Teen Chhatris | Hazire, Makanpur Village, Indrapuram


Last year I finally got a chance to explore the ancient pavilions in Makanpur village inside the posh Indirapuram locality. A slight diversion from my exploration of Delhi monuments. This was as part of discovering lesser known heritage buildings in and around Delhi. I had a few locations marked but could visit only this one before falling sick and then the pandemic ruined my plans.

It took me a lot of effort to locate the place as many of the access points were dug out. The street shop owners, vendors and local residents had little clue about it and were amused as to why a gray haired jeans clad woman with camera is looking for some dilapidated old ruins and that too in blistering summer noon. I kept showing photographs from a national daily to them and finally an old auto driver guiding me to an approximate location. I landed up near the Masjid and again started the search. Finally a shop keeper pointed me to the caretaker of the graveyard, the only one who could guide me. I couldn’t find the old gentleman but someone children got curious and tagged along as I made my way through narrow lanes. One of them asked what I was looking for and seeing the photos exclaimed, ” ye to kabristan mein hain. wahan tala laga hai. andar jana mana hai. sab toota phoota hai. wahan kya kaam hai aapko?” ( these are in the graveyard and the gate is locked. no one is allowed inside. Everything is falling apart. What do want from there?)

I explained I needed to take photos to write about it. Thinking I was a journalist they demanded a picture and in exchanged of that agreed to take me there. We finally reached the place but the man who had the key couldn’t be found. By then I was tired and late for another appointment at my son’s home. I had finally found the gorgeous structures shrouded from all around by tall buildings.

Orphaned and decaying pavilion tombs or chhatris or hazire as called by the local Muslim community are looked after by them. The gate is mostly locked and displays a board claiming it to be a local graveyard. Perhaps this is the only reason why these structures have remained standing even now.

Earlier the structures were visible from NH24 but rampant construction and high rise buildings around it have obscured the view. The pavilions are in a dilapidated state; uncared and forgotten. A mute testimony of a time now gone.

One of the three Chhatris is almost completely gone as you can see. One of the other two is also breaking apart. The blue plaster-work or tile-work on a band around the Dome’s neck is only visible in a few places on the middle structure. Rest has vanished. I didn’t get enough time to study so will go again.

The inverted lotus finial is very prominent in one of the domes.

The chhatris or hazire come under the state archaeological department. ASI has washed its hands off these and they find no place in the list of monuments protected and maintained by them. GDA doesn’t give a care either.

The tombs have a striking resemblance to Yusuf Qattal’s tomb and style of masonry is similar to Jahaz Mahal. The delicate red sandstone pillars, lotus finial and blue tiles suggest it to be either Lodi period or Mughal. I’m no expert so just thinking aloud here. I may be wrong. The motifs are ornate and carved in the maroon tinge of Bharatpur sandstone. Lot of lattice screens were laying around here and there. You can view a few in the picture of the graves below.

The pavilions are often claimed to be from 16th century Mughal period. The local lore about this being the grave of sakka, the bhishti who saved Humayun’s life during the battle of Chausa, doesn’t seem probable to me. There are more than three graves inside the pavilions.

I’m still gathering information about these by discussing with various people who may know the right facts. Will update once something that pin points to the precise date and historical facts is found.

I wasn’t allowed in to inspect the pavilions closely as women aren’t allowed in kabristan ( graveyard) so the photos were taken from right near the gate. There were a very more that one of the young men had taken from my phone but I seem to have lost them. Will update if they’re found.

If you have any authentic documented information about these pavilions then please share.

Delhi Monuments – Lal Gumbad


 

Wandering around Delhi you may come across many pieces of history now forgotten and lost to time. One such lesser visited monument is the Tomb of Sufi saint Sheikh Kabiruddin Auliya known as Lal Gumbad. Oblivious to the hustle bustle around it the elegant building stands in a gated walled complex in utter neglect. Though it is in comparatively good state the other structures that lay scattered in the ground around it are a repository of decay.

Sheikh Kabiruddin Auliya is believed to belong to the Chishti Silsila. The Sufi saints were known for their piety and simplicity and never had such grand tombs of marble and sandstone built over their graves. Mostly they were modest enclosures, usually open from the sides. It is believed that Kabiruddin was a disciple of Sufi saint Roshan Chirag Delhi, who was the spiritual successor of the world-renowned Nizamuddin Auliya.

Most of the saints of Chisti order were buried in open grounds and later chatris wee built over the graves. Many other graves, wall mosques would come up around the saint’s grave over a period of time. This particular tomb is not just grand as a structure it has ornate walls, pierced jaali screens, and, according to the local lore, gold filial atop the dome which is thought have been stolen centuries ago. And yet, the plaque inside the tomb ascribes it to the saint. There are many theories about the structure and one such says that it was built by Firoz Tughlaq for himself but later given for the Sufi saint’s burial.

Situated in Sadhna Enclave, Malviya Nagar, this sandstone structure of Tughlaq period is known as Lal Gumbad though it doesn’t have a red dome. How it acquired the name is a mystery. It does have sloping red sandstone walls. The somewhat pointed and not so round dome used to be white but has blackened over the period of time.

If you look at the structure it resembles a mini fort rather than a saint’s Dargah. In appearance it reminds one of Ghiyasuddin Tughlaq’s tomb, albeit this tall square structure is a poor replica of it. Built in 1397, it is a typical example of Tughlaq architecture. The structure stands on a raised plinth and has sturdy sloping walls covered with strips of dressed red sandstone that turn slightly inwards as they go up. The Tughlaq tombs had walls with thick base making it easy for the single dome to sit properly atop the squat building. The plastered conical dome springing from the low octagonal drum of this tomb is strikingly different than other Tughlaq era tombs.

On the North and South side walls one can see mihrabs with ornate sandstone jaalis. The west wall exterior is plain from outside but has a deeply recessed arch inside. One can see lotus bud motifs in marble on the arches that have false decorative pillars below them. The Eastern archway is elaborately carved and as one enters the damp, dark funerary chamber one comes across nine graves. The grave of a male in the center is a somber one. One can see a lot of lotus bud ornamentation in marble inside, very typical of Khilji period in my opinion, though I am not an expert. The great wooden door is kept locked mostly to prevent worshiping I guess.

The tomb is also known as Rakabala gumbad due to the story that rakhabs were fixed on the western slopping wall to steal the gold finial.

The exquisite domed gateway is now gone and so have the enclosure walls. The whole place, except the main tomb, looks more ruinous than what it was even say 10 months back. Not that the tomb of Hazrat Shaikh Kabir-ud-din Aulia is in perfect condition. The massive wooden door is charred from below due to the burning of incense sticks, earthen lamps etc. Overgrowth has taken over many of the dilapidated structures there. Encroachments and sheer neglect has caused the eastern gateway to become dilapidated. Its floor has eroded and is in dire need of repair.

The other domed structure in the complex is filthy and smells disgusting. I think it also acts as a store. I couldn’t approach the wall next to it as there was garbage of all sorts, broken glass and an overgrowth of low thorny bushes. Why aren’t the concerned authorities maintaining this place? Going by the photographs of last 5-6 years things have just deteriorated. The way things are going we will lose most of the lesser known monuments due to sheer neglect and apathy. I think all these gated monuments should be ticketed. It will definitely improve the situation.

There are several scattered graves and remains of at least five wall mosques in the enclosed area around the tomb. All of these belong to Lodi period. The most prominent one is located to the west of Lal Gumbad. Here, there are recessed arches on the western prayer wall and two short walls returning on the North and South too contain arches. One can see some fading incised plasterwork depicting floral motifs as well as geometrical shapes on the main qanati (wall) masjid.

There is a platform in front of the wall with a single grave. The corners of the western wall are strengthened by circular bastions. Two other mosques have three mihrabs and a third one has a single mihrab.

Everything is surrounded by weeds and grass. It is remarkable how these structures have withstood the ravages of time. Nothing much is known about who is buried in these graves. Perhaps people who were close to the saint.

Many locals were lounging around the grassy patches that cover some of the space in the complex. No tourists were there and according to the local boys hardly any visit the place as it is infested with bad elements mainly gamblers and addicts. I could feel the piercing gaze of young men who were killing time there.

The 620-year-old tomb, one of the finest pre-mughal structures and the ruins around it are dying a slow death. There is a dire need to preserve Delhi’s built heritage.

As I walked around the unkempt but manicured grounds that once formed the fourth city of Delhi- Jahanpanah, founded by Muhammad Bin Tuglaq, I thought about the times we live in and the ruinous state of affairs that have marred the social fabric of our country once known to be secular and tolerant. In retrospective these abandoned ruins seemed calming to the senses.

Unfortunately I missed out photographing some important aspects of the place. I will update the post when I click a few more pictures.

Meanwhile do take time out and visit these exquisite yet unknown remnants of our cultural and architectural heritage.

Delhi Monuments – Ambling Through Hauz Khas – Firoz Shah Tughlaq Tomb Complex – 1


I am rather late in writing about this. Health and other anxiety related issues have kept me away from most work but today let me share the first part of the Hauz Khas monument complex. The next post will cover the Madarsa and some other aspects related to this marvelous site and surrounding areas.

Hauz Khas complex has been one of my favorite places to go to when in search of solitude irrespective of the fact that it is always crowded with couples and people looking for a place to rest/eat or just linger around. In a good move ASI has put an entry ticket since April and I see the effectiveness of it. So, a few days back I went to explore the ruins and sit under the grand old tamarind tree.

This post is just my personal account of what holds me captive and pulls me to this place and not really a historical or architectural commentary. The most interesting aspect of these ruins and the Hauz e alai near by is the influence of three great rulers who ruled over Delhi.  Allauddin Khilji’s construction of the second city of Delhi, the city of Siri (1296–1316} and Hauz e alai the grand reservoir that provided for the water requirements of the city. Once Khilji died and his empire faded away the reservoir got neglected and perished.

Then as a mark of respect another great ruler of Delhi Firoz/Firuz Shah Tughlaq restored and got the silted Hauz cleaned during his reign (1351–88). He also commissioned a magnificent double storied Madrasa-i-Feroz Shahi (seminary), a mosque, few pavilions, chatris overlooking the restored lake. It is among these he built his own humble tomb where the great Sultan rests now. 

Later in the year 1507-08 yet another great sultan of Delhi Sikander Lodhi added the striking embellishments inside the tomb.

So when I walk through the 13th century ruins the stones whisper stories of many eras of sultans and their immense love for art, architecture and intellect. Firoz Shah Tughlaq was the third ruler of Tughlaq dynasty that ruled over Delhi. A man with a mission he loved to build things be it fortresses, canals, schools, cities, mosques, hunting lodges, sarais (rest houses), hospitals etc. He also commissioned repairs of old buildings, mosques etc. including Qutub Minar to which he added two floors after it was damaged by an earthquake.

Coming back to the Hauz Khas Complex one enters through a modest stone gateway into a the landscape of ruins set in the midst of manicured grassy patches. It is a world very different from the so called urban village you leave behind on the other side. Immediately a calm descends on you as you glance around at the ancient structures, the domed tomb of Tughlaq soaring above the rest of the buildings, old wise trees with birds merrily chirping in their lush branches and a little further and beyond the lake with its deep green waters. These are the secret keepers and the story tellers of ancient Delhi. 

Each ruler from the Tughlaq dynasty added their own architectural creativity to whatever they build. In Firoz Shah’s time these architectural achievements reached their zenith. The new architectural trend is visible in all the buildings erected during his reign.

The 5-6 pavilions with domes in different shapes (hexagonal, rectangular, octagonal) and sizes are the first thing you notice on entering the complex. Some of these structures were tombs and one can see a few graves. The roof and domes of these simplistic tombs is decorated with kanguras. You can see the small chatri in the foreground.

The pavilions and the ruins of the court yard are conjectured to have been used as part of the madrasa in the past. On the inside all the pavilion domes have lost the ornamentation but one can still see the exquisite foliated motifs on the drums and the kalsa motifs on  top of the domes. Most of the structures are falling apart and the bands of calligraphy are discontinuous or fading. I notices a few pigeons nestled in the holes inside.

The cylindrical pavilions don’t have any graves and perhaps they were part of a bigger structure as one can see stone beams projecting from the base of their dome drums.

I moved on from there to the hundred year old Tamarind tree which I will cover in next post. Next to the tree are Three domed colonnaded pavilions and the Mosque.

These interlinked pavilions make a T shape and again have broken bands of calligraphy inside the dome. The building is made of hard quartzite which is tough to carve. One can still see finials, kanguras and calligraphy in incised plaster in the plastered tombs. The long colonnaded halls stretch from north to south.

There are also signs of ornamentation of some sort which has vanished now leaving just dark holes and broken patches. The whole structure stands on a solid stone platform. It is amazing how these strong square pillars have supported the structure for last almost 650 plus years. Yet one sees the cracks that have developed over the period of time. Some restoration was done by ASI in 2012 I think. These structures were perhaps used as seminar rooms for the students of the Madarsa.

One can also see a ruined remain of a staircase with large windows and perhaps one can descend to the lower floor of the madarsa from there but I did not disturb the couple sitting there and moved on to the Mosque.

The small Mosque with overhanging jharokhas stands under an ancient Tamarind tree at the northern end of the Madarsa. The quibla wall of the mosque projects towards the water reservoir. If you see it from the lake side you can clearly see the five mehrabs.

The central mehrab with a domed chatri and open sides is like a pavilion and projects towards the reservoir. I have heard that the qibla wall has rich ornamentation but I couldn’t see it. Perhaps next time. The mosque was closed for public entry although the door was open. There’s a crumbling staircase next to it which leads down but I left it for another day of exploration.

I headed to the Tomb of Firoz Shah but then I spotted the two buildings flanking the original entrance not in use opposite Firoz Shah’s Tomb. One is closed to public and the other is ASI’s local office.  One of them seemed to be a guard house but not sure of the purpose of other one. 

The sun was getting to me now so I sat on some ruined steps and watched the common myna quench her thirst from the water pipe in the garden. A young girl sat reading on yet another set of steps shaded by the laburnum.

Firoz Shah’s Tomb looks very simple from outside. It is a square building with battered walls and an old surviving jali (stone lattice work) with calligraphic details and medallions above the entrance door that is set in a larger niche. During the reign of Firoz Shah the tombs were devoid of ornamentation and were very simple structures. Inexpensive material like rubble, lime and plaster were used for construction. Lack of skilled craftsmen and poor economic conditions were the prime reason for this. Constructed in 1388 AD Firoz Shah’s tomb is totally in line with the structures of Tughlaq era, made with quartzite rubble finished with plaster with slightly sloppy fortified walls and battlement ornamentation.

Situated at the pivot point of the two perpendicular wings of the madarsa it is the largest building now in the complex. It doesn’t have the defensive architecture pattern but has some simple ornamentation around the entrance. The walls are decorated with merlons on the two tiers. One above the cube and other above the octagonal square. The outer wall has a slight projection towards the center emphasizing the entrance door which depicts a blend of Indian and Islamic architecture.

The top of the tomb has a slightly pointed dome set on plastered squinches and corbelled beams making it an octagonal drum and then a sixteen sided drum before the actual dome.

There is a low platform in a courtyard on the southern side with horizontal and vertical stone railings and ledges similar to the ones found in Buddhist Viharas and stupas of that era. It is believed that that these were inspired from the Sanchi Stupa.

Somehow the tomb seems very impressive even in its plainness. Three steps lead inside to a beautiful interior with Firoz Shah’s grave in the center and the graves of his son and grandson to one side of it. The eight sided polygon roof is very different from the other Tughlaq era structures.

The squinch arches were a thing of past but are used in here. There is a band of calligraphy and a band of geometrical designs on which the dome rests. There are beautiful medallions of different shapes and sizes with Hadiths and Quranic inscriptions in narqsh characters. These medallions are arranged between two concentric stars and a large medallion in the center. It is believed that Sultan Sikander Lodhi who took up the repair work of many tombs commissioned these ornamentation during his reign (AD 1489-1517). They are typical of the architecture of his time. In Tughlaq’s buildings one doesn’t find such embellishments.

Next to the tomb there are two other domed entrances leading towards the madarsa. One was barred by iron door but  could see the steps leading down.

The structures are in dire need of restoration but I feel scared of the way current restorations are going on in Delhi. Ruins must look like ruins and all this whitewashing just spoils the original aura of the place. I sat on the stairs leading to nothingness and wondered how it must have looked when the place was in its prime glory.

The pillared halls, the crumbling walls, the musty dark corridors, the collapsed buildings, the  lake waters down below and the greenery around taking away all the worries and tiredness I felt. There is a certain energy that runs through the ruins stitching everything. Lean against a crumbling walls or just run your fingers gently over them and you’ll feel its presence.

The relationship of modern Delhi and its ancient architecture is complex and especially in this case you see how rapid unrestrained urbanization has marred the face of these ruins. The original spirit of Hauz Khas Village is long lost to the passages of time. As per my knowledge, Archaeological Survey of India (ASI) regulations prohibit construction of structures within 100 metres of protected monuments but here in the haphazardly expanding Hauz Khas ‘village’ no one seems to bother about any laws either MCD’s or the ASI’s. The sleepy green waters of the lake, the old wise trees and the ancient ruins watch the complete collapse of the cultural fabric as the metamorphosis continues to change the original landscape. The bubble is ready to explode any time soon. Meanwhile life continues to struggle to find breathing spaces between the ancient and the modern. In the end it is all about money and here there is no dearth of it.

We will cover the other areas of the complex in the next post. I am not keeping too well to explore right now but the truth is I am a nomad by and these ruins will pull me to their embrace sooner than I think. I am posting this with the current pictures I have but I will soon update with a few fresh ones. I realized that some photographs don’t do justice to the buildings or embellishments. I will upload rest of the photographs for this post on my Instagram account. Do visit.

Till then do go and enjoy the serenity that  surrounds this complex.

Memoir: The Street Performers


India has a rich cultural heritage of street performers which include snake charmers, fire eaters, dancers, jugglers, acrobats and tightrope walkers.

As a child I had witnessed many such performances with awe and delight but in recent times due to increased rush in the metropolitans and so-called advancement these artists have become a thing of the past and are limited to fairs and tourist attractions.

The familiar sound of the tambourine and the dholak (hand-made wooden drum) caught my attention on a hot winter day sometime back .I started to follow the sound in a trance. Just next to the main crossing I saw a crowd building up.

My heartbeat matched the beats of the tambourine; it was a street performance of the natas (street artists) as they are called in India. Nats are a tribal community and are nomads. I quickened my pace and edged my way through the crowd. Standing in the front row of the circle I felt the pulse of colorful rustic India.

Two small children aged from 5-8 were doing flour exercises with such dexterity and ability on the dusty hot road that I marveled at the way these children adapt themselves to the harsh life they lead.

The father had meanwhile erected the poles with the tight rope tied to their ends. The beats were getting louder and the crowd waited in anticipation of the thrilling act which was about to follow.

The young woman, with a figure to die for, climbed on the pole and balanced herself on the rope with the help of another long pole. The distance of the rope and the ground must be 10-12 feet approximately. The crowd held its breath as she started her act. I looked with rapt attention at the woman who seemed to have a perfect sense of balance. The rope swayed dangerously but she held her ground. Slowly she took another step and then gracefully balancing the pole she another few steps. The audience gasped as she swayed with the rope.

Anticipation stirred the adrenaline as the expectation grew on the crowd that a fall could be imminent. She lifted one foot off the rope and stayed in the precarious position for a while, the tambourine beats added to the thrill of the moment.

Slowly she placed the foot back and the crowd took a breath of relief. I wiped the sweat that had tricked down my forehead. It sure was a tense moment. Then she walked the rest of the length of the rope with ease and came down gliding from the pole. The applause was deafening.

The two small children, a boy and a girl had meanwhile kept the crowd glued with their acrobatic skills.

The crowd did not seem to mind the heat and dust nor did I. As I watched the little girl climb the rope with such agility and ease I wondered what kind of life these poor artists led. This was their source of livelihood and a dying art banned I most of the cities. For every meal there was a daily struggle and yet they smiled and showed no sign of their misery.

The girl walked till mid way without any pole support with her little skinny arms stretched out on both sides. Then started the courageous act of acrobats on the rope. I was not sure if what I saw was a dream or reality but the girl kept me glued to the act for the next ten minutes of my life.

As she descended down from the pole the crowd cheered and clapped. The mother had meanwhile started collecting money in an old hat and the Young man along with the children began to collect the belongings. The show was over but not forever, another place another city awaited them. Mesmerized by the performance I handed some apples and some money to the children who gave a bright toothy smile in return. My day was made.

A Gateway to the Belly of Earth : Patal Bhubaneshwar


My thirst for travel took me to one of the most amazing ancient creations in the Himalayas. A legendary cave complex is full of natural stalagmites and stalactites which is a must watch for any traveler to this region. The caves are made of limestone.

We were staying in Ranikhet, Uttarakhand when the wanderlust lured us to this beautiful place called Patal Bhubaneshwar situated at the height of 1350 meters in Pithoragar district known as “Dev Bhumi” (abode of Gods) and “little Kashmir” for its virgin natural beauty. Its distance from Ranikhet is 115 km. and the nearest town is Gangolihat. The drive is awesome as the roads are smooth and the view captivating.

Mesmerizing landscape, exotic flowers, the sweet scent of pine and mighty Oak trees were the first welcoming sights as we maneuvered the twisting, turning, dusty so called road from the main town. We had gathered enough information and were really excited to see the nature’s wonders.

Patal Bhubaneshwar (Patal means Hell) is an ancient cave temple complex, a subterranean shrine of Shiva. The place was retrieved by Adi Shankaracharya in around 8th or 10th Century A.D. It is believed to be the replica of the mythical underworld of Hindu religion. One has to go through a narrow tunnel to view the underground stone carvings. It is about 200 steps and straight 90 ft down. The place is said to be abode of thirty-three billion Hindu Gods and Goddesses.

We had to crawl in a single line by holding the protective chains through a very narrow crevice to reach the cave. The lights are feeble and Photography in any form is not allowed inside the cave so one has to see it to believe it. The whole place is enshrined in mystery and mythology. I was enchanted by the giant birds, serpents, ghostly figures and human forms which looked so seemingly alive. It was a sight I will never forget. We were bare feet as shoes are not allowed and the slippery ribbed floor gave us an eerie feeling. I thanked my stars that we had an ASI guide with us, for the place sure gave me goose bumps. The only drawback of having him around was the constant flow of legends and stories which distracted us from observing the amazing beauty of the place.

The main temple is dedicated to Lord Shiva and one can also see the Narsimh (half lion half human) incarnation of Lord Vishnu. Legends say that Lord Bramha comes to this place with the other gods to worship Lord Shiva who resides in this place. A little ahead is the natural rock formation of Sheshnag holding the heaven, the earth and the world beneath. There is a thin stream of water along the tunnel. One has to go through several small caves to reach the sprawling interiors. Each cave unmasks some deep secret buried in its belly. The lime stone stalagmites that emerge from the walls all over the complex are known as the Jatas (locks) of Lord Shiva.

The sanctum sanctorum gives you the feeling of being at the center of the earth. It is said that the tunnel is the backbone of Sheshnag the mythological serpent God with thousand heads. As we reached the middle of the cave we found a beautiful Ganesh statue. There was a lotus flower engraved on the ceiling right above it and water tricking from the lotus fell directly on Lord Ganesh’s head. The water made different shapes and the legend says that these shapes are that of various Gods and Goddesses from Hindu Mythology.

The cave has the replicas of Badrinath, Kedarnath and other four important religious places and due to this it is highly revered by the Hindus. The place also has some features from the Indian Epic Mahabharata. It is believed that the Pandavas stayed and meditated here during their last journey to the Himalayas.

The priests of this complex, who have been part of the shrine for more than twenty generations, are a treasure-house of legends, folklore, anecdotes and information about this holy place.

Some of the stone carvings of Gods and Goddesses depict them in erotic forms. It sure proved to be a surreal experience. The sheer unspoiled charm of the area that surrounds these wonders is awe-inspiring.

After this breathtaking experience we came out to inhale the fresh air fragrant with  scent of incense sticks and flowers. We decided to walk about the place and after going just a little further got a spectacular view of Himalayas stretching over the horizon. It was an enchanting view of almost 600 km long mountain range stretching end to end from Garhwal to Nepal. Apart from the magnificent mountains our hearts were also captivated by the terraced fields and houses in the valley.

A hike in the Deodar forest revealed tiny caves scattered here and there that were the mini replicas of the big cave. It was a journey worth taking and we enjoyed every moment of it.

The evening sun was in its splendor and we relaxed on the green carpet of soft grass to enjoy the most beautiful sunset we had ever seen. It was also our last one for the trip. Filled with nostalgia and awe we drove back to Ranikhet. Silently watching the dark misty landscape.

The whole experience left unforgettable memories in our hearts.

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