, destruction, death & plunder wherever he lay his eyes (AD 1398). The Tughlaq Empire fragmented into pieces following which Delhi became the battlefield as Tughlaq prince Nasir-ud-din Mahmud & the fearsome noble Mallu Iqbal clashed for control over the remaining wealth & power of Delhi. Khizr Khan (ruled AD 1414-21), Muhammad Shah’s grandfather & Timur’s vassal in-charge of modern-day Punjab capitalized on the situation & advanced to capture Delhi & its war-depleted treasury. Though the Saiyyids claimed direct descent from Prophet Muhammad, they did not fail to admire & adopt Hindu artistic features such as representation of floral designs which till some decades back was a taboo for Muhammadan artists. However, the Saiyyids lacked the capital to commission captivating palaces & splendid fortresses – they stuck to tombs (therefore earning Delhi the reputation of a necropolis during that period), & even here the artistic compositions were muted & the architectural features less flamboyant. 

Mr Saiyyid surrounded by his relatives

One of the finest Saiyyid-era structure in Delhi & the only one in Lodi Gardens, Muhammad Shah Saiyyid’s mausoleum is built in the architectural style favored by the Saiyyid & Lodi dynasties. It consists of a large octagonal chamber surmounted by a high graceful dome & surrounded by a spacious pillared veranda running parallel to each side. Among the features displayed by the tomb are – a continuous eave (“chajja”) along the roof supported by equally spaced brackets, chattris (domes mounted on slender pillars) raised on the parapet above each of its sides, strong tapering pillars dressed with grey Delhi quartzite stone along each corner of the octagon (to afford enhanced structural stability), three-arch entrances on each side along the edge of verandah & inverted lotus finials atop the central dome & the smaller chattri domes. The squat but well-proportioned structure sits on a rubble plinth & can be noticed from afar. The parapet, the sixteen-sided drum (base) of the dome & the eight-sided drums of the smaller dome – each is distinguished by a row of kanguras (battlement-like ornamentation). Slender ornamental pillars emerge from each corner of the drum of the central dome – portions of the pillars & the kangura ornamentation have been turned brilliant red, perhaps a result of recent restoration work. Each of these adornments work in tandem to generate a cumulative effect of striking grace & symmetry. The verandah is reached by climbing a flight of stairs & one cannot fail to notice the captivating patterns that adorn the recessed niches that are built into the roof of the verandah – the four-pointed stars were once painted white; the straight lines, arches & embossments complement each other to form solemn symmetrical patterns; in the center of the star & embossed within an octagon is a graceful eight-petal flower pattern bearing in its center an intricate incised plaster design that puts to shame modern artistic compositions. 

Incised plasterwork in the roof niches along the verandah

Originally each side of the chamber bore jaalis (stone filigree screens), however these were lost with time & the western side was filled in to function as a mihrab (enclosure wall indicating the direction of Mecca, faced by Muslims while offering Namaz). With the loss of the lattice screens, each face came to possess an arched doorway leading into the chamber – each doorway is partitioned near the top with a heavy lintel beam so that the entrance becomes rectangular with an arched window slightly above it. The pillars that support the lintel beam curve near the top & flower into curves.

Inside the tomb, the quartzite walls ornamented with white plasters & medallions appear well proportioned. Eight graves – each covered with a layer of somber white plaster – line the chamber in three rows, the central one belongs to Muhammad Shah, the rest are construed to be those of his family members. Towards the top, the corners of the chamber are spanned by stone wedges to convert the eight-sided interior into a sixteen-sided figure in order to better support the weight of the massive dome. The dome & the chamber are separated by a line of arched alcoves set within rectangular niches topped by a span of quartzite stone & a band of calligraphic inscription. 

Dome interiors

The dome is massive (diameter 10 meter) & displays a central medallion set within two concentric four-pointed stars which touch to form an eight-point star at the circumference of the medallion. The sides of the two stars have been extended to touch the periphery of the dome & each of the eight polygonal quadrants formed were once adorned with a smaller medallion motif (with tails emerging radially from the center-facing sides), however only one such medallion exists now. The intricate designs are done in incised plaster painted in vibrant shades of red, blue, yellow & green to generate a mesmerizing picture consisting of floral artwork embossed within a circle of calligraphic inscriptions embossed within a larger circle of bewitching floral designs. The patterns are colossal and gorgeous, sadly though the photographs don’t do it much justice. The dome had suffered extensive deterioration due to water seepage & cracking of the plaster layers; however the same has been rectified recently (along with the fixing of cracks, repainting of discoloured walls & replacement of broken/missing tiles) by the Archaeological Survey of India (ASI) & Indian National Trust for Conservation of Art & Cultural Heritage (INTACH) in a conservation drive sponsored by Steel Authority of India (SAIL). My favorite part however remains the floral patterns etched in the stone brackets supporting the lintel beams (the pillar bursts I mentioned earlier), here’s a photo of the one decorating the mihrab –

Chiseled perfection

Even though Lodi Gardens is considered one of the most charming landscaped gardens of Delhi, the area around this particular mausoleum has been given a touch of finesse – the grass-blanketed surroundings give the impression of a grand structure standing atop a sloping hill with palm trees forming a large square enclosure around the hill & massive trees looming in the not-so-distant background. Had Alam Shah not been in a hurry to surrender his kingdom to Bahlol Lodi in 1451 AD & shift to Badaun (modern-day Uttar Pradesh), perhaps he too would have thought that his father’s tomb would one day be a picnic spot for couples, a rendezvous point for lovers & a hide-and-seek corner for children (Tombs those days were commissioned as family retreats & were built in gardens complete with walkways, fruit-bearing trees & artificial water bodies). Well-maintained shrubs lead up to the worn-out stone steps that lead to the plinth level; a dog finds refuge next to the Sultan’s grave while its counterparts are being chased away by a gardener as couples sitting on the benches & on the grass look about. Delhi winters, when the city’s inhabitants retreat to their warm blankets & even the monuments wear a blanket of fog around them is perhaps the best time to visit Muhammad Shah’s Tomb – the beauty lies in observing the cream-grey structure in the mist while at the same time drifting into thoughts of one’s beloved & wishing they were here besides you. That’s what I was thinking, drop a comment & let me know what you thought !!

Seen around

Location: Lodi Gardens, Beside India International Centre
Nearest Metro Station: JLN Stadium
How to reach: One can walk/take an auto or a rickshaw from the Metro station
Open: All days, Sunrise - Sunset
Entrance Fee: Free
Photography/Video Charges: Nil
Time required for sightseeing: 30min
Relevant Links -

1. Pixelated Memories - Bada Gumbad Complex, Lodi Gardens

Suggested Reading - 

1. Archnet.org - Muhammad Shah Sayyid Mausoleum
2. Timesofindia.indiatimes.com - Article "600 years on, glory of tomb restored" (dated Oct 4, 2009) by Richi Verma