Lodi-era Tomb, Lado Serai, Delhi

“We will be remembered only if we give to our younger generation a prosperous and safe India, resulting out of economic prosperity coupled with civilizational heritage.”

– APJ Abdul Kalam, former President

The gorgeously ornamented, perfectly proportioned and painstakingly restored Lodi-era (AD 1451-1517) mausoleum conspicuously located at Lado Serai where intersect the arterial Mehrauli-Badarpur and Mehrauli-Gurgaon highways had long evaded me, that is until I discovered it – or rather fellow writer Rangan Datta (blogs at rangandatta.wordpress.com), who accompanied me in this particular explorative sojourn to the ancient settlement at Mehrauli village, intuitively discovered it. In retrospection, it undoubtedly perplexes me that I had earlier embarrassingly failed to locate this tiny monument so prominently situated, and I can only ashamedly cite the overshadowing presence of massive ancient trees with huge gnarled branches and immeasurably dense foliage that shields the strikingly elegant edifice from the prickly prying eyes of the ceaseless riverine flow of heavy traffic and pedestrians along these immense multilane avenues.

Delhi's secret

Although exceedingly unremarkable in terms of architectural features and artistic adornments, especially vis-à-vis the grander, extravagantly adorned monuments that gracefully litter every single section of Delhi’s vast undulating landscape, the heartwarming little mausoleum does proudly display the telltale Lodi-era architectural accomplishments – dexterously conceived and executed plasterwork medallions, precisely delineated “Kangura” patterns (battlement-like leitmotif ornamentation), splendidly tapering slender decorative minarets, a remarkable emphasis on flawless symmetry and proportionality of spatial dimensions and, the most visually alluring of all, the employment of vibrant violet-blue glazed tiles handsomely contrasting against the overall weathered red-brown hue and the resilient coarseness of texture. Inside, the mihrab (western wall of a religious/funerary structure indicating the direction of Mecca, faced by the faithful while offering namaz prayers) is envisaged as a thoroughly-detailed kaleidoscopic pattern culminating into an alluring extravaganza of geometric and floral patterns, exquisite calligraphy and meticulously intricate circular medallions. The life history and administrative/regal station of the miniature mausoleum’s original occupant are not recorded in contemporary historical epitaphs and literary documents, however till very recently, the lovely edifice was horrifically utilized by avaricious, land-starved locals as a storehouse and a motor garage!

Kaleidoscopic!

Nearby, progressively collapsing to wretched obliteration is a derelict wall fragment adorned with ornamental kangura patterns and pointed-arch openings – perhaps a supplementary freestanding qibla (same as a mihrab) – it is worth pondering over that the Indian National Trust for Cultural Heritage (INTACH) and the Delhi Development Authority (DDA) who undertook the conservation-restoration of the diminutive mausoleum and horticulturally developed the grass-shrouded stretch of land around it into “Gumbad Park” to beautify it on the occasion of Commonwealth Games (CWG XIX 2010) skipped this crumbling wall fragment. Some aesthetic-minded inhabitants of this ancient city still romantically prefer derelict ruins over painstakingly restored monuments that would withstand the relentless ravages of the elements for several successive generations. A pity, ironically so considering that it lies in the immediate vicinity of the majestically soaring Qutb Minar, Delhi’s most well preserved and regularly monitored monument!

Colors and patterns

Location: Approximately 250 meters from Lado Serai intersection towards Badarpur (Coordinates: 28°31'24.2"N 77°11'31.8"E)
Nearest Metro station: Saket (approximately 1 kilometer away)
Nearest Bus stop: Lado Serai crossing
Nearest Railway station: Tughlaqabad
How to reach: All buses plying on Mehrauli-Badarpur and Mahipalpur-Gurgaon roads stop at Lado Serai crossing. Walk/avail a bus/auto from Saket or Qutb Minar metro stations.
Entrance fees: Nil
Photography/Video charges: Nil
Time required for sightseeing: 20 min
Other monuments/landmarks located in the immediate vicinity -

1. Pixelated Memories - Ahinsa Sthal
2. Pixelated Memories - Azim Khan's Tomb
3. Pixelated Memories - Dargah Dhaula Peer
4. Pixelated Memories - Mehrauli Archaeological Park
5. Pixelated Memories - Qila Rai Pithora
6. Pixelated Memories - Qutb Complex
7. Pixelated Memories - Tughlaqabad Fortress complex

Bannerghatta Zoological Park, Bangalore, Karnataka

“Our society was utterly, ruinously derivative (although the word derivative as a criticism is itself derivative). We were the first human beings who would never see anything for the first time. We stare at the wonders of the world dull-eyed, underwhelmed... I can’t recall a single amazing thing I have seen firsthand that I didn’t immediately reference to a movie or TV show. A fucking commercial. You know the awful singsong of the blasé: Seeeen it. I’ve literally seen it all... I don’t know that we are actually human at this point, those of us who are like most of us, who grew up with TV and movies and now the Internet...

It’s a very difficult era in which to be a person, just a real, actual person, instead of a collection of personality traits selected from an endless automat of characters... It had gotten to the point where it seems like nothing matters, because I’m not a real person and neither is anyone else.

I would have done anything to feel real again.”

– Gillian Flynn, “Gone Girl”

Chill out zone - Bannerghatta National Park

Established in the year 1971, Bannerghatta Biological Reserve and National Zoological Park is unarguably one of the most well-renowned weekend getaways from the endless landlocked cement-and-glass agglomeration that is Bangalore, the glorified IT hub of India shining. Located on the perennially overcrowded Bannerghatta Road past the glittering glimmering offices of IBM, Adobe and Oracle and the massive sprawling campus of IIM-Bangalore, the gargantuan national park is a beautiful landscaped home to several species of flora and fauna, especially an immense variety of turtle species of affably unique shell designs, textures and hues (some might however argue it's a merciless jail considering that most of the larger animals are restless submissive captives constrained within several layers of thick wire mesh enclosures). Seamlessly managed by the Zoo Authority of Karnataka (ZAK), the Department of Biotechnology (DBT) of the Government of India, the University of Agricultural Sciences (Bangalore), and the Ashoka Trust for Research in Ecology and Environment (ATREE), the colossal wildlife reserve is conspicuously partitioned into several divisions, including a wildlife safari park, a zoological reserve, aquariums and reptile and butterfly conservation enclosures – in fact, so enormous is the densely vegetated area contiguous with the 25,000 acre national park that it incredibly assimilates six villages in their entirety within its enclosing peripheries with another sixteen flanking it and naturally doubles up as an elephant corridor effortlessly connecting far-flung forestlands easily stretching several hundred kilometers!

Nowhere to run, nowhere to hide?

And while the wildlife safari turns the tables on the captive-captor relationship by entrusting enthusiastic visitors to the care of the confines of a well-barricaded jeep/bus while traversing the big-mammal territories of lions, tigers, deer, bears and elephants, the less talked about and considerably smaller (but nonetheless ceaselessly swarming with visitors) zoological park too is impeccably well-maintained and lets visitors observe and photograph several species of creepy crawly reptiles (fidgety Russel’s vipers, agitated monitor lizards (tasting the air with their long forked tongues), satiated boa constrictors (with huge lumps of deceased prey swallowed in its entirety showing through their thick scaled skins)), slothful amphibians (an endless array of multi-patterned turtles and scores of huge crocodiles stretched out lethargically basking in the afternoon sun), mammals (threatening tigers, obese hippopotamuses, bored leopards, confused elephants (inhumanely chained and thoughtlessly emotionally-brutalized by the endless swarms of boisterous visitors!), supplicating sloth bears (ferociously clawing the supple wire enclosures as if beseeching to be let out)) and birds (agile albino peacocks, vibrantly colorful parakeets, brilliant orange hornbills, and several species of ironically unwashed-looking waterbirds (fishing the murky waters for delectable prey and grub)).

Wonders of wonders

Interspersed by thick clusters of bamboo clumps, several of the animal enclosures are designed to exemplify animal conservation and well-being practices and spontaneously invoke the visual appearances of assiduously maintained near-natural habitats – densely vegetated stretches crisscrossed by numerous wide water channels for the monitor lizards, vast grassy knolls punctured by well-camouflaged caves for the leopards and deep, dark green water tanks continuously being bombarded by explosive waterfalls for the hippopotamuses. Permeating through the air is the all-pervading whiff of unevenly textured earth and dry grass and water runoff accumulating in the mud, altogether a pleasing fragrance endeavoring to draw one to the primeval simplicity interminably associated with Mother Earth and wildlife and a long forgotten pre-evolutionary past; unanticipated, it also does render one uncontrollably languid.

Sleepover party!

We foolishly did not opt for the more exotic safari managed by the Karnataka State Tourism Development Corporation (KSTDC) since there (arguably!) were other prior commitments to be kept. Some colleagues from IBM however who did afterwards go for it could not stop gushing and repeatedly referring to it as a fascinating experience – it unquestionably does present better photography and visual composition avenues vis-a-vis the zoo where the thickset wiremesh enclosures and the substantial distances maintained between human walkways and animal territories negate all attempts at clicking high clarity and resolution photographs rendering one wretchedly and inconsolably disappointed at one’s own failure and the zoo authorities’ unintentional duplicity. There comes a depressing moment when the animals do not even seem physically real creatures whose brethren are being murdered and natural habitats ruthlessly threatened by merciless and avaricious human interventions.

Too distant to be properly observed, admired and photographed!

Nonetheless, the ecologically-rich zoological park is not merely an excellent retreat from the everyday inconsequential monotony of city life, but also a highly educational, diversely landscaped site teeming with an outstanding assortment of flora and fauna, especially considering its close vicinity to a burgeoning cosmopolitan stretching through its geographical limits and avariciously envisioning to quickly incorporate within its own physical existence every single open space adjoining it and sacrifice the same at the malevolent altar of rootless urbanization and soul-corrupting commercialization till all that remains is a horrific mushrooming of glass-and-cement superstructures that are not merely overwhelmingly ecologically disastrous but also visual eyesores dominating the verdant landscape. If only Bannerghatta was properly maintained and considerate to the physical and emotional requirements of the animals whose humble cause it pontifically claims to espouse!

Basking in the glory

Open: 9 am – 5 pm, all days except Tuesdays
How to reach: Regular BMTC buses ply to the national park from Majestic (Kempegowda Bus stop, Bus no. 365), K.R. Market (Bus no. 366) and Shivajinagar (Bus no. 368).
Entrance fees: Indians and visitors from SAARC countries: Grand wildlife safari (inclusive of zoological park cost): Rs 260; Zoological park: Rs 80; Butterfly conservatory: Rs 30; Zoo museum: Rs 5
Children aged 6-12 years: Grand wildlife safari (inclusive of zoological park cost): Rs 130; Zoological park: Rs 40; Butterfly conservatory: Rs 20; Zoo museum: Rs 5
Senior citizens: Grand wildlife safari (inclusive of zoological park cost): Rs 150; Zoological park: Rs 50; Butterfly conservatory: Rs 20; Zoo museum: Rs 5
Visitors from non-SAARC countries: Adults: Rs 400, Children: Rs 300 (inclusive of wildlife safari, zoological park, butterfly conservatory and zoo museum)
Photography charges: Rs 25
Video charges: Rs 200
Facilities available: Hygienic toilets and drinking water kiosk facilities, audio guides, dedicated parking (charges applicable), shopping complexes, regular to-and-fro local bus service from the city, numerous eateries offering several fares including continental and south Indian, boating facilities (Rs 60/person for 30 minutes).
Relevant links -
Other monuments/landmarks located in Bangalore -

1. Pixelated Memories - Bangalore Fort
2. Pixelated Memories - Bangalore Palace
3. Pixelated Memories - Jama Masjid and Dargah Hazrat Bahadur Khan Shaheed
4. Pixelated Memories - Lal Bagh Botanical Gardens
5. Pixelated Memories - Panchalingeshwara Naganatheshwara Temple
6. Pixelated Memories - Sir Puttanachetty Town Hall
7. Pixelated Memories - Tipu Sultan's Palace and Kote Venkataramana Temple

Other national parks documented on this blog -

1. Pixelated Memories - Alipore Zoo, Calcutta
2. Pixelated Memories - National Zoological Park, Delhi

Suggested reading -

1. Bannerghattabiologicalpark.org (Official website of the national park)
2. Theeternaltruth.wordpress.com - Bannerghatta National Park, Bengaluru: Travel review
3. Wikipedia.org - Bannerghatta National Park

Nili/Neeli Masjid, Delhi

A year and a half ago, exploring on foot the lavishly affluent Hauz Khas village area, that has become symbolic of ultra-rich fashion and fine dining with its many lounge bars, designer showrooms and merchandise outlets and yet retains a hemmed in, “village-like” feel in part because of its secluded existence isolated from all the real villages that flank it on every side, was when I first came across the enchanting Nili/Neeli Masjid (“Blue Mosque”). Dead camera batteries bounced in the bag, nodding affirmation to the subdued magnificence and beckoning grandeur of the Hauz Khas ruin cluster (refer Pixelated Memories - Hauz Khas complex), leaving me with no option except making a mental note of the directions to access the beautiful mosque in order to return at a later date and photograph its humble glory.

The Blue Mosque - What's in a name?

But as time would have it, few months later I met with an accident in Calcutta that left me with 14 fractures, a shattered left arm and numerous other wounds – and where would my family take me for orthopaedic consultation upon the much anticipated return to Delhi – you guessed it right – Hauz Khas and then too in the immediate vicinity of the mosque! In fact, my orthopaedician-surgeon Dr Rajnish Gupta maintained his residential clinic so near the medieval mosque that I passed it nearly every day on my way to and from for severely excruciating surgeries, monotonous physiotherapy sessions and often incapacitating painful consultations – but the sorest agony remained my inability to even lift a camera and click the 500-year old mosque despite passing by it every day and the festering urge that had grown out of a deep nurtured wish to return to the structure and document and photograph it to my heart’s desire! Finally, almost a year later, following the declaration of fitness by the jovial doctor, I joyously returned to the mosque and clicked it despite the fact that it was raining and thundering relentlessly and my vehement insistence on heading to the mosque was also accompanied by brutal naggings from my cousin who accompanied me that I’ll wet the camera and damage it perennially. But there was a sensation of completion, of fulfillment – a year later, life had come full circle!

A sketch of the mosque depicting the architectural features and artistic motifs (Photo courtesy - Ioc.u-tokyo.ac.jp). It is sad that there are no Indian sites/studies generating the architectural layouts of the monuments.

According to an inscription plaque above its central arched entrance, the graceful mosque, surrounded by an ornamental enclosure along its front face that itself is flanked on the corners by enormously thick decorated bastions, was commissioned in AD 1505-06 by Kasumbhil, wet nurse of Fatah Khan, son of Khan-i-Azam (“The Greatest Lord”) Masnad-i-Ali ("Seat of the Faith") Khawas Khan, Governor of Delhi during the reign of Emperor Sikandar Lodi (ruled AD 1489-1517). Kasumbhil is thus regarded amongst the line of several distinguished women who patronized massive architecture and transformed Delhi’s landscape though their additions, most notable among them being Hamida Banu Begum who commissioned Humayun’s tomb complex (refer Pixelated Memories - Humayun's Tomb Complex), Maham Anga who had Khair-ul-Manazil mosque built (refer Pixelated Memories - Khair-ul-Manazil Mosque) and Qudsia Begum who constructed the Dargah Shah-e-Mardan complex (refer Pixelated Memories - Dargah Shah-e-Mardan Complex). Apart from its unique ornamental bastions and the tapering conical supporting towers along its back (western) wall, there aren’t many other distinctive features distinguishing the mosque from several other medieval structures. The single dome surmounting the rectangular structure springs from an octagonal drum (base) whose each corner is marked by slender turrets; the central of the three equally proportioned arched entrances allowing access to the mosque interiors is set in a protruding rectangular embossment; slender turrets also emerge from the corners of the roof and the said central rectangular embossment. Along the roof runs an especially intricate line of kanguras (battlement-like ornamentation) inset with vibrant blue tiles, thus generating the nomenclature – Nili Masjid or Blue Mosque, however it appears that the ornamentation was only limited to the portion above the central facade; where the tiles should have been along the rest of the front face runs a wide “chajja” (overhanging eave) supported on rather thick simplistically carved brackets.

Blue tiles, calligraphy and exquisite artwork

The overall image is of opulence, indulgence indeed but not flamboyance – instead by limiting the adornment to the roof features and the small alcoves that flank the entrances, an aura of simplistic elegance has been thoughtfully imparted. There is also a well within the fenced, ambiently-vegetated enclosure around the mosque – but I do not recall seeing the fence the first time I was here, then the mosque's surrounding green square simply opened to the road along an entire side and a characteristic red Archaeological Survey of India (ASI) sign identified it. The mosque seems to have been plastered very recently as part of regular conservation-restoration regime, though the roof and its ornamental features remain untouched. It is still used for offering prayers by devotees and expectedly the interiors have been considerably altered – a long prayer mat covers the entire floor and another is rolled up and stacked in the corner; a religious instructor was preaching and calling the faithful for prayers and his voice resounded through the loudspeaker installed on the roof – clicking seemed a precarious option considering that there were already several devotees inside not inclined to be disturbed by a unbelievably cheerful photographer less than a third of their age. The mosque is one of the few that are under control of the ASI and still used to offer prayers – the encroachments can be distinguished rather easily, apart from the prayer mats and the obvious pressures exerted on the 500-year old structure, there are coolers fixed into the arched openings in the shorter sides of the mosque, fans and loudspeakers along the roof and tube lights nailed to the front facade.

View from the threshold of the foliage-covered open patch. In the right foreground is the well.

Despite the obvious contravention of rules regarding monuments and heritage sites and the affixing of modern fixtures to the its vintage walls, the mosque retains a certain grandeur, at least when viewed from the lush, tree-lined square it possesses around it, if not from the road which physically and abruptly cuts through its limited realm of forgotten existence. It is from here that one can click numerous compositions and perspectives of the little mosque, its unique architectural and ornamental features and the masculine bastions flanking it. Happy clicking!

Side profile of the mosque. The second picture illustrates the architectural layout and the interior features vis-a-vis external structure. (Photo courtesy - Ioc.u-tokyo.ac.jp)

Location: H-Block, off Aurobindo Road, Hauz Khas market (Coordinates: 28°33'12.9"N 77°12'25.3"E)
Nearest Metro station: Green Park

Nearest Bus stop: Hauz Khas
How to reach: Walk from the metro station (850 meters) or the bus stop (250 meters). If coming from the metro station, walk towards Hauz Khas bus stop. A massive white marble-lined mosque with towering minarets (Highway Masjid) exists on the Aurobindo Road near the bus stop and the road immediately opposite leads within to H-Block residential areas and the Nili Masjid.

Entrance fees: Nil
Photography/Video charges: Nil
Time required for sightseeing: 20 min

Also located nearby - Pixelated Memories - Hauz Khas complex

Delhi's other monuments also commissioned by women - 

1. Pixelated Memories - Dargah Shah-e-Mardan Complex
2. Pixelated Memories - Humayun's Tomb Complex
3. Pixelated Memories - Khair-ul-Manazil Mosque

Suggested reading - 

1. Deccanherald.com - Article "Monumental neglect in Delhi" (dated Jan 21, 2012) by Ashpreet Sethi
2. Hindustantimes.com - Article "Are mosques living spaces?" (dated Sep 21, 2009) by Nivedita Khandekar
3. Ioc.u-tokyo.ac.jp - Medieval Islamic historical sites of Delhi: Drawings and sketches
4. Openthemagazine.com - Article "" (dated Aug 1, 2009) by Shivam Vij and Shome Bansal

Gandhak ki Baoli, Mehrauli Archaeological Park, Delhi

A few posts ago, I wrote an article pertaining to Rajon ki Baoli in Mehrauli Archaeological Park (Pixelated Memories - Rajon ki Baoli). Continuing with the thread, we head to Gandhak ki Baoli located not very far from the former at the periphery of the park and demarcating the vast complex from the congested, overcrowded Mehrauli village. The easiest way to reach the baoli therefore is not through the forested archaeological complex stuffed with thorny shambles and dense overgrowth, but from the outside – simply walk from Adham Khan’s tomb/Mehrauli bus terminal towards the adjacent shrines dedicated to Hazrat Qutbuddin Bakhtiyar Kaki and Sardar Banda Bahadur (the nondescript route is indicated by numerous markers and painted signage along the road), the baoli is only a couple of meters from the bus terminal along the route. In a commentary on the neglect on the part of authorities towards this beautiful medieval structure, though there are direction markers leading to the shrines, there are none indicating the presence of the baoli.

Containing water rich in sulphur ("gandhak") that is considered beneficial for skin ailments, the baoli was constructed during the reign of Sultan Shamshuddin Iltutmish (AD 1296-1316) – one belief is that the Sultan himself swiftly commissioned the baoli when he arrived uninvited to Hazrat Qutbuddin Bakhtiyar Kaki’s monastery and learnt that the saint, not being able to avail potable water for the purposes of bathing and ablutions, was forced to remain in a disheveled and unwashed state. The unadorned structure possesses five levels and diminishes in thickness as it descends deeper underground in order to withstand the increased subterranean pressure. The two monotonously plain arms of the baoli are composed of rough rubble and stone; simplistic narrow walkways define the boundary between the successively less wider levels and there are neither chambers circumambulating the structure nor alcoves ornamenting the surface as is the case with most baolis throughout the city. Only the topmost level displays a rudimentary cloistered area utilizing thin pillars that are reminiscent of pillars observed in the nearby Qutb complex (refer Pixelated Memories - Qutb Complex) that were derived from Hindu and Jain shrines for the construction of Quwwat-ul-Islam mosque; the lower levels display just two pillars demarcating the wall that separates the baoli tank from the well shaft behind. Despite its location in a naturally arid region unable to retain monsoonal overflow, the baoli continues to remain brimming with cool water for a major part of the year – in fact, though I visited the monument in scorching June and July, it was filled with water till just below its topmost level and local children were diving from the terraces into the tank. The splash of divers, combined with the laughter and shrieks of kids and the shouts of the elders sitting along the stairs and exchanging everyday news and gossip, is indescribable since it immediately transports an onlooker to a time framed eight centuries ago when the baoli was constructed since the scene hasn’t changed at all since then. This is one baoli that, true to its original purpose, continues to function as a venue for social congregations while providing respite from the sweltering heat.

Water, water everywhere

The baoli has not remained untouched by the urbanization pressure exerted by an ever expanding congested neighborhood and while its periphery has been wedged in by high iron railings, the entire area around has been engulfed by thickly populated residences and shanties – notwithstanding the important legislation prohibiting construction activities in a 100 meter radius around a monument, the baoli’s backyard has been taken over by a slum and commercial establishments are being ominously raised and run along the road snaking adjacent to the baoli unmindful of its historicity or heritage value. Though Delhi High Court severely reprimanded the municipal authorities and police way back in March 2014 on account of their failure to curb construction activities, I noted buildings coming up and being renovated immediately opposite the baoli as late as July 2014. As it is, the baoli already remains dry part of the year and is experiencing a decrement in its water level on account of the relentless massive water supply requirement of the local population, the construction work further compounds the problem many fold and endangers the baoli structure. It would be a major loss if the neglected baoli is any further damaged – the serene experience of being magically transported back in time and being alienated from the noise and commotion that ensues outside the enclosure is simply otherworldly and would be hard to replicate if this majestic 800-year old water monument is lost. There was a era long gone by when divers would jump in the water chasing after the coins thrown by visitors – that age is never coming again given Delhi’s depleted water table and the impossibility of reviving it; hope we don’t reach a situation in the future when people rue the absence of water in the baoli. 

And not a drop to drink! (Photo courtesy - Wikimedia.org)

Sincerest thanks to Rangan Datta, a very warm person and an amazing blogger chronicling Calcutta's culture and monuments (Rangandatta.wordpress.com) for visiting the Mehrauli area with me and helping explore almost a dozen monuments, including this baoli.

Location: Mehrauli Archaeological Park
Open: All days, Sunrise to Sunset
Entrance Fees: Nil
Nearest Bus stop: Lado Serai
Nearest Metro Station: Saket
How to Reach: The Archaeological Park's entrance is immediately opposite Lado Serai bus stop and at the intersection of Mehrauli-Badarpur and Badarpur-Gurgaon roads. The metro station is further away and one can avail a 10-min bus ride from Saket to Lado Serai. Sandstone markers indicate the routes to different monuments inside the park.
Photography/Video charges: Nil
Time required for sightseeing: Approx. 20 min
Note – There are no facilities (toilets, food or drinking water) available within the Archaeological Park. While you can avail food & refreshments at one of the restaurants at Lado Serai, you can only find toilets at the shopping malls close to Saket Metro Station, almost a kilometre away. The park remains deserted in the evenings and is best avoided then by female enthusiasts.
Other famous baolis in Delhi -

1. Pixelated Memories - Agrasen ki Baoli
2. Pixelated Memories - Baoli, Hazrat Nizamuddin Dargah
3. Pixelated Memories - Feroz Shah Kotla fortress and baoli
4. Pixelated Memories - Rajon ki Baoli
5. Pixelated Memories - Red Fort Baoli
6. Pixelated Memories - Baoli, Wazirpur cluster

Other monuments within the Archaeological Park premises -

1. Pixelated Memories - Balban's Tomb
2. Pixelated Memories - Chaumukh Darwaza
3. Pixelated Memories - Jamali Kamali Complex
4. Pixelated Memories - Khan Shahid's Tomb
5. Pixelated Memories - Lodi-era Canopy Tomb
6. Pixelated Memories - Metcalfe's Chattri
7. Pixelated Memories - Metcalfe's Ziggurats
8. Pixelated Memories - Rajon ki Baoli
9. Pixelated Memories - Settlement ruins
10. Pixelated Memories - Quli Khan's Tomb

Also located nearby - 

1. Pixelated Memories - Hazrat Bakhtiyar Kaki's Dargah
2. Pixelated Memories - Qutb Complex

Suggested reading - 

1. Simondetreywhite.com - Delhi’s Baolis
2. Timesofindia.indiatimes.com - Article "Ancient baoli under siege" (dated March 30, 2014) by Abhinav Garg and Richi Verma

Wazirpur Monument Complex, R.K. Puram Sector– 5, Delhi

The Wazipur complex, a congregation of Lodhi-era (AD 1451-1526) rubble-built structures located in R.K. Puram Sector– 5 and nestled in an extremely small green space that (thanks largely to the expansionist urbanization forces of the immediate vicinity) barely defines the boundaries till which the medieval monuments spread out, consists of a cluster of five tombs the identity of whose occupants is unknown, two wall mosques (“qiblas”), a stepwell (“baoli”) and a grave platform. The iron gate, installed to keep out vandals and anti-social elements, is kept semi-locked with a chain but ironically one of the tombs has already been encroached upon and a family of at least six resides within; they have also built a makeshift shanty close to the plinth on which the tomb stands but that is, I suppose, a good thing since they retreat to it every time someone shows up to photograph the structures, leaving only the mattresses, chairs, stoves and cooking utensils in the tomb! Stepping through the iron gate, one can either first head towards the rubble-built baoli and the smaller qibla, or climb up the stairs to examine the tomb cluster – the two sets are on either side of the pathway that demarcates the area.

The five musketeers! (Observe the rubble wall in extreme left - that is the larger of the two qiblas)

The shallow baoli, the simplest and smallest that I’ve ever seen in Delhi, is a fairly uncomplicated structure and possesses a domed turret on each of the two corners where it emerges from the ground. A staircase leads down to the tank level which is filled up with garbage, plastic bottles, polythene and wrappers as well as rubble and construction debris, but incidentally there is not a drop of water despite it being the rainy weather. Interestingly, stone-built water channels emerge from the baoli and end mid-stride in the middle of the green patch, a feature that is unique here – what purpose did they serve? Did the people who lived close to the baoli and/or were responsible for the maintenance of the lawns draw water from the tank and pour it in the channel so as to facilitate uniform distribution across the whole area? I have not an iota of an idea but they certainly do seem interesting. There are shallow chambers built along ledges in the side walls of the baoli where visitors used to sit when the baoli gurgled with the presence of water level which rendered it relatively cooler than the surroundings – at present, sunlight streams down to the tank level and scorches every square inch of the structure; even the pigeons that have made their homes in the niches around the tank wall remain cooped up in their shady nests as a response to the unbelievable heat and humidity. By rapidly flying out in large packs with an aggressive flapping of wings, they are sure to startle an innocent visitor who is quietly photographing the tank and the covered, arched chamber with arched openings in the back wall of the structure.

The simple, two-tier stepwell

Behind the baoli and separated from it by a couple of meters of lush grassy lawn is the smaller of the two wall mosques – a very high platform, part of which is occupied by a large cenotaph, with a thick wall along the western edge flanked by two short stretches of walls along the northern and southern edges. The western wall, possessing five arched niches (the central being the largest and deepest) makes up the little qibla (unroofed wall mosque where devotees face towards the wall which indicates the direction of Mecca (west)) of this striking structure. The thick walls are ornamented with kanguras (battlement-like adornments) on the top while tapering turrets once existed along the corners of each of the three walls, though much of the southern wall and its adjoining turret has since collapsed. Two small circular medallions bearing calligraphy inscriptions exist on either side of the central niche, while a row of miniature arched niches, very prettily designed and executed with varied geometric and floral patterns, runs alongside the top of the larger niches. The compelling designs along the face of the qibla makes it one of the most alluring structures in the entire complex despite its simplicity vis-à-vis the richly decorated tomb cluster – of course, visitors, the unwanted kind, never leave a chance to make a monument “prettier” still, and as evidenced by this small neglected wall mosque, have left an entire load of horrible, horrendous etchings and writings. Given that the complex enjoys a venerated status amongst the population of the nearby urban villages, some devotee had left sugarballs and lighted up an earthen lamp (“diya”) next to the grave. The caretaker/gardener, dragging a heavy water pipe which emerged from the old, flaking well close to the wall mosque, offered no answers when I inquired about the same and was intent on evading further questions – he soon disappeared into nowhere too! 

Graceful isolation?

Between the well and the small wall mosque is the simplest structure of all – a high platform on which sat two graves – being next to the park’s periphery, the platform, with the numerous trees that seemed to be overshadowing it, was inundated with leaves and brilliant golden-yellow Amaltas (Indian laburnum) flowers. Along this periphery, the tomb complex is on a slightly higher ground with respect to the road that runs alongside and the trees, planted on the road’s margins, all conspire to drape it with a green foliage veil, thereby turning the simple scene into one picturesque landscape. Several bird species – mynas, pigeons, sparrows, crows and lapwings can be spotted strutting around in the high grass or approaching and drinking from the numerous water pots kept throughout the complex by the caretakers, and if you are patient enough to spend a quarter of an hour or so trying clicking these super-quick feathered friends, you will definitely be rewarded with a few crisp shots. 

Sneaking on - Red-wattled lapwing

The tightly-packed tomb cluster can be characterized into – (1–3) three very similar tombs sharing a common plinth in the center, (4) the simplistic rightmost tomb seated upon its own separate plinth and (5) the surprisingly well-preserved leftmost tomb which stands slightly away from the other four and is not raised from the ground by a masonry platform. All five tombs have very similar architecture patterns – single square chambers ornamented on the outside with arched niches to yield double-floor appearances, topped by semi-circular domes which sit on high drums and are themselves surmounted by lotus finials (except in the case of the smallest tomb) and the use of kanguras and medallions along the faces as the only form of decoration – only the smallest and the leftmost tombs seems different in that the former only has an entrance along its western face while the latter is open on all four sides – the rest of the tombs have mihrabs (western wall of a structure that acts as a mosque by indicating the direction of Mecca) for western walls and arched entrances along all the other sides. The entrances of the smallest tomb appear to have been bricked in only recently and one can see traces of fresh plaster where the entrance should have been along the front face.

The baoli and the tombs as seen from near the grave platform

The three tombs in the center seem to have recently undergone restoration work – the plaster seems fresh and the medallions have been recreated out of incised plaster artwork, though the interiors appear to have been untouched and still display the raw, rough look with darkened, cobweb-covered walls, bird shit-drenched floors and fragmented medallions. The largest of the three tombs bears exquisite medallions around the front face arches though most of the rest of the faces still seem to be undergoing restoration–conservation work; there are two graves inside, one in each corner of a diagonal and both of them seem to be the subject of reverence as exemplified by the presence of sugarballs, marigold garlands, oil lamps, incense sticks and small piles of grains left behind by devotees – of the two, one is in very good condition and still bears decorative features as well as the wedge that recognizes it as a male grave, the other doesn’t bear any such characteristic feature and might very well be a female grave (unless of course, the features got eroded with time which seems highly unlikely considering the well-preserved state of the first one) – the latter seems to be more favored by the devotees and has been blackened around the head with greasy soot and oil from the lamps and lumps of sugar. I doubt if the occupant of the grave would have approved! While I was there, a sweeper lady came up with a broom and a pail of water and began cleaning up the tomb’s interiors – she scrubbed off much of the soot and grease and also removed the garlands, sweets and incense that was till now adding color to the monotonously antique and rugged structure. Neither she nor the young boy who soon appeared on the scene and began admonishing me for walking in the tomb with my shoes on told me if any government agency has employed them to look after the structures – for the sake of disclosure, let me clarify that am not against people's beliefs nor am I in the favor of preventing someone from worshipping at a particular place or shrine, but there should at least be some balance, sooner or later we will have to learn to let heritage structures be just that and not deface or encroach upon them nor try to convert them into temples or mosques or some other shrine.

Such colors, such vibrance!

The other two tombs are externally very similar to the largest, except for a few minor differences, and have also been plastered over recently – the smallest, with its bricked-up, darkened walls, seems to be in the worst-off condition and has been converted into a storage shed to stock bags full of cement, iron grilles, worn-out chairs and containers full of paint; the medium-sized one displays a profusion of intricate artwork that is not just limited to the exteriors, though its interiors too are being used to store cement bags.

The rightmost tomb, reached by a flight of stairs seems to be another shrine and has also been encroached upon – devotees had left behind incense and sugarballs, but a middle-aged, unshaven man was residing in a corner (complete with mattress, water bottles and a broken chair) and cooking on a stove. He too decided he was in need of a much-desired stroll when I walked in the tomb with my camera, by now I had begun asking myself if people are allergic to me or am I just plain ugly! I still do not understand what the Archaeological Survey of India (ASI) and its authorities in Delhi are doing if so many people are residing in heritage structures throughout the city (nay, the country)? What use is restoration work if people are anyway going to despoil the cenotaphs with grease and oils and light up fires inside tombs? 

Such has become the condition of "Incredible India!" that people are willing to live in tombs for lack of employment and residential opportunities!

The leftmost tomb, though not having been restored as yet and exposed to the rubble walls underneath the flaking plaster, is located immediately to the east of the longer qibla wall and displays the most excellent artwork of all five tombs both on its interiors and exteriors. The qibla wall, officiating as part of the periphery of the little tract of land in which these structures stand, has been completed out of unplastered random rubble masonry and boasts of nine double-arched niches set within larger square alcoves, the central being the largest and the penultimate ones on either side of it larger than the rest. The dome surmounting the tomb appears gently curved, resembling a budding female breast, while the artistic medallions and alcoves inside have been preserved in a condition superior to the rest of the structures. A glittering pearly-white Gurudwara peeps from behind the qibla wall while lofty telephone towers that look like monstrosities adjacent to these charming structures emerge from the ground nearby.

The exquisite medallions and kanguras (battlement-like ornamentation) adorning the front facade of the leftmost tomb

After about 45 minutes of going about and clicking the structures, the tomb complex becomes a bit boring, largely because, despite the presence of several structures, there isn’t much to explore about and admire – firstly, the structures do not retain most of the artwork that once embellished them and hence there isn’t much to gaze at and be overawed by; secondly, the structures are constrained in such a limited span of land that there are only as many photography compositions and angles that one can try without being too repetitive and mediocre; and lastly, given that the history behind these tombs – their construction, commission and the life stories of those buried within (Who are they? Why do people venerate them so? The three tombs seated on the common plinth might have been related somehow – if so, how? And what about the other two and the grave platform opposite?) – has been forgotten, or probably was never put to pen, and hence they do not capture a visitor’s interest as several other monuments that dot Delhi’s landscape sincerely do. Suggested only for enthusiastic dedicated heritage-seekers.

PS: Though it has been claimed that the tomb cluster allows wheelchair access, there is no way a wheelchair can be pushed in the aforementioned semi-closed gateway, nor up the (as of now) debris and construction material ridden ramps. Also, as is the case with most heritage structures in the country, there are neither toilets nor drinking water outlets – be prepared! 

The baoli's twin turrets and water channel

Location: R.K. Puram Sector– 5

Nearest Bus stop: R.K. Puram NAB (400 meters away)

Nearest Metro Station: AIIMS (5 kilometers away)

How to reach: Since the area doesn't lie on any existing metro line and the nearest metro station is actually very far, it is suggested to take a bus since the monument complex is just across the road from the bus stop. One just has to ask for directions and walk till Gurudwara Guru Nanak Sabha – the entrance to the monument complex is couple of meters prior to the Gurudwara.

Entrance fees: Nil

Photography/Video charges: Nil

Time required for sightseeing: 45min

Similar Links - 

1. Pixelated Memories - Agrasen ki Baoli
2. Pixelated Memories - Hauz Khas Complex
3. Pixelated Memories - Red Fort Baoli

Happy Mahavira Jayanti !!

"Pixelated Memories" wishes all readers a very happy Mahavira Jayanti. May you prosper and be safe and happy!

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"