M A Rahman chughtai. THE MAUSOLEUM OF EMPEROR JAHANGEER. Yaqub. Studio Y9

DISCOURSES ON NATION-BUILDING IN MUSLIM CIVILIZATION

NATIONS IN ACTION

ARIF RAHMAN CHUGHTAI

EPISODES IN THE TIME LINE OF

THE MAUSOLEUM OF EMPEROR JAHANGEER

EPISODES IN THE TIME LINE OF

THE MAUSOLEUM OF EMPEROR JAHANGEER

Arif Rahman Chughtai

Published by: Jahangeer Book Club 281 Ravi Road, Near Pir Makki, Lahore 54000 (Pakistan) 2015

CONTACT ME ARIF RAHMAN CHUGHTAI CHUGHTAI ART HOME Mian Salah Mimar Lane, 4 Garden Town (Garden Block), Main Ferozepur Road, Lahore 54600 (Pakistan) Tel: 0092-42-358 50 733 Fax: 0092-42-358 38 373 E-mail: chughtaimuseumlahore@hotmail.com Facebook Wall: Chughtai Museum Website: www.chughtaimuseum.com BLOG: blog.chughtaimuseum.com

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Tradition speaks in a confused way of a dome over the tomb, and convention cries out against the vast expanse of roof, unrelieved by anything visible to persons standing on the low levels outside.

J.P. THOMPSON

All Mughal buildings are based on principles of Euclid, and terms of reference, geometrical progression. Certainly the Mausoleum of Jahangeer is missing a part of it’s structure, and a study of the time line of same, will explain a lot of things.

ARIF RAHMAN CHUGHTAI

EMPEROR NUR-UD-DIN JAHANGEER Once upon a time Emperor Nur-ud-din Jahangeer ruled our region. Everybody knew him, everybody understood him. When times change and people do not remain in power, what is remembered about them, differs from people to people.

The West has its own rants about the Emperor. Local people their own traditions.

Historians judge in their own way. Our field is culture and we judge rules of people by the aesthetics generated by them, nothing else. There is no doubt that Jahangeer was a connoisseur of art and we adore him for that.

The legacy of Emperor Jahangeer with us is a legacy of art and architecture. And one thing left by him is not made by him at all but contain his remains, and that is the Mausoleum of Emperor Jahangeer. This was before the immortal Rauza Mumtaz Mahall or better known as 'Taj Mahal', and was perhaps the greatest feat of architecture created in this region. It is on record that Shah Jahan ordered the construction of the same, and that the Chief Architect of Emperor Jahangeer, Ustad Abdul Kareem Lahori (Mamuri Khan) was very much involved in its construction. But historical traditions point to the involvement of the retired Empress, Nur Jahan, and her hands in giving it the final shape. Here we have the symbol of pure love in it, and this bond of love, makes our love for this paradise on earth, more enduring than anything else. The interesting thing is that where the Taj Mahal is a reflection of male choice of aesthetics, the Jahangeer Mausoleum is reflection of a female choice.

THE GARDEN OF MAHDI QASIM KHAN AKBARI Qasim Khan was an important courtier at the Court of Emperor Akbar. He is termed as Mir Bahr-o-Bar. This means that he could be the same Qasim Khan, who was the Chief Architect of Emperor Akbar, and responsible for many of his buildings. In Lahore he constructed a garden for himself, and the garden was famous for its beauty. It was constructed near an old Mosque of the Sher Shah Suri period. On his way to Lahore, he was assassinated, and he had no heirs at all.

Nur Jahan took advantage of the situation, and got possession of the garden, and named it Dil-Gusha. This set the base for the future mausoleum.

THE DEATH OF EMPEROR JAHANGEER Emperor Jahangeer was not well. To enhance the possibility of his getting well, 1

EMPEROR JAHANGEER A rendition by a Western artist from a miniature done at the Royal Court. A large sized work set the basis for other large size views of the mausoleum 2

EMPEROR JAHANGEER SAYING HIS PRAYERS IN JAMIA MASJID LAHORE A rare portrayal of the Emperor saying his prayers in a mosque in Lahore.

The mosque is either the Jamia Masjid built by him outside Delhi Darwaza Lahore (demolished by the British for the Railway tract), or the mosque of Maryiam Zamani, outside Masjidi Gate, Lahore 3

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This is the place in Kashmeer where the entrails of Emperor are buried in front of small mosque.

The scene unknowingly reflects the spirit of the mausoleum itself.

CHINGUS SERAI

he went to Kashmeer, with the intentions of getting better there. He was utterly sick but on his way back decided to participate in a deer hunt. There was a young boy who was committed to drive the deers towards the King, and this boy slipped on the hilltop, and fell down. He died in front of Emperor Jahangeer, who was so shocked to see such a death at such close quarters, that psychologically it affected him beyond any consolation. He never got well after that and died a dejected end. Unfortunately he died in the Mughal Serai Rajouri, Kashmeer, and after his death, the Serai was named as Chingus Serai, simply for the reason, that due to the desired transport of the body to Lahore, his entrails were removed in the Serai itself. Today they lie in a marked grave in front of a small mosque of white marble in this very Chingus Serai, Rajouri Kashmeer. The architecture of this burial ground of the entrails of Jahangeer is somehow related in the structure of the mausoleum of Emperor Jahangeer in Lahore itself. It has a poignant picture all of its own. As the death was not all of a sudden, and sensing his demise, the Emperor Jahangeer expressed a desire to be buried in the garden of his wife, Nur Jahan. His son Shah Jahan respected the wishes of his father and ordered the construction of the same.

ORDER OF EMPEROR SHAH JAHAN Various historians have recorded the farman of Emperor Shah Jahan for the construction of the mausoleum of Emperor Jahangeer. The most detailed is in 'Amal-Salih', written by Muhammed Salih Kanbo Lahori, of Murchi Darwaza (Mochi Gate), Lahore. Muhammed Salih writes: “A paradise resembling edifice, in one of the gardens on the other side of the river (Ravi) was constructed as the sacred tomb. As his Majesty, following the tenets of the Sunni faith, and the example laid by the late king Babar, had willed that his tomb should be erected without the ornamentation of a building, and be entrusted to Divine propitiation in an open space, so that it may always benefit from the countless clouds of Divine forgiveness without any obstruction, his successor (Shah Jahan), in pursuance of His Majesty's will, built an elevated platform of red sand-stone measuring hundred and hundred gira's round the tomb, surmounted by white marble Chabutra (podium), twenty by twenty, inlaid in a fashion better than mosaic work, in the exact middle of which was placed a replica of the sarcophagus of the King living in paradise. Notwithstanding the minimum formalities it cost ten lakh of rupees and took ten years to build.�

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ONE OF THE EARLIEST PHOTOGRAPHS OF THE MAUSOLEUM 1860s

MAUSOLEUM OF EMPEROR JAHANGEER The early photograph made by Bourne and Shepherd in the 1860s

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THE VISIT OF EMPEROR SHAH JAHAN TO THE MAUSOLEUM Emperor Shah Jahan inspected the completion of the mausoleum, and approved it as it was done. It is on historical record that: “On the 15th of Ramazan 1038 H (1628 AD), His Majesty visited the mausoleum of Jannat Makani (Jahangeer), and distributed rupees ten thousand to the poor, while rupees five thousand were distributed by the royal Princes who accompanied him.�

Nothing wrong was noticed by him on the design as well as the execution, so it stood approved by him.

NUR JAHAN'S ATTACHMENT TO THE MONUMENT Nur Jahan quietly resided in Lahore with a quiet life. She could have chosen to settle elsewhere, but she preferred Lahore, and she has written eloquently about Lahore. She started the construction of her own mausoleum, and there is a history attached to it. Mufti Ali-ud-din of Lahore in his 'Ibrat-nama' is of the opinion that she was never able to complete her mausoleum. Contrary to popular thought that she is buried with her daughter Ladli Begum, Dr Abdullah Chaghatai, the historian professes to have himself seen the grave of Ladli Begum in the compound of Khusro Bagh in Allahabad and is of the opinion, that the duplicate grave is merely that of her love, Jahangeer the Emperor, in the 'Ashiq-mashooq' concept of life. The humiliation Nur Jahan received at the hands of the marauding Ranjit Singh is beyond question, a matter of shame for the Sikh nation. The Sikh Sirdar had her coffin opened to look at her and to search for treasures, which were never found. However the bones were thrown to the dust, and wandering dogs and wolves must have carried them away. The interesting part is that Baron C. Huegel noticed the presence of her Sarcophagus in 1843. It is our contention that the Sarcophagus placed in Asif Khan's mausoleum is actually that of Nur Jahan, for it was found in the compound of the Asif Khan's complex by the British when they dug the compound, and placed it outside the mausoleum, where it was for a long time. Then Archaeological department put it in the mausoleum, but its proportions are more feminine in nature and looks like that of actually being of Nur Jahan.

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The reputed treasures were of a different kind. While constructing her mausoleum, Nur Jahan also had her coffin made. Special cloth was imported from Ispahan and embroidered here in Lahore with Quranic verses. Then the coffin was sent to various religious sites all over the Muslim world for ziarat, including Mecca. There the coffin was dipped and washed in the water of the underground source, Zamzama. To safe guard the sacredness of her coffin, she even appointed a Darogha to look after it. Every month the custom of 'Khatam Quran Sharif' was held, and after recitation, the coffin was fumed with perfume of the occasion, and whispered on with sacred breath. Nur Jahan made all efforts to sanctify her death, but even in retired life, she started wearing white clothes, disregarded make-up of any kind, and tried to live a serene and simple life. She devoted all her attention in helping the poor and the helpless, and was responsible for the marriage of many orphan girls. If there was any profanity in her life, she lived a totally sacred life till her death. Indeed there are underground tunnels attaching the monuments to each other. Some tunnels are going towards residential areas, and are reputed to be linking Sheikhupura Fort, the Hiran Minar and the Jahangeers Mausoleum together in one grand relation.

THE VISIT OF EMPEROR AURANGZEB ALAMGEER The Emperor Aurangzeb Alamgeer returning from Kashmeer came to Lahore in 1663 AD. He was received by Ibrahim Khan, Governor of Punjab, and for a few days stayed at the garden of Dil-Gusha. On 6th October, 1663 AD, the Emperor offered Rs 10,000 at the mausoleum of his grandfather Emperor Jahangeer. So people who accuse Aurangzeb Alamgeer of not respecting the memory of his grandfather are totally wrong. All due respects were paid by the Emperor to the memory of his departed grandfather.

THE PERSONALITY OF SHAH ALAM BAHADUR SHAH There is a gate of Lahore city known as Shahalmi darwaza, that is the Gate of Shah Alam. We find no historical reference to it. But we all know it is related to Emperor Shah Alam. We know that Shah Alam was also Governor of Punjab, and his mother Nawab Bai, was from Gujarat (her mausoleum is still there near the Mazar of Shah Daula). Even as Emperor, Shah Alam remained for a long time in Lahore, to the extent that he even died here. His body lay unattended for at least a month, and was taken to Delhi, and initially he was buried in the compound of 9

Alamgeeri mosque (not knowing which one), near the mausoleum of Qutb-uddin Kaki. Later his body was buried at its proper place for a mausoleum. Various theories originated of his death. One was that he was wounded by a visitor who was trespassing in his harem and was with one of his wives. The other was that he was poisoned to death. In any case it is said that he had an unmanageable sore on private parts of his body.

Two incidents are worthy of record in our research on the mausoleum of Jahangeer. First that Nur-ullah Shustari bigoted Shia of Jahangeer's time, came and settled in Lahore. He was even appointed Qazi of Lahore, but started writing against the Sunni faith, and repudiated Sunni doctrines. Emperor Jahangeer hated this outburst and had Nur-ullah Shustari flogged to death. There were still followers of Nur-ullah Shustari in Lahore, and some Mullah seems to have had his effect on the Emperor Shah Alam Bahadur Shah. Carried away by the Shia doctrine, Shah Alam came to Lahore, and commanded the Imam of the Badshahi mosque to read the Khutba in the style of the Shia doctrine. There was an uprising in Lahore, and the Imam, Maulana Yar Muhammed totally opposed the command, and to the risk of being put to death, totally denied the Emperor of this activation. Even generally thousands of citizens flocked together against this tirade, and Shah Alam was forced to give up his command. This encroachment by Shah Alam was hardly understood at that time. However a list of people he was keeping company, explains his nearness to the Shia doctrine. The people included poets like Mirza Syed Hussain (Khalis) and Qazilbasch Khan (Umeed), who had both migrated from Iran to his court. Shah Alam had got the habit of not refusing anybody, and that lay a stress on his life.

The second incident is related to the claustrophobia of the Emperor. The bigoted writer Muni Lal, has written much falsehood against the 'Mini Mughals' that one wonders as to what propels these writers in carrying so much venom against the Muslims, who treated them well. In any case, one trait of Shah Alam that Muni Lal points is remarkable and needs to be recorded: “Bahadur Shah's aversion to 'the dark, dreary apartments' was perhaps a species of melancholy. A large part of his life was spent in camps in the Deccan. The closed, sunless solitude of royal mansions oppressed him no end.�

The closed spaces were so rejected, that although his tent was joined to the tents 10

EMPEROR BAHADUR SHAH ALAM

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of his wives by underground channels, he never took the underground route, but used to take a 'palki' to visit any of them. Why? William Irvine, the historian, tells us: “Certainly, from the day that he started to claim the crown until the day of his death, he never slept one night within four walls, and the occasions on which he even entered a building in the daytime could be counted on the fingers of one hand.”

Amazing, no one has noted his claustrophobia, to analyze his treatment of the mausoleum of Emperor Jahangeer. He was in Lahore camped by the river side of Ravi. He undertook changes in the Shalimar Gardens, although he visited it only once. These changes are on record. It is apparent that the mausoleum of his great grandfather had a very claustrophobic inside chamber. Suffice that he really got convinced by the ravings of a Shia Mullah and must have ordered changes in it to be made for his own visit. According to historian Kamraj, in the 'Ibratnama', he had ordered new stones to be laid in the Shalimar Gardens. In the same spirit, he had the dome (cupola) on the centre of the Mausoleum removed, and instead of breaking it up; it was bodily removed, and carried to some garden in the Lahore City. After removing the dome, a fretted screen 'chabutra' was made on the roof, including the removal of the second sarcophagus. To prevent the lower sarcophagus from being drenched in rain water, it was already provided with a gold threaded 'shamiana', which is a separate story in itself.

Is there a reference to these changes? Nur Ahmad Chisti, historian of Lahore, in 1867 in his book "Taqeeqat Chisti" does allude to this: “ In the middle of the chabutra roof is the roof made by Bahadur Shah, of plaster. This is the roof that Bahadur Shah put on after removing the tombstone. It measures 17 feet by 15 feet. He also repaired the roof to the West with marble flooring.”

And there we have the beginning of the degradation of the Royal monument, which was without doubt, the gem of Lahore. We will get back to it after the other discussion.

THE BAHADUR SHAH REFERENCE COMES AGAIN AND AGAIN IN LATER TIMES The traveler William Moorcroft visited Lahore in 1820 and visited the mausoleum of Jahangeer and made the following reference: 12

THE MAUSOLEUM OF EMPEROR BAHADUR SHAH ALAM

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“The floor and walls of the chamber are of marble, and along the latter run passages of the Koran. The building was surmounted it is said by a dome, but it was taken off by Aurangzeb, that his grandfather's tomb might be exposed to the weather, as a mark of his reprobation of the loose notions and licentious practices of Jehanjir. Such is the story; but more probably the building was never completed. The roof is now square, presenting an open-work screen, with lofty minaret at each angle.”

The same assertion was repeated by another traveller Alexander Burnes in 1831, when he said: “The tomb was formerly covered by a dome; but Bahadur Shah threw it down, that the dew and rain of heaven might fall on the tomb of his grandfather Juhangeer.”

And Alexander Burnes rightly feared that the river Ravi was damaging the mausoleum beyond repair, and in a few years, might be responsible for its complete erasure. Similar statements are made by other travelers to this most beautiful monument of Lahore.

THE DESTRUCTION OF FLOODS As if human beings were not enough, an additional enemy of the mausoleum was the River Ravi itself. Again and again floods played havoc with the building, destroying one gateway completely, as well as the wall on one side. Many visitors have made references to the flood and they become more pronounced as the direction of the river was changed with the construction of the Alamgeeri bund on the river. Many people tried their best to save it from floods, but the most part was played by the British authorities in Lahore.

THE ACCUSATION AGAINST SHAH ALAM History records the degradation of Mughal monuments by both the Mahrattas, and the Sikhs, and obviously the British, too. But the strangest information we get is the selling of stone work of the Mausoleum of Abdur Raheem Khan Khana, by none other than the Emperor Shah Alam II himself. It is pointed out to us that Maulvi Abdul Muqtadir of Khuda Baksh Library Patna, that given the circumstances, Shah Alam II sold the marble of this great mausoleum. Sir Syed Ahmad Khan gives us the name of Nawab Asif ud Daula, while others tell us that its marble was used to construct the mausoleum of Nawab Safdar Jhang, the grandfather of Nawab Asif ud Daula. Nawab Shuja ud Daula, had begged Shah Alam II for a chance to construct the mausoleum of his father, and his son had 14

helped him in the venture. It is open to suggestion whether this applied to other works of construction too.

AHMAD SHAH ABDALLI AND THE GATES OF THE MAUSOLEUM OF JAHANGEER Ahmad Shah Abdalli also got enamoured by the Mausoleum of Emperor Jahangeer. Not much is known, but this is adequately recorded that, the highly carved and decorated gates of the Mausoleum were removed and taken back to Afghanistan by the whimsical Saddozai. Where they are now, no one really knows? But they may be existing at some place, and research is necessary for that kind of discovery.

THREE SIKHS CAPTURE LAHORE The demise of the Mughal Empire, and the fall back of the Abdallis, made room for dacoits and villagers, illiterate, ruthless, hungry for loot and plunder, all this was the criteria of the these Sikhs who captured Lahore. The main chiefs were Lehna Singh, Gujjar Singh, and Sobha Singh. Seeing the unrest all around, they found an opportunity to gain, what they could not imagine, they could have gained ever. A grand Mughal city was there in front of them to rape and plunder to their heart content.

RANJIT SINGH AVERSION TO PAST GRANDEUR OF MUSLIMS A grand plan is in swing to sanctify the Sikh rule in Punjab. Fancy stories unworthy of being recorded are put in to paint the grandeur of Ranjit Singh. Not only was he a small and an ugly man in looks, his character was totally ruthless and greedy like all others. Mufti Ghulam Sarwar records that at least 2000 Muslim monuments were destroyed by the Sikhs in Lahore. The mausoleum of Emperor Jahangeer faced the worst fate. Not only was the river Ravi playing havoc with the mausoleum, Ranjit Singh was carrying away all that was valuable on the three mausoleums, of Jahangeer, Asif Khan and Nur Jahan. The marble being pillaged was being put on the palace in Lahore, the Golden Temple in Amritsar and even elsewhere, on the baradaris of various Sikh Sirdars and their houses. The most clear theft was the shamiana of the Emperor Jahangeer's mausoleum, and of various witnesses, it was seen by Alexander Burnes himself, on a visit to the Court of Ranjit Singh. Burnes expresses this when he says: 15

“Our road lay entirely through the ruins of old Lahore over irregular ground which gave the line a waving appearance that greatly heightened the beauty of the scene. At the end of this magnificent array stood the Royal tents lined with yellow silk. Among them was a canopy valued at a lakh of rupees covered with pearls and having a border of precious stones.”

Can anyone believe that the poor Ranjit Singh had money enough to have one made on his own. Similarly the awnings recorded by William Simpson in the Golden Temple, Amritsar, surely owe their origin to the same source. Among the Fort treasures recorded by John Login, after the Sikh rule, was included the Mughal tents in the treasury. And what about the Golden Temple itself?

Abounding with material from Jahangeer's mausoleum, much of it which can be recognized immediately merely with instinct by the visitors.

THE FIRST MENTION OF REPAIR ANYWHERE AND POSSIBLE CHANGES IN 1814 The study of past is a complex thing in all ways. Little references here and there tell us a lot of things. A strange collection of papers about the Court of Ranjit Singh was present at the Alienation Office Poona, and printed by the Keeper of Records of the Government of Punjab, that is Lt Col H.L.O. Garrett. The book “Events at the Court of Ranjit Singh 1810-1817” records two interesting details.

One is simply this for 3rd Match, 1814, when it is recorded: “He got up again at about the third quarter of the day and came out. His staff and servants, made their customary bow. Riding a horse, he went to the mausoleum of Jahangir for recreation, returned from there at nightfall, and entered the fort and watched the dance of the dancing girls.”

Certainly there was something in his mind. Perhaps some mischief, greed, envy; what can one say? But in 1814 again, that is 1st October, he passed some strange orders, which cannot be understood, for a man who literally ruined the historic mausoleum of our history. He ordered: “The revenue collector of Shahdara was ordered to undertake the repair of the mausoleum and the garden of Jahangir Badshah in the best possible manner.”

It is anybody's guess, what was actually done and what was intended? But that certainly record CHANGES took place in the mausoleum. Of course a possibility is that the fretted dome on the roof was removed at that time, but as references are there for this removal, attribution to Bahadur Shah himself; we may surmise that 16

AN EARLY PHOTOGRAPH OF THE MAUSOLEUM OF EMPEROR JAHANGEER

This photograph was taken by John Burke between 1864 and 1868, and shows not the skylight, but the empty Sarcophagus of the Emperor

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MAUSOLEUM IN THE 1860s

STEREO-TYPE VIEW OF THE

it was there in the compound itself and shifted to Badami Bagh. But again the Badami Bagh placement could have been in the times of Bahadur Shah himself.

For us the sure thing was a desire to modify the place to the personal requirements of Ranjit Singh. This is possibly the first reference of repair to the mausoleum itself. And the 'best possible manner' tells us of the limitations at that time.

SPANIARD M. AMISE IN THE MAUSOLEUM In 1826 a Spaniard came from Persia to enlist in the Army of Ranjit Singh.

Although the Sikh ruler was told that this man had flaws in his character, Ranjit Singh welcomed him to Lahore. He made M. Amise (Ohms) his Commander of a battalion. The Gujranwalla dacoit sanctioned Jahangeer's Mausoleum for his troops and the Badshahi mosque for his living place. But he never stayed at the mosque and preferred the Jahangeer's mausoleum. He had the debris removed, the garden straightened etc (meaning it was hardly ever repaired) and started living his life in the room of the sarcophagus itself. In fact it is said that there was an opening on the roof which Lehna Singh (or Sobha Singh) had covered with wooden planks after removing the marble balustrade etc. In any case Commander M. Amise was very proud of cleaning up his living quarter. The result that a lot of accumulated dirt was removed.

People of Lahore take their sacred places very seriously. Mirza Akram Baig was the descendant of the Emperor and Empress Nur Jahan and he used to hold the 'PAR DA MELA' festival there every year. Commander M. Amise went one step further. He not only lived in that room of the grave, he started using it for sexual parties. It is said that the sarcophagus was actually used as a bed for sexual intercourse with nautch girls of Lahore. How much of it is true or not, one does not know? Everybody knew that he died on the grave of Jahangeer itself. This one was common knowledge that he died a mysterious death. Cholera was only an illusion. Some say it was the wrath of Allah. Others attribute it to the ghost of Nur Jahan herself. It was also rumoured that the shade of Jahangeer had been seen and the Emperor predicted the death of the European rascal. But rational people say that he was probably murdered by a gardener at the instance of the Mutavallis or khadims of the mausoleum. In any case he was actually buried somewhere outside in haste. Ranjit Singh had the building closed and the walls sealed after his death. Captain Claude Wade tells us that the news of the death of M. Amise reached him on 18th October, 1828, and he worked for Ranjit Singh for two years. Sir Edward Maclagan had not only been shown the grave of Amise, 19

MAUSOLEUM OF EMPEROR JAHANGEER An early painting done by William Simpson in 1860.

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A DRAWING OF THE SARCOPHAGUS William Simpson’s famous drawing of the inner of the Mausoleum is the earliest depiction of the inside of the building

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The presence of his brother was there in the Mausoleum of Emperor Jahangeer

DOST MUHAMMED KING OF AFGHANISTAN

SULTAN MUHAMMED KHAN AND HIS SON AKBAR KHAN A rare work of the Saddozais stay at the Mausoleum of Emperor Jahangeer

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but also shown the desecration done to it many times. It was reported by Maclagan that something very bad Amise had done to incur the wrath of the people of Lahore. There used to be a grave in the compound attributed to some BABA SAEN we used to see as kids when we visited the place. Perhaps the grave was of Commander M. Amise himself. This is assured that the stay of M. Amise in the room of the Sarcophagus was highly resented by people, and there must have been solid reasons for the same, as the next inhabitant stayed there without any such issue.

SULTAN MUHAMMED KHAN IN JAHANGEER'S MAUSOLEUM The fight between Amir Dost Muhammed of Afghanistan and Ranjit Singh is legendary. It involves a lot of people, including Claude Wade and American Dr Josiah Harlan. The struggle was to divide Amir Dost Muhammed and his brother (cousin) Sultan Muhammed Khan. There was a plan by Amir Dost Muhammed to abduct the envoy Faqeer Aziz-ud-din, and he took the help of Sultan Muhammed Khan. Sultan Muhammed had already on the instigation of Dr Harlan joined the Sikh camp, and frustrated the plan of his brother. We hear of the tent-pegging prowess of Sultan Muhammed Khan in 1836, when near Ramnagar, he demonstrated his skills in front of Ranjit Singh, with it being observed by visitor G.T. Vigne: “One morning it was intimated to Sultan Muhammed Khan, the deposed chief of Peshawur, and Pir Muhammed Khan, whom I have already noticed, that they should exhibit with their spears. Accordingly, a man was placed in a convenient situation, holding an orange covered with gold leaf, on his open and extended palm. The Patan chiefs, and their attendants rode at this one by one, at full gallop, and took it off the man's hand, with the point of the spear, in the most beautiful style imaginable, not missing it in one single instance.”

This obviously earned the applause of all those who were present there. Ranjit Singh knew he had to appease this man in all ways. To compensate for Sultan Muhammed Khan's help to him, Ranjit Singh gave him the building of Jahangeer's Mausoleum for residential purposes. Sultan Muhammed Khan stayed there for at least twelve years. Baron C. Huegel describes his visit to the mausoleum in 1843 and with his meeting of the Afghan exiled Chief: “Salthyn Mahomet Khan, brother of Dost Mahomet, has taken up his quarters with his Afghans in the apartments of this fine monument, and has so completely ruined it, by

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MAUSOLEUM OF EMPEROR JAHANGEER 1838 The earliest rendition by the Western artist, Fanny Eden 25

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AN EARLY VIEW OF THE MAUSOLEUM OF EMPEROR JAHANGEER

MAUSOLEUM OF EMPEROR JAHANGEER Drawn by Charles Stewart Hardinge in 1846

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BARON C HUEGEL The visitor to the Mausoleum of Emperor Jahangeer in the 1840s, and his detailed account of same

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kindling fires in the halls, that is many places the colour of the stone cannot be distinguished. Salthyn Mahomet sent one of his servants, expressing his wish to pay his respects to us, to which we agreed, on condition that it should be without any ceremony and without delay. On quitting the tomb, we found Mahomet under the verandah on the side next the water. His Afghans had hastily spread some Kashmeer shawls on the floor, on which he and his attendants awaited our arrival. He had been afflicted with fever for two months and looked very ill, but had a very striking resemblance to his brother Dost Mahomet, who, as I was informed, has never forgiven him for surrendering Peshawar.”

There is contrast here in the news reaching us. A flamboyant Pathan tent pegger and then a sick man with his stay in the Punjab, and then being portrayed in so sloppy a way as to provoke laughter. It is all there. This situation is told to us in a very interesting tale about Sultan Muhammed Khan by Sohan Lal Suri, in his history of 'Umdatul-Tawareekh'. He says: “On 26th May, 1843 AD, he engaged himself in hunting in the village of Uchi Basti, where it was reported to him that there lived a very strong and awful lion. The Sarkar called for men and made them raise a great deal of noise and clatter. In that place there was so much of mud that the elephant got stuck into it, while Sultan Muhammed Khan tumbled down and became a source of laughter for the Sarkar.”

The camp of Sultan Muhammed Khan obviously revolved around his residence of the mausoleum of Jahangeer, and a baradari is mentioned in this reference, as the Baradari of Makusawun. Like others, Sultan Muhammed Khan placed his miserable contribution in the destruction of the most beautiful monument of Lahore. Baron C. Huegel repeats the same things: “Two rows of black letters inlaid in white marble, over the entrance, contain the name and titles of the emperor, and in many places, the word 'Allah!' is inscribed in Persian and Arabic characters. The white marble sarcophagus with Arabic and Persian inscriptions stand in the centre, under a dome which Shah Bahadur caused to be destroyed in order that the train and dew might fall on the tomb of his ancestor.”

Lieut. William Barr visited Lahore in 1839, during the tenure and life time of Ranjit Singh. He clearly states that the baradari of Hazuri Bagh was made from the spoils of the mausoleum of Jahangeer, and Nawab Asif Khan. He describes his visit in most detail compared to others: “We ascended by a narrow and steep stair case to the roof, which is entirely paved with white marble marked out like the passages into various devices, and was formerly enclosed by a low balustrade of same material, now only remaining on one side; the rest having been removed by the Maharajah to adorn his palace at Lahore and the temple at Amritsar. Its surface measured seventy yards square, and in the centre there is a raised 'chabootra' or platform fifty-four feet long and same in breadth.”

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The difference between these statements and the changes made by Bahadur Shah is only about 100 years plus, so there is every reason to believe that the legend of the dome and its removal was in fact the truth itself.

ARJUN SINGH SON OF HARI SINGH NALWA IN POSSESSION OF MAUSOLEUM Besides M. Amise and Sultan Muhammed Khan Sadozai, we also have a record of the mausoleum to be in the possession of Arjun Singh, son of Hari Singh Nalwa. Obviously with such ignoramus people taking possession of the place, nothing good could be expected from them, and all contributed to the decay of the priceless monument of Lahore. These stray references of ownership makes us realize how actually illiterate and senseless these people were in real life, and their vision in today's terms literally zero.

BRITISH RULE AND THE MAUSOLEUM The plan of the introduction of Railways in the Punjab led to the planned destruction of many important monuments in Lahore. The complex of Jahangeer's mausoleum was no exception. The Railway tracks ran right through the complex. The situation inside was bad too. Henry Hardy Cole reports the damage like this: “Bahadur Shah, Ahmad Shah and Ranjit Singh carried off many of the marbles, and the occupation by the British troops after the Sikh war caused great damage. There exists, however, an evil which has caused, and is still causing, unceasing and cruel destruction.

Between the tombs of Jahangir and Asuf Khan is the sarai, which has been converted into an engine-yard and manufacturing depot of the State Railway. Holes have been knocked in the walls, the grounds broken up, and the various gateways occupied by the railway employees and their families.”

But in the same cue, Henry Hardy Cole makes a startling observation, which is in people's mind to this day. He says: “Before Ranjit Singh's time there existed a marble pavilion on the terrace, but the materials were removed by him to build the baradari in the Huzuri Bagh in Lahore. My own impression from the style of this baradari is that it was removed bodily from Shahdara. If this is ascertained on careful investigation to be the case (and tolerably trustworthy evidence could be obtained from measurement and inquiry), I think the building ought to be restored to its former position. Along the walls of the open colonnade round the tomb is a Dado of beautiful tile-work, now invisible on account of coats of whitewash: this whitewash should be carefully removed.”

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This bodily removable concept was partially endorsed by Mirza Aslam Baig, and more on that later.

HAZURI BAGH BARADARI The period of Sikh rule in Lahore is a period of destruction of more than 2000 Muslim Monuments, as endorsed by historians of that time. They spared no building to recover bricks and stones, and lacked any sophistication in their aesthetic choices. As they were relying mainly on Muslim Architects in the city, most of their architecture is based on Mughal traditions. The building of the baradari in Hazuri Bagh is an event traceable by some to 1813, after Ranjit Singh's conquest and taking in possession of the famous Kohinoor diamond of the past. Whatever the year, it was there when William Moorcroft visited the place in 1828. However the description given by this traveler is at odds with the present structure standing in front of the Badshahi mosque. Moorcroft thinks that the middle storey was made mainly of wood, while today it is not. The earliest image of it, probably that of Lord Hardinge's in 1846, gives different upper portion of same. Others describe the upper chamber to be surrounded by a fretted screen for sleeping in Summer. That certainly is not there with the antique photographs we see of it every day. In the very early book on Lahore, by Thronton and Kipling, they elude the design to the joint work of a Muhammedan and a Hindu, without taking any names. No one has bothered to give it a professional survey.

With the upper storey gone, and the lower storey absent from the minds of the people, the middle storey has many tales to tell. Yes there are portions of stones from Jahangeer's mausoleum on it even today. A real shame on the character of the Sikhs in their rule in Lahore. The four small baradari extensions on all four sides are unexplainable. Probably all stolen from Jahangeer's mausoleum. The Golden Temple in Amritsar shows all the theft in even more clear terms. A fantastic claim is made by the Faqeer family that this baradari was designed by Ranjit Singh himself. Yes, we can together sit and laugh at all this, on a cup of tea.

To give our analysis more rational sense, we had the lower storey photographed extensively, perhaps for the first time in history. The delicate design shows the work of a real great architect of that time (Mian Salah Mimar was indeed the leading architect of that time, descendant from a famous family of Mughal Architects, and was attached to the Court of Ranjit Singh). This lower storey is in

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Possible the earliest view of the Hazuri Bagh baradari, of a drawing done by Charles Stewart Hardinge in 1846

HAZURI BAGH BARADARI

bricks, and certainly not from any monument anywhere. The arrangement is mind boggling in its intricacy. A great piece of architecture. With Moorcroft's assertion of a wooden second storey, it seems the baradari was indeed different in 1813 (and afterwards). When did the changes take place, one really does not know, even from the multitude of travelogues of that period, of foreigners who visited Lahore in various capacities of their kingdom.

Henry Hardy Cole tells us: “In front of this masjid is the Hazuri Bagh, in the centre of which stands a marble pavilion with some beautifully painted ceilings, composed, if not wholly, of part of the materials of the cupola which formerly surmounted Jahangir's tomb at Shahdara. As I have already stated, I think the cupola should, if possible, be restored to its original position.”

As this was not enough, we have another startling observation, unnoticed by most people, who must have read the book itself. We must pay attention to this information, made in 1883.

THE MIND BOGGLING STATEMENT OF DAVID ROSS People see books all the time and yet some statements of books escape the mind of people. A book namely 'Land of the five rivers and Sindh' by David Ross, published in 1883 seem to be one like that. David Ross was a Railway person and a well educated one. In fact he was Incharge of the Badami Bagh Railway Station. He came to Lahore and wrote the book in Lahore itself. He has described many things in it, mostly routine but still worthy to be read for its time period. For instance he narrates about Jahangeer's tomb and the Hazuri Bagh constructions, and says: “The Emperor Jahangir, who died in Kashmir, was buried at his own request in the garden of his devoted wife, Nur Jehan, who erected the mausoleum at Shahdera, which is still one of the most beautiful ornaments of Lahore. It has been stripped of its chief adornments, the marble facings, the parapets of marble round the roof and the galleries of the minars having been removed by the Sikhs”.

And again he says: “In the time of the Mughal emperors this garden was used as a sarai, and filled with armed men; but Ranjit Singh turned it into a pleasure ground, which he ornamented with the marble edifice in the centre from the tombs of Asaf Khan and the emperor Jehangir at Shahdera.”

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THE CORNER DOME OF THE MAUSOLEUM In all ways the perforated dome of the centre of the mausoleum would resemble this corner dome of the same 34

JAHANGEER PALACE The dome reflects the taste of the Emperor for architecture.

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SPECIMEN OF A JAHANGEERI PERIOD PERFORATED JALI WORK

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TRADITION OF INTRICATE PERFORATED MARBLE JALIS

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By this statement he clearly points that material from Jahangeers tomb, was used on the construction of the baradari of Ranjit Singh in the Hazuri Bagh complex, outside Badshahi Mosque, Lahore. But only that is the reference. In this way, he debunks the recent view of conservator Henry Hardy Cole, that the Baradari of Hazuri Bagh was bodily lifted from the mausoleum of Emperor Jahangeer. This means that he knows that the architecture of the baradari is of the Sikh period itself, but the marble materials etc were from the tomb only. The statement clears that he is not confused in any way.

The next statement is startling, when he clearly writes: “The beautiful marble cupola of pierced or fretted work belonging to Jahangir's tomb is now used as a band stand in the gardens adjoining the fort.”

David Ross's statement carries the following information: 1. There was a Cupola on the tomb of Jahangeer.

2. It was made of fretted, pierced marble screen.

3. It was in 1883 being used as a bandstand.

4. The bandstand was in gardens adjoining the Lahore Fort.

The marble pierced dome pavilion being used as a bandstand in the gardens near Lahore Fort. If the garden was Hazuri Bagh itself, Ross would have mentioned it.

These gardens could be the Badami Bagh garden, Minto Park garden, Company Bagh garden, and perhaps the Gol Bagh garden itself. We have a statement by Colonel Goulding in his book on Lahore that there used to be a band playing in a bandstand in the Gol Bagh (also known as Anarkali Gardens) at the start of the Upper Mall, or at the end of Lower Mall, Lahore. So there was a bandstand there and some relic of construction there to this day, looks like bandstands of yesterdays. Colonel Goulding writes about it like this: “The social life of Old Lahore centred round the now deserted Lower Mall in days not too far distant, when the Police Band played regularly twice a week in the Gol Bagh, then known as the Bandstand Gardens, and the beauty and fashion of the station gathered there to exchange gossip and listen to the music. The bandstand and the masonry promenade are all that now remain as indications of departed glories.”

The question looks simple but is complicated. Yes, there were bandstands in Lahore and music was played at many places. For example in 1942, G.D. 38

THE CEILING OF THE ENTRANCE OF THE MAUSOLEUM

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AN IMAGINARY PUBLISHED SKETCH OF THE MAUSOLEUM 1868

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In his famour publication of ‘Tuzuk-i-Jahangeeri’, Sir Syed Ahmad Khan published this drawing, in a period where most drawings were based on conjecture only. After the Mutiny (War of Independence), the mausoleum was denuded of most of its traditional trees, planted by Nur Jahan herself. The roof terrace looks open to the sky in this drawing

SIR SYED AHMAD KHAN’S DRAWING OF THE MAUSOLEUM IN 1864

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All these were based on early photographs, but a lot of unknown structures can be seen in this drawing, of actual buildings attached to the mausoleum

LASSU JI LAHORI ARTIST’S VERSION OF THE MAUSOLEUM

Khosla's guide book reports: “The gardens are under the care of the Lahore Municipal Committee and is used as a public pleasure ground. On Monday and Wednesday the Police Band, and some-times the Military Band, plays in the space to the left side of the Montgomery Hall.�

It seems that playing music in Lahore gardens was a routine under British rule.

And where was this garden which had the bandstand removed from the top of Jahangeer's mausoleum. Why this information is missed by so many people? I think the answer is simple. Either the bandstand was sent abroad as a gift to some county in England, or in some way it was broken and no Englishman wanted to take historical responsibility for this debacle.

SEARCHING FOR THE IMAGE OF THE CUPOLA It could be there somewhere, tucked in some album of photographs somewhere, anywhere. Or it could have been published in some magazine of those times. The search is worthy of pursuit. But there is an image of a domed structure lying in the Lahore Fort, perhaps the only image of Lahore, tucked in the engravings of William Daniell, who I think never came to Lahore, otherwise he would have found other images worthy of being engraved by him. The answer is simple that 'Oriental Annual' did publish engravings of drawings made by different artists, and we have a long list of them. W. Finden is the more probable person as an engraver. It is somewhat similar to the domed structure given by Diguid in his 'Letters from Kashmeer and Lahore', published in 1876. It is actually a construction to mark the cremation of Ranjit Singh, and is there in his Samadh, to this day. From where it came from and who provided the inspiration, is anybody's guess.

THE VISTAS OF LAHORE MUSEUM Our environment is full of parrots that go on chattering whatever is told to them without a depth of research. One statement we hear all often is that Bhai Ram Singh designed everything in Lahore, perhaps all Lahore itself, by his spirit going back a 1000 years. My father M.A. Rahman Chughtai admired Bhai Ram Singh, and we admire him too. He was a cultured and gifted man, and his contributions are ever so acknowledged by us. But he was not responsible for everything. And whatever he did design is simply a modification of traditional Mughal designs, not always in the best of taste. The marble pavilion for Queen 43

VISTA LAHORE MUSEUM The existence of the possibility of it being a remain of some Mughal building

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Victoria's statue simply does not have that geometrical perfection of past designs.

A guide book to Lahore Museum by Percy Brown, published in 1905, says that John Lockwood Kipling and Bhai Ram Singh designed the Lahore Museum as well as other things. The outside gateway looks simply a copied design of that period, but the huge marble vistas inside seem too intricate to have been done at that time. There is every possibility that these vistas came from another structure.

They were modified and used in Lahore Museum. There is a tantalizing possibility that these vistas were part of the bandstand in the Gol Bagh outside and thought best by John Lockwood Kipling to use in the museum itself. The funny part is that in the muqarnas or cornice of the vistas, there is a human face with sun around it, and that is the very face on the flag of the Mughals at that time.

Obviously we cannot ascertain anything, as we can only point to a way of enquiry.

THE ENIGMA OF MIRZA AKRAM BAIG The historian Yak-dil mentions in his famous diaries (Bayz No 5 page 22) related to the year 1848, the presence of Mirza Akram Baig, son of Mirza Azeem Baig in Lahore. Mirza Akram Baig later had two sons, Mirza Aslam Baig, and Mirza Mehr Baig (Jhandoo). Mirza Ferozeuddin a painter of the newspaper 'Paisa Akbar' was the son of Mirza Mehr Baig. The poet Amar Nath son of Raja Dina Nath calls Mirza Akram Baig, as the descendant of the grandson of 'Janat Makani', that is Emperor Jahangeer. People think that the reference is actually to Empress Nur Jahan, through her daughter Mehrunisa known as Ladli Begum (or perhaps her son, as she did have one). But one other thing forgotten by these historians is that Ladli Begum was wedded to Mirza Shahryar (called as Nashudni, meaning 'good for nothing' by Jahangeer himself in his Tuzuk) brother of the rebel Khusru, and son of Emperor Jahangeer himself. Prince Shehryar had captured Lahore when news of death of Emperor Jahangeer came to Lahore, and handled himself so badly, that he was ousted and Asif Khan had first blinded him and then ended his life, along with all the other rebel Princes of the family. So the descendants of Ladli Begum were in fact descendants of Emperor Jahangeer himself.

The one thing that this family was famous was, for the 'Par da Mela', that is the Mela held at the Mausoleum of Emperor Jahangeer, every year, on his death anniversary. About ten thousand people attended the Mela (fair), and it was a

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MIRZA SHAHRYAR SON OF EMPEROR JAHANGEER The Prince often referred as the “Useless” person, even by the father himself. He was married to Ladli Begum, daughter of Empress Nur Jahan. The descendants of the Emperor from this Prince lived in Lahore all the time 46

DOCUMENT OF GARDENERS The Baghbans of Lahore were attached to the Shalimar Gardens as well as the Mausoleum of Emperor Jahangeer

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MASTER FEROZE DIN. Lithographer and Artist, descendant of the great Mughals

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DILAWAR HUSSAIN SON OF MASTER FEROZE DIN One of the descendants of Emperor Jahangeer

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Fanny Eden’s drawing of Lahore in 1838, is perhaps the earliest view of a repeated imagey of the facade of the city

EARLIEST VIEW OF LAHORE 1838

routine feature in Lahore, held even in the days before the partition of India and Pakistan. So Mirza Akram Baig knew the history of the Jahangeer's mausoleum as well as anyone could. His son Mirza Aslam Baig, who became an Assistant Commissioner in Amritsar under the British rule, wrote a book on the Mausoleum itself. It was in all cases in manuscript form with the Deputy Commissioner Lahore (as J. J. Thompson had consulted it for his famous article), but we find no trace of it. If it was printed, it is lost. If it was not, the manuscript is not traceable. The fire in the Deputy Commissioners office in Lahore might have burnt the manuscript. In any case the family had definite view of the history of the mausoleum.

HEREDITARY KHADIMS OF THE MAUSOLEUM OF JAHANGEER Nur Ahmad Chishti gives us great details of these people in control of the mausoleum. Ranjit Singh had not respected their claim to a large area surrounding the mausoleum and left the inside of the mausoleum as cultivation ground for them. Some of the main names involved and known in the 19th century were Sharf-uddin Mujawar, Qutb-uddin Mujawar, Imam-uddin Mujawar, Nizam-uddin Mujawar, and Mahtab. These people were in possession of forty hujras in the mausoleum. Some of them were also in litigation with each other.

WRITERS T.H. THRONTON AND J. L. KIPLING 1876 It is basically the first book undertaken by the British in the English language.

And in it very clearly, T.H. Thronton tells us: “According to the hereditary khadims or attendants, there was once in the centre of the terrace roof a marble cupola supported upon an octagonal basement of perforated marble; above this was an awning made of cloth of gold, and above this another awning stretched from the upper portions of the four towers. The central dome and the awnings were, it is said, removed by Bahadur Shah, the son of Aurangzeb; the carved doorways of the chambers below by Ahmad Shah Durani; while Ranjit Singh carried off the marble lattice parapet which surrounded the roof and the galleries of the towers.�

Writers have dismissed this claim of the central dome, but when people who were at the mausoleum all the time, claim this, then it is certainly something which merits our attention.

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LOWER STOREY OF HAZURI BAGH BARADARI LAHORE A storey usually unseen by visitors is of highly complex architectural design and worthy of any feat of architecture

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ATTENDANTS AND DAVID ROSS ON SAME PAGE In pursuit of the truth, we have to identify our quest for discovery of the actual history of the mausoleum.

A STUDY OF THE HAZURI BAGH BARADARI A visit to the Hazuri Bagh baradari even today will reveal marble pieces directly traceable to the Mausoleum of Jahangeer. And talk not of the Golden Temple.

The shame is all the more obvious. Even with a little self respect, Sikh rich gentlemen should commission removal of these stones and investment in brand new stones for their religious monument. For poor Emperor Jahangeer to be represented there is utter shame, particularly when the Emperor is held responsible for the murder of one of their leading Gurus.

CHANGES TAKEN BY THE RAILWAYS AND ARCHAELOGICAL SURVEY OF INDIA It is reputed that the roof of the Chabootra of Jahangeer's mausoleum had a wooden covering (people attribute it to Lehna Singh, Sobha Singh, or even Kharrack Singh). The result that it was in a messy condition and the Railway authorities had it repaired in the 1870s. The same was carried out under the direction of Deputy Commissioner Lahore, Weatherburn Sahib. The Chief Engineer Kanhaya Lal was instructed to repair same, and there is a record of same. In fact it was not merely a repair job, but completely new designed skylight for the mausoleum. This skylight can be seen in a photograph dated around 1880 AD, as well as one made in 1905 AD, when the skylight was removed and the ceiling hole closed forever. The following record was in the Secretariat office, as told to us by J.P. Thompson: “That was put by the Railway authorities in 1870, according to letter No 110, dated 11th May 1901, from the Archaeological Surveyor, Panjab Circle (Dr. Vogel), to Superintending Engineer. There are no papers about the skylight in the offices of N.W. Railway.”

The general condition of the mausoleum can also be judged from the status of the Serai attached to it. Captain Henry Hardy Cole describes the serai in 1880 in his First Report of the Curator of Ancient Monuments in India as: “Between the tombs of Jahangir and Asuf Khan is the sarai, which has been converted

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into an engine-yard and manufacturing depot of the State Railway. Holes have been knocked in the walls, the grounds broken up, and the various gateways occupied by the railway employees and their families.”

He describes the condition of the gateways as well as the buildings: “Completely ruined. A few rooms are habitable; the lower portion crumbling away. The out-offices in the whole enclosure are in a ruined state, and falling in several places.”

In any case some repairs were being undertaken for their own reasons. The Skylight was receiving most attention. The skylight constructed by Kanhaya Lal is shown best in two photographs of the platform of the roof dated in the 1880s, and in 1905. But then it was also creating issues with time. Rain water, dust, etc would sweep in the tomb's chamber below on the ground. It was decided to remove same and close the skylight once for all. This work started in 1905-06 and we have a photograph of the skylight before the restoration made by the Archaeological Department itself. Then we have another photograph also made by the Archaeological Department in 1907-1908 after removal of the skylight.

The real problem created by this change was that the inside chamber now went dark and the visibility of the sarcophagus was reduced to a great level. Here the record is very clear and today the top platform is as it was left in the year 1908.

A STORY OF VARIOUS CANOPIES ON THE TOMB In 1881 Henry Hardy Cole makes the following observation: “The centre room (in which stands the sarcophagus) is in good preservation, but the canopy of cloth under the skylight is very dirty and old.”

Here is one proof of the presence of a canopy which was very old still there in the mausoleum. And this canopy was under the skylight. But let us repeat what the hereditary khadims were saying: “According to the hereditary khadims or attendants, there was once in the centre of the terrace roof a marble cupola supported upon a octagonal basement of perforated marble; above this was an awning made of cloth of gold, and above this another awning stretched from the upper portions of the four towers.”

The Golden Temple was boasting of many golden threaded awnings like this as well as the seating place of Ranjit Singh himself. It can well be understood from where these awnings came into Sikh possession. Their whole adventure in Punjab was based merely on loot and plunder, and plunder of awnings and 54

CANOPIES USED BY EMPEROR SHAH JAHAN The existence of a tradition of canopies over buildings

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TRADITION OF CANOPIES ON PALACES AND MAUSOLEUMS

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THE CANOPY TRADITION OF COVERING MAUSOLEUMS As reflected in a Tazia of Lahore

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shamianas meant nothing to them. Where a lot of stone work can be seen in Sikh monuments even today, some of the awnings inside the Golden Temple would very clearly be from the mausoleum of Jahangeer. Alexander Burners reference to the one lakh rupees worth shamiana over Ranjit Singh clearly speak volumes of the awning of Jahangeer's mausoleum.

THE LIGHT POSTS OF THE GOLDEN TEMPLE Some things are understood and when we have historical reference, we feel better by the authentication of our premises. Kanhaya Lal in his 'History of Lahore' tells us: “When the time of Maharajah Ranjit Singh came, he turned his attention towards this building. He gave the orders that the various pillars for light illumination as well as perforated jalis be removed from the mausoleum, and should be put on the bridge of the Golden Temple, Amritsar. As per these orders, the pillars and jalis and various stone works were removed and taken to Amritsar, and replaced by 'choona' work on the mausoleum.�

In the 1858 photograph of the Golden Temple by Felice Beato, one can start observing all this, and regret the shame heaped on the people responsible for the plunder and those who still appreciate the same by remaining silent on the issue.

TWENTY GAZ BY TWENTY GAZ ISSUE The Mughal measurement of Gaz is equal to about thirty two inches, so the area under question is about fifty-three feet and six inches. There is a two feet and ten inches corridor on this area. There is a nineteen inches area from where something was removed. The portion above the sarcophagus is made of Choona, not marble as the rest of the area. The speculations are very clear on this issue.

Specialists like Vincent Smith and James Fergusson very clearly say that there was a light fretted dome on the area above the same. Here we are also told by Mr Nicholls that the crown of the dome is in no way more than two feet thick, and that means the weight of the upper structure has to be in all ways limited, to be supported by the base of the structure. Our work of detection has many points which are to be taken into consideration.

Now the issue is first to trace the original design of same. Then the design imposed by Bahadur Shah after removing the original dome and shape of mausoleum. Then the various states of its existence. The making of the skylight, 58

GOLDEN TEMPLE AMRITSAR

The pathway clearly shows pillars, jalis and marbles stolen from the Mausoleum of Emperor Jahangeer

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EMPTY SARCOPHAGUS ON THE ROOF OF THE MAUSOLEUM

A VIEW OF THE BRITISH SKYLIGHT ON THE ROOF

This skylight was built by Kanayah Lal, Engineer Lahore, for the Railway Authorities and existed from the 1870s to 1905, when it was removed, and the hole in the roof sealed on a permanent basis. Reproduced with the kind permission of the British Library London

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A photograph taken in the 1880s show a skylight which was constructed by Kanayah Lal Engineer Lahore for the Railway Authorities

THE SKYLIGHT OF MAUSOLEUM OF JAHANGEER

the coverage with wooden planks, and finally the sealing of the hole on the chabootra. In our discussion we have touched the entire history of the mausoleum.

A LOST PAVILLION ON THE ROOF TOP IN 1908 We are told that the skylight made by Engineer Kanayah Lal in 1870 (reference to a letter No 110, dated 11th May 1901, from the Dr Vogel, Archaeological Surveyor, Punjab Circle, to Superintending Engineer), according to the instructions of the Railway authorities was creating issues, and in 1905, it was decided to remove same. This removal was completed in 1908. A crack in the sarcophagus in one corner, tells us that something fell down from the ceiling, to inflict damage on the gravestone. The bureaucrat, a former Chief Secretary, H.C. Fanshawe, reported the presence of a small pavilion on the roof of the mausoleum in 1908. This news was as such published in the famous Murray's handbook for travelers. J.J. Thompson obviously thinks that Fanashawe was mistaken of the very presence of such a structure, which actually is not possible.

We believe that Mirza Aslam Baig was trying to replace the lost pavilion on the top. What actually happened is not on record, but our conjecture is that an attempt was made by the Mutavallis of the mausoleum, who were people in power, by being an Assistant Commissioner in British time. John Murray's handbook records this very small episode in the life of the mausoleum. This aspect is also recorded by G.F. Abbott in 1906, in a clear statement made in his travelogue, “Through India with the Prince”, when he says: “The visitor sees here (Sleeping Palace Lahore Fort) a kiosk in which the Moghul Emperors once enjoyed the music and the breeze of the Ravi turned into a blatant messroom, and there the cool cloisters in which the romantic princes of yore dreamed dreams of idleness and joys Elysian now accommodating the cockney soldiers of the West. To a similar treatment has been subjected the famous mausoleum of Jahangir, now surmounted by an English skylight.”

This term of 'English skylight' is a strange term being used in 1906. There certainly is more to it.

In the famous travelogue of 'High road to Empire', the author writes around this very same time that: “From the windows of this hall northwards there is a beautiful vision over the Almond Gardens and plain beyond to the Ravi, a mile or two away. Before Aurangzeb too successful attempt to prevent inundation by diverting the course of the stream, the river ran just before the Fort. Where its broad bright blue stream now flows to run the Indus, stands Jehangir's beautiful tomb, on the Shahdera which Ranjit Singh robbed to form the Bara Darri, a rich and fanciful gem of a marble pavilion standing in the tangled

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VIEW OF THE ROOF FROM THE MINARET OF THE MAUSOLEUM

A VIEW FROM THE ROOF SHOWING THE DOME OF ASIF KHAN 2014

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LADY JOHN LOGIN The Logins were responsible for the upbringing of Maharajah Dulleep Singh, and also responsible for orders to demolish the well known Silver Bungalow in Lahore

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SILVER BUNGALOW OF LAHORE A one of a kind view of the Silver Summerhouse of Mahrajah Ranjit Singh, made in 1849 AD by the photographer Dr John Jethro McCosh. As an act of greed, the whole building was dismantled and sold by the British authorities in the Punjab.

Reproduced with the kind permission of National Army Museum, London, who are holders of its copyright. All rights reserved 67

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Perhaps the cupola removed from the Mausoleum of Emperor Jahangeer, or the Silver Bungalow referred in Sikh Archives

A TRAVELLING BUNGALOW OF MAHARAJAH RANJIT SINGH

TRAVELLING BUNGALOW OF MUGHAL KINGS A wooden double-storey canopy used by the Mughal Kings while travelling from one place to another. Richly decorated.

Probably one was there in the Lahore Fort too and perhaps the first Hazuri Bagh Baradari 69

garden—the Hazuri Bagh—which separates the Fort from Aurangzeb's great cathedral mosque.”

Sir Henry Craik tells us in 1908 in his book 'Impressions of India' that: “Quite recently the vast garden around it has been cleared of overcrowded trees, and the beauty of the monument is better visible.”

So all these changes are recorded between 1905 to 1908, and perhaps these instigations were the result of the interest of Lord Curzon himself.

CERTAIN THINGS ARE OBVIOUS The whole mausoleum was entirely of marble. But the upper portion of the dome is obviously now of 'choona', which means that certainly a structure was removed more than once. The inside dome shape must have been surrounded by a fretted double dome, as is the basis for this kind of Mughal Architecture. In 1882 when Kanayah Lal wrote his history of Lahore, he found large slabs of marble on the roof, with no knowledge as to how and when the same were removed from the mausoleum. The often mentioned false sarcophagus had gone missing way back, and the presence of same was noted by Nur-ud-din Ahmad Chisti in his book, as well as Mughal historian Muhammed Salih Kanbo. Whereas David Ross tells us of the possibility of such a cupola lying possibly in the Almond Gardens (Badami Bagh), there certainly existed many such structures both inside the Fort as well as outside to pose the riddle of trying to discover a very particular cupola. This we can be sure that a thing of such unsurpassed beauty could not have been destroyed even by Bahadur Shah or the working Architects and Masons of that time. Some tantalizing possibilities can be listed: 1. The Silver Bungalow in the Lahore Fort, which was sold and destroyed by Sir John Login, and has been recorded with even an image.

2. The Bungalow on the Cart of Ranjit Singh, which used to be towed around by elephants, and even the children of the Faqeer family used to play in it. The Faqeer Khana has probably record of same, and they mention the same.

3. The kiosk in the compound of Divinity College on the Mall, which was once the garden of a Sikh Sardar, namely Maha Singh from the Court of Ranjit Singh. It was later in possession of his son Bhai Sawaya Singh, who sold it to Bishop of Lahore, Reverend T.V. French.

4. The Vistas of Lahore Museum, by possibly dismantling the pavilion in the Bandstand Garden, and redesigning it, by John Lockwood Kipling, with the drafting help of Bhai Ram Singh.

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PAVILLION AT BRIGHTON ENGLAND

British architects made such pavillions for Royalty, as well as transporting things from India to there

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MARCH-CAMBRIDGESHIRE Perforated steel dome structure in a fountain in Cambridgeshire England Tradition of designs started with such structures 72

PRINCESS GUL-I-BADAM BADAMI BEGUM OF LAHORE The builder of the Badami Bagh of Lahore

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A PAVILLION IN THE DIVINITY COLLEGE NILA GUMBAND LAHORE

5. A small cupola pavilion shown in an engraving by W. Finden in the Diwan Am of Lahore Fort, similar to the cupola used in the Samadh of Ranjit Singh.

Perhaps the Cupola in the Samadh itself is from the same origin. Sikh State archives itself credit the construction of the Samadh to both Raheem Baksh Mimar and Qadir Baksh Mimar.

6. The existence of Royal pavilions in Brighton, can point to the possibility of the British having sent the same for their Royalty to Brighton, England itself.

Some redesign could have taken place by the architect John Nash himself.

7. Even careful thought can reveal some place we have not been able to think off. Photographic images of the past reveal many places which are not even in record at the present. Every possibility is worth considering but an aesthetic eye is required for sound judgment.

8. Maharajah Sher Singh and a beautiful marble Peacock fountain edifice, as mentioned by Leopold Van Orlich in his journal, when he says: “A square marble reservoir, containing numerous fountains, in the centre of which stood a colossal silver peacock with outspread tail, and surrounded by parterres of the choicest flowers, formed the refrigeratory. It was enclosed on two sides by lofty walls ornamented with little turrets, while the two others displayed open vaulted marble chambers, supported by angular columns and decorated with draperies of the most splendid and costly Kashmir.�

9. One of the best alternative and as confirmed by Railway Station Manager David Ross, the bandstand in Badami Bagh (then known as Company Bagh), and history of its movement from the top of Jahangeer's mausoleum to Badami Bagh and then perhaps on to Lawrence Garden itself. A detailed discussion is obviously required for a proper judgment. Today in Lawrence Gardens we see a mausoleum of a saint, which is covered with a cupola, and the architecture of same, is similar to the corner dome of Jahangeer's mausoleum. That the place was once actually a bandstand and that cannot be ruled out. The English bureaucracy usually did not leave anything like this standing next to their favourite spots. Old images of Lawrence Gardens does not show this cupola at all. However the Saint is presumed to be centuries old, but the cupola is certainly not. It is made of bricks, perhaps replacing fretted jalis of the past. It's height is unnatural too for sarcophagus of hundreds of years should be way down in the ground, not high above the plinth. Research in its own sake is really required for analysis.

BADAMI BAGH There are many places which have no historical record. Such places are the 75

CUPOLA ON THE MAUSOLEUM OF SYED SHARAFUDDIN LAWRENCE GARDENS LAHORE The same bears a strong resemblance to the Corner Dome of the mausoleum of Emperor Jahangeer and could be a left over of that place. Certainly it is a later addition or could be the site for the bandstand of Lawrence Gardens Punjab Balls 76

AN EARLY PHOTOGRAPH OF LAWRENCE GARDENS

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The band stand was here too, where regular music was played by the bands.

It had various names, and presently known as Nasir Bagh.

ANARKALLI GARDENS

A 19TH CENTURY WESTERN BAND Bands like these played in band stands all over India, as well as in many places in Lahore 79

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The bands played reqular music at various places, including the Lawrence Gardens.

Here the list of music is attached to the Menu of the place

PUNJAB BALL MENU

enigma of history. One such place is the Badami Bagh in Lahore. Strangely the name is on the lips of even the common man on the street and yet no one knows the history of Badami Bagh. One of the earliest references we have is a statement made by Faqeer Aziz ud din, the famous Minister at the Court of Ranjit Singh (as reported by his son Faqeer Qamar ud din) and he asserts that the Bagh is name after a Mughal Princess Gul Badam. He further says that her mausoleum which was made of pure marble and inlaid with stones existed between Masjidi Gate and Khizri Gate in Lahore. Obviously the Princess could not have been in times of the Great Mughals, otherwise we would have known more. She certainly belongs to the time of Later Mughals. We will try to know more.

A major reference comes to us in times of the ruler Sher Singh, when Lord Auckland, the Viceroy of Hindustan was negotiating release of mutual prisoners between the kingdom of Afghanistan and Hindustan. There was a catastrophe in Kabul, when sixteen thousand soldiers of the British Army were massacred there and only one person escaped on a horse from that place. The rest were made prisoners. Patrick Macrory in the book 'Kabul Catastrophe' tells us of the kind of prisoners there: “By 21st September, Sale had brought the prisoners safe and sound to Pollock's camp at Kabul, twenty officers- half of them wounded- ten ladies and two soldier's wives, twenty-two children, six Bengal Horse artillerymen, thirty-eight men of the 44th and seven of the 13th Light Infantry. :�

To welcome the English prisoners which included General Sale and his wife Lady Florentia Sale, including many others, from Kabul, a camp was created in the Badami Bagh Lahore. It was made one of the most beautiful places in Lahore, by establishing huge beautiful tents with multiple fountains, splendid waterfalls, springing perfumes, rather than water from their faucets. The perfume was so strong that one could smell the perfume for years after the incident itself. Marble floors, golden chairs, dancers and singers, all mixed in a grand cavalcade and memorable event. Blast of cannons enriched the historical occasion. But the most surprising statement is made there and then, when it is said that Sher Singh put a temporary marble bungla (edifice) in the centre of Badami Bagh, which had certainly come from somewhere else. Again it is on historical record that even as far back as 1849, an English Military band used to play music in this edifice, which was considered as a bandstand.

In fact the English band played 'God save the Queen' even in the gathering at Badami Bagh in 1842. In same way the English bands played at Lord 81

Ellenborough camp and durbar at Ferozepur and the record of that highlights what must have happened at Badami Bagh too. Leopold Van Orlich relates to us the happenings at the camp: “In the evening, Lord Ellenborough gave a ball in his tent, to which 800 officers were invited; but there were only between 30 and 40 ladies. Several of the Indian princes were present, but none of the Sikhs, because their notion of European manners are still so obscure, that the ladies might easily have experienced some unpleasant treatment. It was a carpet dance; two bands of music played alternatively, and the splendid circle was so animated that they did not break up till the morning. Who would have believed, after the unhappy catastrophe at Afghanistan, that within only a twelvemonth such a fete as this would have followed! So closely allied in history, both of nations and individuals, are mourning and joy.”

English bands were certainly there and their presence is felt in the environment.

In fact Bandstands were everywhere. Dancing was the major past time of the English on this soil, and their pleasure was most, when they danced at the tombs of former Kings and Queens. This was not only noted by others but even resented by their own people. For instance Fanny Hawkes in her journal “In search of the picturesque” states the obvious and others have recorded her displeasure: “Every bit as bad, in Fanny's eyes, was the attitude of the British who employed a band at the Taj so that visiting Company officials could have the opportunity to dance a jig in the marble platform in front of the tomb: 'Can you imagine anything so detestable?' she wrote. 'European ladies and gentlemen dance quadrilles in front of the tomb! I cannot enter the Taj without feelings of deep devotion: the sacredness of the place, the remembrance of the fallen grandeur of the family of the Emperor, the solemn echoes, the dim light, the beautiful architecture, the exquisite finish and delicacy of the whole…..all produce deep and sacred feelings; and I could no more jest or indulge in levity beneath the dome of the Taj, than I could in my prayers.”

So a bandstand and levity in the Badami Bagh was a mere kind of routine too.

The Badami Bagh was renamed as Company Bagh and Henry Cope was made its administrator in 1860. The newspaper 'Lahore Chronicle' may have some real news about this episode. In 1859 the Railway track was being laid and the Badami Bagh station created in the midst of this environment. As usual things went up and down as the English were famed to do. The area of Company Bagh, a rendezvous place for dance and party was no longer suitable. Some shifting took place to the Lower Mall area and there too a bandstand was in operation. The old 'Badami Bagh' was put on sale in 1868, and the first part of it was sold to create 82

M.A. RAHMAN CHUGHTAI ON THE ROOF OF THE MAUSLOEUM An early photograph of the artist sitting in a pensive mood on the roof top of the mausoleum. Around 1920s

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THE AUTHOR PRAYING AT THE MAUSOLEUM OF THE EMPEROR

the Lawrence Gardens on the Mall road Lahore. Then in 1880, more of it was sold, and attention diverted to the new garden. There is a probability that the bandstand either found a new home elsewhere, or was transferred to the Lower Mall area (known as Bandstand Bagh for much time), or even to the new Lawrence Gardens Lahore. Historical change was in full swing. David Ross's assertion in 1883 of the Cupola of Jahangeer's mausoleum being used as a bandstand in a garden adjacent to the Lahore Fort stand on its own merit in full appreciation.

We do hear of Badami Bagh here and there. The famous Handbook travel guide to India of John Murray has to say this about Badami Bagh in 1901, and the reference applies to a few years earlier too, for the edition was repeatedly printed.

John Murray says: “The windows look out towards the Badami Garden to the N. On this plain Ranjit Singh used to hold his reviews. There used to be fountains inside of the quadrangle, and their basin still remains. In the inlaid work of the pavilion there were formerly valuable stones, but these have been all picked out.�

Badami Bagh has been the site for things like Gullzari Mall, Ram Chand Flour Mills; Burmah Shell Company, Gurdawara Nanak Garh, Lari Adda (Bus and truck stand), Auto Market, and Steel Mills. The top of it is that there is a working Railway Station here, which goes a long way back.

Lady Dufferin and Viceroy Dufferin paid a visit to Jahangeer's mausoleum in 1885 and had tea on the roof. In a letter home, Lady Dufferin relates their ecstasy at the event. There is no mention of the cupola by anyone else. A famous incident is dated 17th January, 1923, when a huge party was held in Jahangeer's mausoleum to celebrate the attainment of knighthood by Dr Muhammed Allama Iqbal. It seems that the place was actually a favourite picnic point of most of Lahore and major events used to take place there. When a title was granted to Kashmeeri Bazaar publisher, Siraj ud din, the celebration of the event too was also at the same place. A photograph of this event was with his family and the artist M. A. Rahman Chughtai could be seen in it too.

M.A. RAHMAN CHUGHTAI AND JAHANGEER'S MAUSOLEUM The memories of the artist M.A. Rahman Chughtai were woven around two

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major places, the mosque of Nawab Wazeer Khan Lahore, as well as the Mausoleum of Emperor Jahangeer. Shahdera and the river Ravi was their favourite haunting place. Photographs exist of their presence at the place. One of the Chughtai brothers is seen in a photograph made outside Jahangeer's mausoleum in a jungle like situation. Such early photographs also exist of their presence inside the Wazeer Khan mosque. But one aspect rarely written is the inspiration of that place for the development of his art.

Samarendranath Gupta's presence at Mayo School of Arts brought the attention of the artist to the Bengal School of Art. The artist was of the opinion that he could make a better painting more related to his Muslim environment, than Abindaranath Tagore, who knew nothing of his culture. The artist made his attempt at his first painting. He visited the mausoleum and made a design sketch of the sarcophagus for his record, and at home asked his wife Wazeer un nisa to pose for a photograph for him. The pose was of a woman saying her 'dawa' or prayers. The hands stretched out beseeching Allah for forgiveness. Both these images he juxtaposed in a painting, which he entitled 'Nur Jahan mourning at Jahangeer's tomb'. This painting he put on display in his mohalla in the house of a neighbour and people came to see it. Later he was himself disappointed with the work (for reasons unknown), he tore it out of the record of his life. Interesting the sketch and the photograph are still there in our record. One thing is sure, that the inspiration of the Mausoleum of Jahangeer was in the art of M.A. Rahman Chughtai.

THE PRIDE OF PAKISTAN Things change but things remain the same. Today the mausoleum of Emperor Jahangeer is subject of assault by the Archeological department of Punjab.

Lacking aesthetics, taste of quality work, greed, the mausoleum is being torn apart at its seams. Will anyone come to the rescue? To be honest I do not think so.

In Kashmeer in 1904 a valuable Jahangeeri album of paintings was being used by a tea seller tandoor to ward of rain from the broken panes of his window. The fact is that this nation is clueless about culture. No one in power really cares, and that is a fact. The mausoleum of Emperor Jahangeer lasted centuries, surely it will last more centuries on its own.

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PRESENT VIEW OF THE ROOF OF THE MAUSOLEUM 2014 The author sits on the vaults of history and contemplates the episodes in the time line of the mausoleum

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IRVINE, WILLIAM: Later Mughals. Luzac and Co, London, 1922.

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2014 - THE AUTHOR ARIF RAHMAN CHUGHTAI SITS ON THE HISTORICAL AND CONTROVERSIAL CHABOOTRA ON THE ROOF OF THE MAUSOLEUM OF EMPEROR NUR UD DIN JAHANGEER BADASHAH.