March 19 1985: The Taj Mahal and Fatepur Sikri

March 18 1985: Taken from Back to The East: India, Nepal, Kashmir

https://www.amazon.co.uk/dp/1916310796 

 

 

I had been in Agra in 1972 and visited the Taj Mahal and Fatepur Sikri, both wonderful. At that time, I had stayed in Government Rest House on the outskirts of Agra and got around by bicycle rickshaw and buses. Fatepur Sikri was where we were heading, by taxi with Maxi.

There were four obvious differences between 1972 and now, 1985. The streets were more crowded with local people, rickshaws and much more motorised traffic and corresponding noisier and dustier. There were far more tourists and hasslers. There was more electricity and more telephones. Everyone seemed much more in a rush.

 We made quite an early start. Maxi was waiting for us outside our hotel. I was beginning to wonder whether he was simply a profiteering but friendly taxi driver or some sort of Government employee to keep a watchful and caring eye over us. We soon arrived at the Taj.

This is from a guide book:

“The Taj Mahal or Crown of the Palace was built from white marble and was on the southern bank of the river Yamuna. It was considered to be one of the most beautiful buildings in the world. It was commissioned in 1632 by the Mughal emperor Shah Jahan (reigned from 1628 to 1658) to house the tomb of his favourite wife, Mumtaz Mahal who died on 17 June 1631 while giving birth to their 14th child, Gauhara Begum; it also houses the tomb of Shah Jahan himself. The tomb was the centrepiece of a 17-hectare (42-acre) complex, which includes a mosque and a guest house, and was set in formal gardens bounded on three sides by a defensive battlement.

“The tomb was the central focus of the entire complex of the Taj Mahal. It was a large, white marble structure standing on a square plinth and consists of a symmetrical building with an iwan (an arch-shaped doorway) topped by a large dome. Like most Mughal tombs, the basic elements are Persian in origin. The base structure was a large multi-chambered cube with bevelled corners forming an unequal eight-sided structure that was approximately 180 feet on each of the four long sides.

“The most spectacular feature was the marble dome that surmounts the tomb. The dome was nearly 115 feet high which was close in measurement to the length of the base, and accentuated by the cylindrical "drum" it sits on, which was approximately 23 feet high. Because of its shape, the dome was often called an onion dome or amrud (guava dome). The top was decorated with a lotus design which also serves to accentuate its height. The shape of the dome was emphasised by four smaller domed kiosks placed at its corners, which replicate the onion shape of the main dome. The dome was slightly asymmetrical. Their columned bases open through the roof of the tomb and provide light to the interior. Tall decorative spires extend from edges of base walls, and provide visual emphasis to the height of the dome.

“The main finial section of the roof was originally made of gold but was replaced by a copy made of gilded bronze in the early 19th century. This feature was a clear example of integration of traditional Persian and Hindu decorative elements. The finial was topped by a moon, a typical Islamic motif whose horns point heavenward.

“The minarets, which are each more than 130 feet tall, display the designer's penchant for symmetry. They were designed as working minarets— a traditional element of mosques, used by the muezzin to call the Islamic faithful to prayer. Each minaret was effectively divided into three equal parts by two working balconies that ring the tower. At the top of the tower was a final balcony surmounted by a chattri that mirrors the design of those on the tomb. The chattris all share the same decorative elements of a lotus design topped by a gilded finial. The minarets were constructed slightly outside of the plinth so that in the event of collapse, a typical occurrence with many tall constructions of the period, the material from the towers would tend to fall away from the tomb.

“The exterior decorations of the Taj Mahal are among the finest in Mughal architecture. As the surface area changes, the decorations are refined proportionally. The decorative elements were created by applying paint, stucco, stone inlays or carvings. In line with the Islamic prohibition against the use of anthropomorphic forms, the decorative elements can be grouped into either calligraphy, abstract forms or vegetative motifs. Throughout the complex are passages from the Koran that comprise some of the decorative elements.

“The calligraphy on the Great Gate reads "O Soul, thou art at rest. Return to the Lord at peace with Him, and He at peace with you." The calligraphy was created in 1609 by a calligrapher named Abdul Haq. Shah Jahan conferred the title of "Amanat Khan" upon him as a reward for his "dazzling virtuosity." Near the lines from the Qur'an at the base of the interior dome was the inscription, "Written by the insignificant being, Amanat Khan Shirazi." Higher panels are written in slightly larger script to reduce the skewing effect when viewed from below.

“The interior chamber of the Taj Mahal reaches far beyond traditional decorative elements. The inlay work was a lapidary of precious and semiprecious gemstones. The inner chamber was an octagon with the design allowing for entry from each face, although only the door facing the garden to the south was used. The interior walls are about 82 feet high and are topped by a "false" interior dome decorated with a sun motif. The four central upper arches form balconies or viewing areas, and each balcony's exterior window had an intricate screen cut from marble. In addition to the light from the balcony screens, light enters through roof openings covered by chattris at the corners. The octagonal marble screen bordering the cenotaphs was made from eight marble panels carved through with intricate pierce work. The remaining surfaces are inlaid in delicate detail with semi-precious stones forming twining vines, fruits and flowers. Each chamber wall was highly decorated with dado bas-relief, intricate lapidary inlay and refined calligraphy panels which reflect, in little detail, the design elements seen throughout the exterior of the complex.

“Muslim tradition forbids elaborate decoration of graves. Hence, the bodies of Mumtaz and Shah Jahan were put in a relatively plain crypt beneath the inner chamber with their faces turned right, towards Mecca. Mumtaz Mahal's cenotaph was placed at the precise centre of the inner chamber on a rectangular marble base.

“The complex is set around a large square garden that uses raised pathways that divide each of the four-quarters of the garden into 16 sunken flowerbeds. Halfway between the tomb and gateway in the centre of the garden was a raised marble water tank with a reflecting pool positioned on a north-south axis to reflect the image of the mausoleum. The elevated marble water tank was called al Hawd al-Kawthar in reference to the "Tank of Abundance" promised to Mohammed.”

That reflection was really beautiful. From the far end there were always people taking photographs.

 When we left the Taj, Maxi was waiting for us with two cups of tea, some small cakes and a bottle of water. He seemed anxious to take us to our next stop, Fatepur Sikri, about 20 miles and over an hour away.

Fatepur Sikri, which as I said I had also visited in 1972, this time had other tourists strolling around on the various levels. It may not have been as immediately visually impressive as the Taj but was a fascinating place to see.

 

“The city itself was founded as the capital of Mughal Empire in 1571 by Akbar, serving this role from 1571 to 1585, when Akbar abandoned it due to a campaign in Punjabi and was later completely abandoned in 1610 due partly to a shortage of good water.

“It’s a massive complex on several levels surrounded by a five mile wall on three sides and a lake on the other. Entrance was through a series of gates, namely, Delhi Gate, the Lal Gate, the Agra Gate and Birbal's Gate, Chandanpal Gate, The Gwalior Gate, the Tehran Gate, the Chor Gate, and the Ajmeri Gate.”

It’s quite confusing inside, up and down the various levels, so we did not get to see it all, with no guide.

 “The emperor Akbar tried to start a new religion here, called Deen Illahi, a synthesis of several religions of that time.

“Inside the walled area, are palaces such as Jodh Bai, used by Akbar. The court ladies used to sit here watching the goings on below Bhirbal Bhavan.

“Some of the important buildings in this city, both religious and secular are:

“Buland Daewaz: Set into the south wall of congregational mosque, the Buland Darwaza at Fatehpur Sikri was 180 feet high, from the ground, gradually making a transition to a human scale in the inside. The gate was added around five years after the completion of the mosque to commemorate Akbar’s successful Gujarat campaign. It carries two inscriptions in the archway, one of which reads: "Isa, Son of Mariam said: The world is a bridge, pass over it, but build no houses on it. He who hopes for an hour may hope for eternity. The world endures but an hour. Spend it in prayer, for the rest is unseen".

“The central portico comprises three arched entrances, with the largest one, in the centre, was known locally as the Horseshoe Gate, after the custom of nailing horseshoes to its large wooden doors for luck. Outside the giant steps of the Buland Darwaza to the left was a deep well.

“Jama Masjod was a Jama Mosque meaning the congregational mosque and was perhaps one of the first buildings to be constructed in the complex, with a massive entrance to the courtyard, the Buland-Darwaza added some five years later. It was built in the manner of Indian mosques around a central courtyard. A distinguishing feature was the row of chhari over the sanctuary. Chhatri are elevated, dome-shaped pavilions used as an element in Indian architecture. The word literally means "canopy" or "umbrella." There are three mihrabs, raised platforms, in each of the seven bays, while the large central mihrab was covered by a dome and it was decorated with white marble inlay of geometric patterns.

“The Tomb of Salim Chishti was a white marble encased tomb of the Sufii (1478–1572), within the Jama Masjid's courtyard. The single-storey structure was built around a central square chamber, within which was the grave of the saint, under an ornate wooden canopy encrusted with mother-of-pearl mosaic. Surrounding it was a covered passageway for walking round in a circle with carved stone pierced screens all around with intricate geometric design and an entrance to the south.

“On the left of the tomb, to the east, stands a red sandstone tomb of Islam Khan, son of Shaikh Badruddin Chisti and grandson of Shaikh Salim Chishti, who became a general in the Mughal army in the reign of Jahangir. The tomb was topped by a dome and thirty-six small domed Chattris and contains a number of graves, some unnamed, all male descendants of Shaikh Salim Chisti.

“Diwan-i-Aam or Hall of Public Audience, was a building typology found in many cities where the ruler meets the general public. In this case, it was a pavilion-like multi-bayed rectangular structure fronting a large open space. South west of the Diwan-i-Am and next to the Turkic Sultana's House stand Turkic Baths.

“Diwan-i-Khas or Hall of Private Audience, was a plain square building with four chattris on the roof. However it was famous for its central pillar, which had a square base and an octagonal shaft, both carved with bands of geometric and floral designs, further its thirty-six serpentine brackets support a circular platform for Akbar, which was connected to each corner of the building on the first floor, by four stone walkways. It was here that Akbar had representatives of different religions discuss their faiths and gave private audience.

“IIbadaht Khana or House of Worship was a meeting house built in 1575 CE by the Mughal Emperor Akbar.

“Anup Talao: Anup Talao was built by Raja Anup Singh Sikarwar, an ornamental pool with a central platform and four bridges leading up to it. Some of the important buildings of the royal enclave are surround by it including, Khwabgah (House of Dreams) Akbar's residence, Panch Mahal, a five-storey palace, Diwan-i-Khas (Hall of Private Audience), Ankh Michauli and the Astrologer's Seat, in the south-west corner of the Pachisi Court.

“Hujra-i-Anup Talao: Said to be the residence of Akbar's Muslim wife, although this was disputed due to its small size.

“Mariam-uz-Zamani’s Palace was the building of Akbar's Rajput wives, was built around a courtyard, with special care being taken to ensure privacy.

“Naubat Khana also known as Naggar Khana, meaning a drum house, where musician used drums to announce the arrival of the Emperor. It was situated ahead of the Hathi Pol Gate or the Elephant Gate, the south entrance to the complex, suggesting that it was the imperial entrance.

“The Pachisi Court was a square marked out as a large board game, the precursor to modern day Ludo game where people served as the playing pieces.

“Panch Mahal was a five-storied palatial structure, with the tiers gradually diminishing in size, till the final one, which was a single large-domed Chattri Originally pierced stone screens faced the facade and probably sub-divided the interior as well, suggesting it was built for the ladies of the court. The floors are supported by intricately carved columns on each level, totalling to 176 columns in all.

“Birbal’s House, the house of Akbar's favourite minister, who was a Hindu. Notable features of the building are the horizontal sloping sunshades and the brackets which support them.

“The impressive Hiran Minar, or Elephant Tower, was a circular tower covered with stone projections in the form of elephant tusks. Traditionally it was thought to have been erected as a memorial to the Emperor Akbar's favourite elephant. However, it was probably a used as a starting point for subsequent mileposts.

“Other buildings included Taksal (mint), Daftar Khana (Records Office), Karkhana (royal workshop), Khazana (Treasury), Hammam (Turkic Baths), Darogha's quarters, stables, caravanserai and such.”

Well that was a whole lot to remember so I took copied the information from the pamphlets.

Whilst we were there we were approached by a family of about 15 who insisted on having a photograph with me, which Lesley took. Not all of them wanted to be in it, but it’s a great pic that I still have and I promised to send a copy which I did when we got back to Norwich and had the films developed. There were no digital cameras in 1985.