Sheesh Gumbad, Lodi Gardens, New Delhi

In the heart of Lodi Gardens which themselves are located in the heart of Delhi, seated on a gentle man-made hill is an impressive tomb christened as Sheesh Gumbad (“Glass Dome”) on account of the vivid blue tiles that adorn its façade. A magnificent example of Lodi architecture the tomb is and bears all the features that characterize buildings of that particular period – a high dome resting on a high drum (base), well-preserved lotus finial atop the dome, exterior semblance of a multi-storied structure achieved by the use of arched niches on two levels along its faces, trabeated entrances which employ lintel beams to span the distance to form a rudimentary arch despite the availability of architectural knowledge to build true arches as reflected from the construction of the arched niches along the windows and the larger double niche in which the entrances are set, slender turrets projecting out of each corner of the square structure as well as the rectangular projection in which each entrance and their arched niche are respectively set, a row of arched alcoves ornamenting the dome’s drum and the most glaring feature – the use of leaf motif decoration along the roof and the drum instead of the kanguras (militaristic battlement-like ornamentation that evolved from the use of battlements in all structures of earlier vintage to afford protection against recurrent Mongol raids) – there is indeed not a single feature which we haven’t observed in a majority of structures of that age and yet the tomb exudes a certain magnificence, a charm that magnetically attracts all visitors to it. It isn’t just the use of the glossy blue tiles which are rare in medieval structures (must have been difficult to produce and hence expensive back then, conjecture is that once the whole top surface of the tomb were covered with such tiles. Incredible, right?? Shiny blue!); it isn’t even the majestic dome that, except for a long crack running along its side, retains its grandeur; it isn’t even the mystery associated with this particular tomb, after all there are hundreds of tombs scattered throughout Delhi (India as a whole in fact) the identity of whose occupants is not known; neither is it the extraordinarily well preserved exteriors or the masochistic style in which this massive tomb built out of hard grey quartzite towers above its surroundings – is it the combination of all these factors that makes this tomb so mesmerizing?? Enchanting enough for the historian Simon Digby to propose that this must be the tomb of Sultan Bahlol Lodi, the first of his dynasty who reigned from AD 1451-89! It is generally accepted that Bahlol Lodi is buried in a modest tomb in another part of Delhi, but what if this was his tomb and the Bada Gumbad that stands facing it actually its enchanting gateway? Enrapturing, isn’t it? How history of actual human beings, Sultans and generals, intertwine with the stories these structures hide to create this web of fables, of mysteries indecipherable, of lores forgotten, of stories untold!!

Picturesque

On the inside it’s pretty dark; several unmarked and unornamented graves lie in rows along the rough floor; squinches span the corners to support the giant dome; the walls are unadorned except for white plaster which has mostly disappeared now; the dome’s concave surface is decorated with a huge medallion composed of floral and calligraphy patterns in incised and painted plaster – the medallion is further enveloped by an eight-pointed star whose vertices are extended to touch the band of calligraphy at the circumference of the dome; the calligraphy is exquisite, intricate, the band further rests on a row of ornamental arched niches which display miniature medallions along their curved parts – though the whole roof surface is layered with orange plaster, it’s difficult to decipher the designs and patterns since most of it is covered in what appears to be white bird droppings, though looking at the way in which it covers the surface it looks as if somebody took a paint gun and began shooting white color on the roof!!

Light and dark

As dusk comes calling, the area surrounding the tomb become the haunt of hundreds of birds – eagles swoop around in gigantic circles around the tomb, pigeons and mynas come calling to the thick trees where they nest, crows raise a cacophony on the leafless trees where they come to rest – the din is terrible, but it is also easily ignorable; no wonder people can be seen jogging, exercising or just sitting around the tomb at the time. After all, it’s Lodhi Garden – a hub for fitness enthusiasts, a Mecca for city-bred couples, a pilgrimage for photographers and heritage enthusiasts and a picnic spot for families!

A leisurely romantic evening anyone?

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

1. Pixelated Memories - Bada Gumbad Complex, Lodi Gardens

Suggested Reading -

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

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

Bada Gumbad Complex, Lodi Gardens, New Delhi

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

– Khushwant Singh, "The Sunset Club"

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

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

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

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

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

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

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

The mosque interiors - Now you believe me??!

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

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

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

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

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

Intimidatingly huge & yet so serene & inviting!! 

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

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

1. Pixelated Memories - Quli Khan's Tomb

Suggested Reading - 

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