Bagh-i-Alam ka Gumbad, Deer Park, New Delhi

Though Bagh-i-Alam ka Gumbad literally translates to “the tomb within the garden of the world”, there is nothing grand or striking about Deer Park in which this imposing tomb stands to consider it a garden of worldly beauty – in fact, it isn’t even a garden, the unruly tracts of vegetation, the massive trees with their twisted branches and gnarled trunks, the all-invading thorny shrubbery and the dense foliage give it the appearance of a forest. The only exception to this pervading sense of being in a small forest is brought about by the presence of jogging tracks and physical training equipments thrown in at intervals with boards and signages explaining to the visitors the purpose and guide to the equipment – in that sense, it is indeed the garden of the world, striving to keep people healthy so they remain in this mortal world a bit longer!

Masculine and towering

The number of visitors that this magnificent tomb attracts would put many of the more famous monuments in the city to shame, but the latter can keep heart as most of these visitors are either couples who are looking for a quiet spot for a quick make out or vandals on a lookout for space where they can carve their names and love letters – the massive entrances set within three of the four walls of the tomb (the fourth acts as mihrab – the wall that indicates the direction of Mecca and is faced by Muslims while offering prayers) are barred with grilles to keep both categories of people out. Of course it escapes the attention of civic authorities that the grilles would also prohibit the entry of monument lovers and heritage enthusiasts.

The largest of the three tombs in Deer Park (the other two are Tohfewala Gumbad and Kali Gumti), the structure is built with locally quarried stone – the red and grey stone blocks are fitted together to create a striking patchwork that further plays with sunlight to present a picture filled with brilliance and glimmer bouncing off each of the fragments. Externally, the single chamber gives a semblance of being divided into floors through the use of arched niches set on three levels – only the niches on the ground level and adjacent to the entrance act as windows, the rest are filled in with the same dressed stone that faces the rest of the structure – the niches are deep-set and couples were engaged in various physical activities in many of them (of course I do not mind, nor should you, reader!).

A beauty, overshadowed

The entrances are trabeated (stone blocks of gradually increasing sizes kept on top of smaller blocks so as to span a distance and give the appearance of a rudimentary arch). Arched windows exist above the entrances and these display remnants of vivid blue tiles which were used to break the monotony of the grey and red stonework but in my opinion fail to do the job, especially on a scorching summer afternoon. Both the entrance and the window are set within a larger arched niche which is further housed in a rectangular frame projecting outwards through the wall face. The roof and the drum (base) of the hemispherical dome are decorated with a line of kanguras (battlement-like ornamentation).

I had the pleasure of encountering two guys sitting on the staircase leading to one of the entrances and trying to light up a marijuana joint but failing repeatedly – they definitely were not engineers; engineers know how to light joints (as I demonstrated to them a few minutes later). The reason for recounting this is to point out that engineers don’t frequent the park (owing, perhaps, to the lack of girl friends that most of them face!?) but the park has become the haunt of marijuana/alcohol consumers. Peering in through the grilles, one can make out the design of the simplistic mihrab within as well as the intricate patterns in blue, red and white incised plasterwork that adorn the dome interiors – a huge central medallion depicts beautifully-executed floral patterns set within concentric circles of calligraphy and geometrical motifs. The medallion is further enclosed within two concentric stars done with bands of red paint – each vertex of the star is bound on both sides by vertices of the other star and a small teardrop shape medallion graces each of the vertices.

Dome interiors: Plasterwork details

The teardrop medallions also follow the scheme of the larger medallion – floral designs set within a band of calligraphy and geometrical motifs. The designs invoke a sense of awe at the brilliance of the artists who worked on these patterns and crafted them with unmatched grace and precision. The mihrab bears an inscription referring to the construction of the tomb – it was commissioned by one Abu Saiyyid in AD 1501 to house the mortal remains of a mendicant Sheikh Shihab-ud-din Taj Khan. Sultan Sikandar Lodi reigned over Delhi at that time and his rule saw many mendicants and saints arriving from Afghanistan, Persia and beyond settling in Delhi. Imam Zamin, who is buried in the World Heritage Site of Qutb Complex, also arrived in Sikandar Lodi’s reign (refer Pixelated Memories - Imam Zamin's Tomb).

A colorful teardrop

Adjacent to the tomb is an exquisite Qibla (wall mosque) with a large courtyard meant to seat the devotees bound to it. The Qibla has five arched niches set within larger rectangular indentations – the central of these niches is the largest both in terms of height and width. The wall extends and folds along the edges so that an additional niche also flanks the two sides of the courtyard adjacent to the Qibla. The entire length of the wall is topped by pretty neat leaf-motifs; smaller niches line the wall and would have perhaps once also provided holds for keeping small lamps; two neat rows of graves line the prayer space; light and shadows playfully create patterns along the courtyard. The wall shows signs of cracks and in many places the plaster has flake off to reveal the underlying layers of rubble – still it’s in pretty good condition if compared to the other two tombs in the park.

Prayers, graves and desolation

The central niche is flanked towards its back by turrets that convey masculinity despite their slenderness; towers exist at both ends of the Qibla wall. The towers are octagonal and thick but not solid – there are arched entrances built right through them. It is from behind the wall that one notices that these structures have largely been consigned to vegetation – foliage reaches right upto the Qibla, trees overshadow the tombs and in many instances the branches simply droop over the structures.

It is actually a pity that such splendid structures are hidden from general public and allowed to become the haunts of vandals and anti-social elements; had these been located elsewhere in the kind of garden settings that these were envisaged with, they would have been the treat of the place and a joy to behold.

Tower view

Even today the structures would prove to be magnetic towards visitors, but if only the park is well maintained and the portions of it that have become overly vegetated cropped and landscaped along with the provision of visitor facilities like clean drinking water and toilets – though there are water taps located right next to the park entrance, either they weren’t working or looking at their condition one began to suspect if they are hygienic and the water served clean. There are no toilets even in the famous Hauz Khas complex adjacent to the park, so fat chance of the introduction of such facilities here. As I said, it’s a pity, except that the pity doesn’t come from the authorities who have convinced themselves that only a handful of monuments in the city deserve their attention and conservation efforts and have turned a blind eye to the rest. Makes you think that the Ministry of Culture and Tourism is actually a farce – all they are concerned with is the tourist flow and would actually restore only those monuments, organize such concerts and events where tourist footfall is expected and conveniently forget the rest.

Forgotten - Mihrab within the tomb

Location: Deer Park
Nearest Metro Station: Hauz Khas
How to reach: One can walk from the metro station; availing a autorickshaw is advisable since the distance between the two is roughly 2 kilometers.
Entrance fees: Nil
Photography/Video charges: Nil
Time required for sightseeing: 20 min
Relevant Links -

1. Pixelated Memories - Imam Zamin's Tomb
2. Pixelated Memories - Kali Gumti, Deer Park

Kali Gumti, Deer Park, New Delhi

Diminutive & weather-beaten, Kali Gumti is an orphan – no one knows when this thick-walled structure was built or what purpose it served – its origins are unclear, but so is its present – it stands vulnerable to vandals & its walls bear testimony to the uncouth city youth who left it disfigured with their graffiti & multi-colored sketch messages. Literally “small black-domed building”, the Gumti is probably referred as such because of its dark dome – a result of the microbial growth on the plaster layer coated with organic mortar (cow dung, fenugreek, yoghurt, lentils) – a traditional method that allow air exposure to the mortar in order to prolong building life against natural elements.

Flanked on one side by a children’s park & on another by a qibla (wall indicating the direction of Mecca, faced by Muslims when offering Namaz) that almost hugs it, the structure sits snugly atop a low, but large, plinth. The building is pierced by arched entrances on all sides except the western which serves as a mihrab (same as qibla, except that it has a roof over it) – it has been claimed that the structure served as a tomb, however there is no trace of a grave within, nor any signs of ornamentation (except for double arched niches along the mihrab & the corners) or inscription.

A little Gumti hidden in a forest

Most of the plaster coating the interiors is long gone & the walls are stripped to the rubble underneath; even the dome is threadbare with its bricks peeping out all over. On the outside, the roof of the Gumti & the top of the qibla are adorned with a line of kanguras (battlement-like ornamentation) – the overall look is sparse, militaristic – thereby conferring a 14th-15th century time frame for the Gumti’s construction (Saiyyid era (1414-51 AD)/Lodi reign(1451-1526 AD)). On the outside, the whole structure is plain except for a slight rectangular embossment around the entrances & scribbles that are just slightly older than this post. Similar embossment exists around the central (larger) niche of the qibla – the side niches are embedded within rectangles embedded in the wall. Towards its back, the qibla boasts of a tapering turret along each of its corners & another two flanking the central niche. Given its appearance, one can certainly imagine the Gumti being used as a fodder store – a fate it was subjected to till some years back when the Government finally woke up to its plight & had it cleaned up!!

Given the thick vegetation & the ground size that make Deer Park a delight for joggers & nature enthusiasts, it is no wonder that the few guards entrusted with safeguarding the monuments within the park grounds have an unenviable job – several spots within the park would have resembled forest lands were it not for un/paved paths weaving in & out of them – it is difficult to keep an eye on so many visitors entering from different gateways, many of them with the sole objective to color the monuments with their love letters, tirades & messages. I had a run in with a couple of guys writing a letter with sketch pens on the walls of the Gumti - the idiots did not even bother when informed that this is a State monument & they can’t spoil it.

Weather-beaten yet strong 

Colorful swings painted brilliant violet & vibrant orange keep the Gumti company; the place resonates with the cheerful shouts of children & the buzz of insects - the colors & merriment further add a sharp twang of contrast to this melancholy, silent corner. Visitors might shun it on account of its bone-bare condition, but the Gumti’s raw beauty lies in its rough, exposed walls, flaking plaster & the lack of any adornments. Ensconced within its close-set canopy of comforting foliage & strong trees, the Gumti espouses a tender relationship with this wilderness of whose part it has so intimately become – in fact, it is difficult to contemplate this little structure’s existence in a surrounding other than this mass of gnarled branches & tangled vines that is Deer Park.

Another piece of Delhi's history off my list; about a thousand more to go!!

Location: Deer Park
Nearest Metro Station: Hauz Khas
How to reach: One can walk from the metro station; availing a autorickshaw is advisable since the distance between the two is roughly 2 kilometers.
Entrance fees: Nil
Photography/Video charges: Nil
Time required for sightseeing: 20 min

Thanewala Gumbad, New Delhi

While reading about Delhi’s monuments & heritage structures, I often come across details about structures taken over by the city’s population, often demolished, at times occupied in its original state & at times renovated & turned into living quarters/shops/hospitals by changing the way the structure looked. The Red Fort was occupied by the British Army after the 1857 Sepoy Mutiny/War of Independence & several structures within the complex were razed to ground to make way for their barracks. But that was in 1857, & except for the Red Fort (refer Pixelated Memories - Red Fort), I myself never saw any structure razed/renovated. Until a few days ago that is. Some days ago, I visited the Thanewala Gumbad in South Delhi. The condition of the structure made me realize that this is what happens when the ever progressive tide of urbanization comes face to face with a structure struck somewhere in the medieval ages.

Thanewala Gumbad - First impressions

Taken over on all sides by residential areas & shops, the structure lies surrounded by the spirit of commercialization in the middle of Shahpur Jat. A suburban village, Shahpur Jat, has suddenly found its way into the books of city’s nouveau rich – once a village home to Jats (an ethnic group more common to nearby Haryana), today the new lifestyle hub boasts of designer boutiques & shops selling everything from expensive collectibles, clothes, & furniture. & of course, there was also a Bikanerwala close to the gumbad (I have observed that you can find a Bikanerwala in almost every neighborhood in Delhi. They specialize mostly in sweets, but you can gobble up their pakoras (deep-fried bread filled with potatoes & cottage cheese, coated in a layer of corn flour & again deep fried) with a bottle of coke if you feel hungry after running around the numerous heritage structures that Delhi boasts of. The food is hygienic too!!). The Thanewala Gumbad today survives in the form of a large, domed chamber with its back against the shorter side of the large rectangular courtyard that encloses it.

"Aerial View"

The walls of the gumbad slightly slope towards the outside & are exceedingly unadorned. Nobody knows who built the structure, though it is accepted that the architecture is reminiscent of construction undertaken during the reign of the Khilji Dynasty (ruled 1290-1320 AD). The gumbad lacks ornamentation of any sort, a characteristic of Khilji & later Tughlaq-era buildings – both its interiors & exteriors are thread bare & the only concession to its simplicity are niches that line the bottom of the dome on the inside & the recessed, arched corners. Outside, the dome rests on an octagonal base (drum) decorated with a line of kanguras (battlement-like ornamentation work). The mihrab (the wall inside a mosque indicating the direction of Mecca, faced by Muslims while praying) is very simple, consisting of three arched recesses, the central one slightly larger than the ones flanking it.

Too simple!!

The side opposite the mihrab has three arched entrances, while the other two sides have two small arched entrances each & a blocked arched recess in the place of the central entrance. A small arched window is provided high in the centre of each side to let in sunlight. The courtyard also bears indications that there were several other structures within the complex. Only the foundations remain of what must once have been pillars on either side of the existing domed chamber, indicating the presence of cloisters. It is now accepted that the gumbad was once a mosque. A gumbad is basically a tall, domed chamber with solid walls. Cloistered chambers on either side of the said “gumbad” would fit very well with the mosque theory. Also there is no grave inside the chamber which is further proof that this is not a tomb (as most gumbads are). I don’t understand why isn’t it referred to as a mosque instead of a gumbad if that might be the case. Perhaps some later historian bungled up when compiling a list of structures in Delhi.

Cloister remains to the left of the central chamber

The courtyard also shows signs of arched recesses along one of the longer sides. Perhaps these alcoves were used for lightning earthen lamps, though these appear pretty large. I am tempted to believe that these were part of rooms for the priests of the mosque, or perhaps there once existed a small Islamic seminary. If that would have been the case, the mosque might have been very similar to the Khair-ul-Manazil Mosque in another part of Delhi, but in a similar run-down condition (refer Pixelated Memories - Khair-ul-Manazil Mosque). The courtyard itself was filled with all sorts of rubbish & even construction material the day I visited the gumbad/mosque. A large family picnicked in the courtyard, complete with food & even a hookah!! A washer man dried clothes nearby. Thorny bushes grew around garbage heaps. More than the interior, it is the exterior of the enclosing walls that is in dire need of protection. Along the shorter sides of the courtyard ran parallel streets. A small slum house made with bricks & corrugated iron sheets (next to the main road flanking the gumbad towards its back) used the wall as one of its sides. Towards one of the larger sides, an alley lead to a cluster of houses & showrooms. It was one of these houses that I climbed on to get an “aerial” view of the gumbad/mosque & its surroundings. The walls of these houses maintained their distance from the gumbad’s enclosure, though it seemed almost hopeless, given that Shahpur Jat is a hotchpotch of buildings jutting out of nowhere & giving way only to narrow streets & almost none vegetation. Not wishing to spare any space available in this urban jungle, a buzzing generator set sat next to the courtyard wall in this alley.

Eating into the structure - A shanty & a row of houses alongside the boundary wall

Buildings on the other side were even worse, literally fusing together with the enclosure walls. One had to walk past those buildings into a side street (this one has the Bikanerwala!!) & then make a detour to reach the entrance of the gumbad/mosque. It is a pretty precarious situation that the gumbad/mosque finds itself in, surrounded by all these houses & shops, whatever happened to the Monument Notification Act (1958) that bans construction within 100 metres of a protected monument?? Perhaps the gumbad/mosque isn’t a protected monument, I did not see the characteristic blue board that Archaeological Survey of India (A.S.I.) places near protected monuments. The only worthwhile thing here was that more than encroachments, the place was taken over by kids running around, playing tag here. Many of them clambered around me in a bid to get photographed along with the ruins. They jumped within the gumbad & around it too, unmindful of the pillar stubs sticking out in an ordered progression. The huge chamber boomed with their laughter & echoed back their shouts.

These cloisters exist on the right side of the structure. Visible in the background are the remains of Siri Fort wall

I would rather suggest that this surrounding courtyard be converted to a small park, similar to the park across the parking lot across the road that boasts of bastions & walls of the Siri Fort (another fortress city within Delhi, subject of another post). A gardener could be assigned here, at least this way the place would not give way to encroachments & hawkers, & even the kids would find a new spot within the congested city to run around. But then, is anyone listening??

Location: Shahpur Jat village
Open: All days, Sunrise to Sunset
Nearest Metro Station: Green Park Station
How to Reach: From Green Park Metro Station, take a bus for Shahpur Jat village. Opposite the bus stop is a large park, beyond which lies a parking lot. Walk through the park & the parking lot & you will spot the dome of Thanewala Gumbad rising in the midst of shops. Navigate to find the entrance.
Entrance Fee: Nil
Photography/Video charges: Nil
Time required for sightseeing: About 30 min
Relevant Links -

1. Pixelated Memories - Khair-ul-Manazil Mosque
2. Pixelated Memories - Red Fort

Azim Khan's Tomb, New Delhi

Though no one is exactly sure who Azim Khan was, most historians conjecture that he was a general in the army of Mughal emperor Akbar (ruled AD 1556-1605). Historical accounts state that when Akbar’s valiant generals were leading his mighty armies to annex small kingdoms along the fringes of the great Mughal empire in order to further his expansionist policies, his foster brother & powerful general Adham Khan was busy satiating his own blood lust & carnal desires - he would enslave the women in the lands he captured for the Emperor & add them to his harem. His terrifying reputation preceded him - women in the conquered kingdoms preferred to commit suicide rather than face him. The kingdom of Malwa (Central India) had gained independence during the reign of Akbar's father, Emperor Humayun (ruled AD 1530-40 & 55-56). In 1561 AD, Akbar decided Malwa had enjoyed sovereignty for too long & decided to subdue it. He sent a large army led jointly by Adham Khan & General Pir Muhammad - Adham Khan invaded the kingdom under Akbar's banner but sullied the victory by refusing to send the spoils of the war to the emperor. He fell in love with Queen Roopmati, the wife of Baz Bahadur (literally “Brave Hawk”), the defeated king of Malwa. Baz Bahadur was defeated & fled the battle scene, but before Adham Khan could touch the queen, she committed suicide by jumping into a pyre (“Jauhar”). Adham Khan, in all his fury & in mood for vengeance, unleashed a pogrom - the historian Badauni who had accompanied the army to Malwa noted that the undisciplined soldiers displayed ruthlessness of an extreme order by killing captive enemy soldiers along with their wives & children - not even the Saiyyids (claiming descent from Prophet Muhammad) who had welcomed the Muslim armies were spared but burnt alive along with their holy books. Enraged, emperor Akbar himself decided to proceed to Malwa to subdue Adham Khan. This is where the lines between history & conjecture begin to blur - belief is that the emperor's massive force was led by none other than Azim Khan, the protagonist of our story. Adham was defeated, his powers curtailed for a period of time & he was ordered not to lead any military campaigns in the near future. However, strangely, most historical records & contemporary accounts are silent about the valour & the feats of Azim Khan. Following the victory, Azim was crowned with the title of “Akbar” (meaning magnificent) & rewarded by the emperor. Interestingly enough, Azim also means “the magnificent one”, & I am not sure how he prefixed his name with this new title. “The magnificent among magnificent, most magnificent one”??

The Tomb of the "Most Magnificent One"

It is said that the Sufi Saint Salim Chishti met Emperor Akbar at a hill in the city of Agra & told him that if he prayed with true faith, the saint himself would come & stand next to him to ask God to grant the Emperor's wishes. Akbar's wives were finding it difficult to conceive & when a son was born to him, he considered it a blessing by the saint & named his newborn Salim after him. Touched by the saint’s religious tolerance & policy of benevolence, the emperor went on to build the former's tomb (Fatehpur Sikri) near his newly envisaged capital at Agra. After Akbar’s death, Azim was retained as a nobleman in Akbar’s son & the new Emperor Jahangir Salim’s court. Azim became a follower of Hazrat Nizamuddin who he said appeared in his dreams & urged him to give up his life of war & violence. Hazrat Nizamuddin resided in Delhi in early 14th century & belonged to the Chishtiyya order of Sufism (to which also belonged saint Salim Chishti). Following Nizamuddin's teachings, Azim started on the path of broad-minded religiosity & forbearance, giving up his earlier life as a soldier & starting in the direction of spirituality as a mendicant. After a course of some years, Azim came to be known far & wide for his penances & people started to revere him & came to him to ask for guidance as well as solutions to their problems. To prevent people from flocking to him & disturbing his peace of mind, somewhere in early 17th century Azim decided to build a residence-cum-tomb for himself atop a summit of a hill surrounded by pointed rocks & barren land. His decision to reside on the chosen hill was guided by the fact that it was accessible only to a select few because of its height & almost unscalable vertical walls, & also because it reminded him of the story of Akbar meeting Salim Chishti atop a similarly unscalable hill (the lore doesn't tell us how did Azim, Akbar & the Sufi used to climb these hills in the first place if they were so high & dangerous).

History's Mysteries - Shrine of a General??

Centuries later, when Britain converted India into one of her colonies & let its men amok on the face of the country, the British soldiers converted this tomb into a hill-top resort meant for late night partying. They would come here in groups, often with mistresses, bring along booze & servants, & make merry. Most of these parties were held at the end of the winters, before the Brits departed from Delhi to their summer capital in nearby hill city of Shimla. They took pride in displaying their climbing & physical skills to their friends & considered scaling the hill’s sheer walls a mark of their strength & manhood.

After the British departed from the country, along came the Archaeological Survey of India (A.S.I.), the agency entrusted with the upkeep, protection & beautification of monuments within the country, who after initially ignoring the tomb for decades, recently decided to build a staircase leading up the hill to reach the tomb. The staircase is complete now, its wide steps have been set so as to match with the surrounding hill sides & present a picture of harmony. But still the tomb lies deserted, ignored by passer-bys as well as tourists arriving at the nearby World Heritage Site of Qutb Complex. Perhaps people still find the steep climb daunting. Whatever might be the reason, Azim Khan’s Tomb would have made even Count Dracula envious were he to visit Delhi. The Count’s fortress in Transylvania, covered by a thick pal of fog & chill, invites no visitor. Azim’s Tomb on the other hand lies unvisited despite being in open view & visible from a very busy highway on one side (the Mehrauli-Gurgaon Road).

Inside Azim's Tomb - Too meager for Dracula??

The square tomb is pierced by entrances along its three sides, however these entrances lie perennially locked by grilles in a bid to keep out vandals/scribblers who are so numerous throughout the city. The dome, topped by an inverted-lotus finial, rests on an octagonal base (drum). The tomb walls, as well as the drum, feature kanguras – ornamentations that resemble battlements, protruding vertically. Squirrels run around the tomb, feeding at rice & nuts left for them by the caretakers/locals. An earthen bowl filled with water was kept nearby. Wild yet beautiful flowers grew on the hill side, often in tandem with thorny bushes & desert plants that inhabit such rocky & barren lands. When I visited the structure, I found the caretaker assigned by the A.S.I. asleep on one of the benches placed there for the tourists. Were he awake too, he wouldn’t have been able to open the tomb for me since A.S.I. sealed off the iron-grilles barring its entrances with nuts & bolts - perhaps they felt that locks can be easily broken into. Clever chaps!! The tomb, plastered & cream-ish in colour, is now blackened because of the rains & vegetation, despite being restored just some time back by the A.S.I. The fear of the precipice surrounding the tomb ensures that not many people wander off to its rear sides, I did, & what I saw again put to shame the deeds of fellow Delhites. The walls of the tomb were defaced with graffiti & the love letters that wandering Romeos saw fit to emblazon here. I must have been there for only about 30 minutes, taking in the charm of the place, adoring the sights visible in the distance - the Qutb Minar, the tomb of Adham Khan, Mahavira statue atop Ahinsa Sthal etc, when there arrived a group of college kids with a bottle of alcohol & disposable glasses, & no marks for guessing where they decided to hang out – at the rear of the tomb!!

I feel sorry for Kishor, a worthless bastard!!

The fourth wall of the tomb, the one overseeing the most dizzying cliff-face, does not have an opening & instead its interior functions as a mihrab (wall faced by Muslims while praying, indicating the direction of Mecca). Inside, beautiful patterns cover the ornamental arches, the dome rests on a layer of small, arched alcoves meant for decoration. While there is no sarcophagus inside the tomb, two graves lie outside - the larger of these two has calligraphic inscriptions along its sides - both of them however are in a run-down condition, broken, crumbling & exposed to the fury of nature. It has been claimed that the grave inside is buried deep within the hill right underneath the chamber, though this also remains mere speculation. Strategically placed stone benches flank the graves outside.

Look what I found!!

Even today, a lot of monuments that aren’t so well known, or are not deemed that high in terms of heritage &/or architectural value, are looked after by families & caretakers who live nearby (not on Govt.’s payroll). These people either consider themselves the blood family of the occupant/builder of these tombs/structures, or are religious followers & part-time priests. In the absence of Govt. funds & upkeep, these people often protect these structures from hoodlums & demolition. One such family looked after the tomb of Azim Khan but they were forced to migrate to Pakistan at the time of India’s independence from British rule in 1947 & subsequent partition to create Muslim-dominated Pakistan & Bangladesh. Gone with them are all the records & the history of the inhabitant of the tomb, & no one is left to care for it & defend it from inebriated fellas & rowdy vandals. Perhaps they could have shed some light on the mysterious occupants & their lives. The tomb should have qualified as a religious spot since Azim too became a man of God later in his life, but even that is contested since the officials have not yet been able to ascertain if it is actually the tomb of Azim Khan or someone else. Perhaps it never will be found out for sure. No documentation exists for the tomb, & all the stories are actually passed down from elders to the subsequent generations in the nearby villages, & of course distortions & fantasies encapsulate the kernel of truth that these stories possess. Such is the sad state of affairs that so many heritage structures & buildings find themselves in the national capital!!

PS: If time permits, do visit the nearby Ahinsa Sthal ("Abode of Non-Violence", refer Pixelated Memories - Ahinsa Sthal). The view of Azim Khan's Tomb from the heights of Ahinsa Sthal is simply breathtaking.

The view from Ahinsa Sthal

Location: Lado Serai, Mehrauli
Open: All days, Sunrise to Sunset
Nearest Metro Station: Saket
How to Reach: After getting down at Saket Station, one can walk to Lado Serai Bus Stop. Buses are available from different parts of the city for Mehrauli & one can alight from the bus at Lado Serai stop itself. The Lado Serai stop is situated at a crossroad & Azim Khan’s Tomb is visible behind the trees & the traffic.
Entrance Fee: Nil
Photography/Video charges: Nil
Time required for sightseeing: About 30 min
Relevant Links -

1. Pixelated Memories - Ahinsa Sthal
2. Pixelated Memories - Qutb Complex
3. Pixelated Memories - Qutb Minar

Suggested Reading - 

1. Hindu.com - Article "Renovation of mystery tomb" (dated Jun 07, 2010) by R.V. Smith
2. Timesofindia.indiatimes.com - Article "Passage to past: ASI builds pathway to Mughal-era tomb" (dated May 31, 2010) by Richi Verma
3. Traveltravailsandheck.blogspot.in - the road above my street pt 38

Re-edit - Jan 15, 2014

Mihrab Screens, Quwwat-ul-Islam Mosque, New Delhi

Hinduism & Islam are two very different religions – different in almost every aspect, from their customs & religions, to their belief systems & lifestyles, as well as architecture & construction. When it comes to construction, Islam is a comparatively much simpler religion, the mosque & the towers being relatively simple structures with ornamentation consisting of geometrical patterns, designs & Quranic inscriptions. Hinduism, on the other hand, is known far & wide for its varied forms of architecture, the better-than-life representations of humans, flowers, animals & deities. Abounding with more than 330 million Gods & Goddesses within the Indian subcontinent only, along with its plethora of life-form depictions, Hindu artists of India & South-East Asia at large have excelled at creating stone masterpieces with their blade & chisel, their art & craft continuing in the same form over millennia – one looks at the erotic sculptures of Khajurao (Madhya Pradesh) & the modern representations of God in Akshardham (New Delhi, refer Pixelated Memories - Akshardham Temple Complex), & is forced to wonder at their uniqueness. It is no wonder that when the adventurous forces of Islam led by Muizuddin ibn Sam aka Muhammad of Ghur (Afghanistan) first swept into the Indian subcontinent to face the mighty Hindu army led by the Rajput Prithviraj Chauhan, it was a battle between unequals. Prithviraj’s army was routed, & within a short span of time, these Muslim invaders settled in India & the relative periods of peace-time saw them shifting their attention from wars & defences to the culture & traditions that existed within the country. The new rulers of Delhi Sultanate took to wanton destruction of the Indian sculptures & temples, irrespective of the faith they represented (Hindu, Buddhist, or Jain), often replacing the said temples with mosques, & many a times utilizing the debris & construction material from the felled temple for construction of new structures. Hindu artists & craftsmen were forced to work at these new buildings, & were required to construct these structures while keeping Islamic tenets of art & architecture in mind. The artists, who were used to constructing only pyramidal temples & palaces till now were asked to build mosques, minarets & domed chambers. Often the artists, facing unforeseen situations & demands from their new masters, innovated with the material at hand, creating new architectural forms. The Islamic architecture too underwent a gradual change, thus the Sultans started burying their dead in large, fancy tombs & inlaying their forts & tombs with precious gems & stones, a practice almost unseen in the Islamic world, except perhaps in Egypt. Since Islam forbids the representation of any kind of life form, initially the Muslim rulers & commanders decreed the destruction of Indian sculptures & representations, but over time the Indian style of adding floral motifs & medallions & imbibing creeper-like curved line forms in their buildings started making an appearance in Muslim buildings too. A new fusion art was created by merging several key features of both these forms, stunning enough to awe the spectators, & unique enough to allow classification. This sea change in both these religion’s architectural practises is glaringly visible in Qutb Complex, New Delhi. While we have a huge Quwwat-ul-Islam mosque moulded out of the remains of 27 Hindu & Jain temples that were destroyed by Qutbuddin Aibak, the slave & commander of Muizuddin ibn Sam, we also have the mighty Qutb Minar where calligraphy bands of Quranic inscriptions are bordered by magnificent floral bands (Links at the end of the post).

The arched screens of the Qutb/Qutub Mosque (Photo courtesy - Wikipedia.org)

But nowhere is this gradual Islamisation of Indian art, or rather Indianisation of Islamic patterns & designs, more visible than in the screens of the Quwwat mosque that Qutbuddin constructed in AD 1199. The screens are actually large arches that form one of the smaller sides of the rectangular courtyard of the mosque. While Qutbuddin only constructed three arches as part of his original plan for the mosque, today we see remains of several more arches. These were added later by Shamshuddin Iltutmish (1211-36 AD) & Alauddin Khilji (1296-1316 AD), later Sultans of Delhi who extended the Quwwat mosque & added several new features in order to show their gratitude to the Almighty.

The screens were fashioned after the “Maqsara” (Screen in front of the Prophet’s Mosque in Medina) & used to function as the Quwwat mosque’s mihrab (wall indicating the direction of Mecca, faced by Muslims when offering prayers). The central arch constructed by Qutbuddin measured 16 metre high & 6.7 metre wide. The other two arches added by Qutbuddin on either side of the central arch were significantly smaller, but similar in design. The screens are carved with borders of Quranic inscriptions & geometrical designs. However since they were carved by Hindu artisans, who excelled in the depiction of life forms, one notices an abundance of floral designs along the length of the screen. The Hindu artists left the mark of their religion on these Islamic screens in the form of calligraphic strokes woven in stone that end in beautiful petals & tendril bursts. Moreover the Hindu craftsmen had never before seen or used arches in their construction practices, as the Hindu architecture is trabeate in nature & makes use of stone beams & panels to join two separate points/pillars instead of arches. Now forced to visualize in stone their master’s demands, the intelligent craftsmen that they were, the Hindu workers came up with a new architectural form employing corbelled arches – stones place atop each other to form a door-like structure, the inner sides of which were then rounded off to give an arch-like appearance. The innovative craftsmen were able to fool around their masters by adding a few triangular stone pieces at the apex of the arch to give it the appearance of a true arch!! The Quranic inscriptions that fill these screens, surrounded by panels of floral designs, seem not to be the work of mere humans. Notes Hasan Nizami, the chronicler of Qutbuddin, in his book Taj-ul-Maasir “..upon the surface of the stones were engraved verses of the Quran in such a manner as could be done on wax..”

Notice how the calligraphic strokes culminate into floral bursts

By the time Iltutmish ascended the throne of Delhi after murdering Aram Shah, Qutbuddin’s son & successor, the Muslims had imported some of their architectural knowledge to India & taught the same to the Hindu artists. Thus we see the use of fairly complex calligraphy characters & advanced Islamic designs in Iltutmish’s screens. These were however similar in overall form & design to Qutbuddin’s arches. Both Qutbuddin & Iltutmish were fairly dependent on construction material pilfered from existing temples within the country, but decided to build these arches with material fresh from quarry & carved according to their own specifications. This is in contrast with the overall structure of the Quwwat mosque & the extensions made by Iltutmish, which both are constructed from material obtained after destroying Hindu-Jain temples. The arches built by Alauddin did not survive the test of time & have been lost to nature.

The mosque & its screen arches display a fusion of Hindu & Islamic art forms unlike any other in the world. & the intricate designs, in all their majesty, glistening in the morning sun, outrival all other structures built even with modern technological aids. A marvel, simply worth observing from up close!!

Location : Qutb Complex, Mehrauli, New Delhi
Open : Sunrise to Sunset
Entrance fee : Indians - Rs 10, Foreigners - Rs 250 (Free for children upto 15 years of age).
Photography charges : Nil
Video charges : Rs 25
Nearest Metro Station : Saket Metro Station & Qutb Minar Station are equidistant.
How to reach : Taxis, buses & autos can be availed from different parts of the city. The structures are quite a walk from the metro stations & one will have to take bus/auto from there on.
Time required for sightseeing : 30 min
Facilities available : Wheelchair access, Audio guides.
Relevant Links - 

1. Pixelated Memories - Akshardham Temple Complex
2. Pixelated Memories - Qutb Complex
3. Pixelated Memories - Qutb Minar
4. Pixelated Memories - Quwwat-ul-Islam Mosque

Imam Zamin's Tomb, New Delhi

In about 1500 AD, during the reign of Sultan Sikandar Lodi (1489-1517 AD), a saint known as Muhammad Ali arrived from Turkestan & began living in Delhi. He came to be called as Imam Zamin (“Imam” literally translates to Islamic priest, perhaps the saint also occupied some position in the adjoining Quwwat-ul-Islam mosque, refer Pixelated Memories - Quwwat-ul-Islam Mosque) & accumulated enough wealth to build himself a small tomb in a corner of the magnificent Qutb Complex (a UNESCO World Heritage Site). It is not clear why he was christened with this new name.

Zamin's Tomb

Standing next to the more famous Alai Darwaza, the tomb is a small square structure built in Delhi’s Lodi-style of architecture. It is surmounted by a sandstone dome that stands on two rows of kanguras (battlement like ornamentation on structures, supposed to look militaristic but is actually not). Twelve square pillars support the entire structure & the space between them is filled with intricate jalis (stone lattice work). 

Crafted for perfection

The tomb, built with white marble & red sandstone with its assortment of jalis houses not only the sarcophagus of the saint, but also a small mihrab (wall indicating the direction of Mecca, faced by Muslims when saying Namaz) for offering prayers. Elaborately carved in marble, the mihrab is a piece of art & contrasts with the brilliant orange roof of the tomb. 

Little wonder!!

Other adornments include floral medallions & stunning calligraphy at the door of the tomb, & the tomb also features small chajjas (roof projections to protect the person standing underneath from direct rain & harsh sunlight – an ingenious Indian architectural innovation). 

Mihrab secrets

The saint saw Delhi pass from the hands of the Lodi Dynasty to the Mughals under Babur, & when he died in 1539 AD Babur’s son Humayun was on throne & building his new capital. Zamin was buried in his tomb, which was simple elegance personified. 

The unique "ribbed" dome-roof of the tomb

Location : Qutb Complex, Mehrauli, New Delhi
Open : Sunrise to Sunset
Entrance fee : Indians - Rs 10, Foreigners - Rs 250
Photography charges : Nil
Video charges : Rs 25
Nearest Metro Station : Saket Metro Station & Qutb Minar Station are equidistant.
How to reach : Taxis, buses & autos can be availed from different parts of the city. The structures are quite a walk from the metro stations & one will have to take bus/auto from there on.
Time required for sightseeing : 30 min
Facilities available : Wheelchair access, Audio guides.
Relevant Links - 

1. Pixelated Memories - Alai Darwaza
2. Pixelated Memories - Qutb Complex
3. Pixelated Memories - Qutb Minar
4. Pixelated Memories - Quwwat-ul-Islam Mosque