In the 200 years of Mughal Empire no ruler was as obsessed with art and architecture as the fifth Emperor Shah Jahan. Mughal architecture attained its highest degree of perfection and impressiveness during his reign. Emperor’s patronage ornaments Indian subcontinent still today, from ornate gardens to auspicious mosques and tombs, showcasing grandeur Mughal heritage. His magnum opus although, was the fortified city-palace Shahjahanabad.
A New Capital
When Shah Jahan decided to shift its capital from Agra to Delhi, It was already an integral part of the empire with a much established culture of different communities and a heritage of 600 years ranging from Rajput rule to Lodi Dynasty. Thus, Shah Jahan initiated a new method of cultural integration among various groups through built architecture. It meant a period of development of hybrid structures being manifested in the city and bazaars of Shahjahanabad.
According to the court chronicler Muhammad Salih, the
emperor conceived the city as the meeting place of heaven and earth. This belief originated from the traditional architectural ideas prevalent at that time. It was a symbolic centre of an everlasting hierarchy between city, empire and universe.
The best way to showcase this symbiotic relation between three centres of power is, The palace-fort Qila-I Mubarak (Lal Qila in modern terms); religious institutions like mosques, dargahs, temples and ghats and lastly bazaars heart of city life.
Qila-i Mubarak :- Pride in Palace
The palace-fortress Qila-I Mubarak, today commonly known as The Red Fort was not just a royal household for Shah Jahan and his family. It represented political prestige of Mughal and acting as a politico- military space it maintained that hierarchy.
Built with red sandstone it was a mixture of Persian and Timurid form of architecture combined with local Gujrat, Gwalior and Bengal style. It housed 32 highly ornamented buildings showcasing Persian, Indian and European art styles.
Motifs and architecture
The fort is filled with white marble floorings, pavilions, baluster columns, carved with floral and animal motifs. The baluster columns and bangala covering, inspired by European illustrations of royalty and holy personages, explicitly symbolize Shah Jahan’s role as a semi-divine world ruler.
It is infused with Pietra Dura a rare technique imported from Italy used rectangular plaques of black marble that are inlaid with rare stones.
It depict single birds and floral motifs, a few that depict lions are probably Indian works. Here the combination of the birds, flowers and lions symbolize the throne of Solomon, regarded as the ideal model of just kingship.
Places of Worship
Shah Jahan commissioned two mosques one was Idgah (commonly known today as Old Idgah) and other more important one was Jama Masjid located inside the city in Chandni Chowk.
The Jama Masjid has three bulbous marble dome and towering minaret in south and northeast ends. Inside it has red sandstone, white marble trimming and arched entrances. Above entrances there are lengthy black stone Persian inscriptions on white marble panels praising Shah Jahan’s reign.
Another example is the Digambar Jain Lal Mandir, although not constructed by Shah Jahan. The history of this temple goes as far back as the early days of city. It had several extension and constructions, today this temple is composed of impressive three red sandstone shikharas, carved marble column Manastambha and detailed carvings and
paintworks in ante chamber.
Bazaars :- The life of city
A city’s market is the gateway to its culture. Due to the variety of demographic profile ranging from royalty to bureaucrats, religious scholars, mercantile and artisan classes, indigenous and foreign, servants and enslaved people. The culture of this city also varied greatly.
The town planning of Shahjahanabad resembles a bow with the main road Chandni Chowk positioned to look like an arrow. This pattern is known as karamukha, one of the auspicious designs laid out in Indian tradition of Shilpashastra. It is a perfect example of hybrid nature of this town taking influence from both local and Indian
traditions.
Even the housing of common folks follow Haveli style of architecture with cusped arches flanked by doors overlooking a courtyard, heavily detailed tiles with motifs and carved hanging balconies. Most of the bazaar architecture have been altered and changed. Those few that remains are portals to this once grand city.
A City Still Alive
As Pavan Varma in his book Mansions at Dusk: The Havelis of Old Delhi says ‘History may repeat itself, historical buildings do not.’ Shahjahanabad now commonly known as Old Delhi, is a perfect example for this quote. A city still bustling with life, forever growing, forever changing. It’s rich art and architectural heritage is a culmination of all these traditions and symbolism not just from the subcontinent but beyond.
Several preservation works have undergone to make sure this heritage and its importance pass on to the next generation and their next generation. To wander in those old streets, to understand they are not alone, cultures have walked past the same street before them.
References
• Asher, Catherine B. Mughal Architecture. Cambridge University Press
• Ojha, Archana. Bazaars of 17th century Shahjahanabad as spatial, symbolic and
cultural spaces. Research Journal Social Sciences. Punjab University. Pg 218–236.
• Chauhan, Priya. Shahjahanabad: Metamorphosis of an Old City and it’s Enveloped
Heritage. https://www.sahapedia.org/shahjahanabad-metamorphosis-of-old-cityand-it%E2%80%99s-enveloped-heritage
• Trivedi, Madhu. Morphology of Shahjahanabad. School of Open Learning, University
of Delhi.
What an amazing article, Sahil! Congratulations!