A Glimpse at the Tomb of Jahangir Part II

Text and photos by Huma Wasiq

In the previous part of this article, I wrote about the Tomb of Jahangir near River Ravi, Lahore. I discussed a bit of its history, its layout plan, gardens, architectural qualities, building material and engineering geniuses. But there is much more to tell from my field research about this place of much historical value.

The gates of this building allowed elephants to enter with the queen and the royals sitting on them to be welcomed under a shower of flowers falling from well-designed small balconies. These balconies have arch windows to allow the guardians and court girls to see and welcome their masters with full royal protocol. Imagine the flower petals falling, lush green gardens blooming, birds chipping, the waterfalls and fountains burbling. The whole atmosphere was created for a special feel.

The whole plan of this tomb is divided into three main parts. The mosque, the rest area or the workers’ residence and the main tomb. Simplest to the fanciest. All these three sections have their own charbagh style gardens with their own significance. Apart from the enclosed buildings, there are tombs of the grand vizier Asif Khan and empress Noor Jahan.

The most interesting thing about Noor Jahan’s tomb is its underground tunnel which links it to Hiran Minar at Shekhupura on one side while Shalimar Garden to Delhi on another side. This tunnel allows a horse rider to sit on the horse and travel safely underground. These tunnels were closed in different places with the passage of time and the hanging coffin of the Queen was looted. Asif’s tomb is in critical condition, pillaged but still, we can see beautiful plaster work inside the dome and extremely beautiful glazed tile work on the outer walls. The first section of Jahangir’s tomb is just beside Asif Khan’s tomb.

The simplest section, showing the modesty and purity in relationship between man and Allah, this section contains a mosque.

Once this mosque was decorated with fresco paintings showing gardens from heaven and beautiful marble floors to pray on.

These marbles were decorated with in lay work and special Red Stone was imported from Rajasthan to decorate this mosque but the Sikh period left a lot of damage to it.

The marbles were stolen and the frescos were destroyed. 30 years ago, these walls were whitewashed and today, this fragile white mosque with three domes stands on trembling walls. At the front of the mosque is a small pond with a fountain in the centre which provides water for ablution.

A path between the four gardens leads towards the second section with ornamental plants and better gardens. This section was actually the residential part for servants and also served as a rest area for travelers. Rawalpindi and Lahori Gates are situated face to face in this section.

There are 180 rooms still standing on their arched design. These rooms were built by emperor Akbar in 1557 and hence known as ‘Saara e Akbari’. The main Gates have two platforms on both sides for guards to stand and are built as double gate for better protection. The gates were decorated with fresco paintings showing flowers and trees.

Unfortunately during the British raj, the main gate was converted into the post office and a train track was laid crossing through both Rawalpindi and Lahori gate. This resulted in damage to plasters and paintings. Only 30% of this area is today inside the walls while 70% has been acquired by locals.

The magic played by architects and designers keep playing with our minds, especially when we enter the third section. We started by looking at simplicity then we moved towards the necessity and then we entered the luxury section.

A big entrance gate led us to a beautiful garden. Yes, this is the gate which was used to welcome the royal families.

The garden is in Persian charbag style with fruit trees. Water channels with falls, pools and fountains all are still functional. In the central crossing of the pathway is a big water reservoir with fountains and small waterfalls. The water flows in between the pathway.

This path leads towards a four to six steps high platform to enter the main arch of Jahangir’s tomb. The central arch has two side doors with staircases inside. The whole veranda has five more arches on each side of the main arch allowing air to enter from all sides. The four sides of this building have the same architecture. Its design later inspired that of the Taj Mahal. Four minarets with 8 sides and of 100 feet height are designed leaning slightly outwards. They are decorated with zigzag designs.

The river (eastern) side of the monument is less maintained, which allows wild animals like jackals, porcupine and snakes to enter, especially at night. We enter this section with a majestic feel. Originally there was a baradari on rooftop, which was made in Italian white marble. As this marble shines in moonlight one can imagine it along with the rest of the aforementioned features of the tomb and the soft breeze, giving the area a paradise feels.

The roof floor is made up of limestone with inlay work of geometric designs on it. It is 6 to 7 feet thick and constructed without concrete. This 10 kanal wide roof had a false cenotaph exactly above the original inside the building. There are two false cenotaphs on each of the top floors, exactly above the original which is underground and is not accessible.

On the ground floor to enter the main grave compound, there are four wooden doors on each side of the building. Today only the front (western) door is kept open. Inside beautiful fresco walls give amazing impact. Decorated in deep red and blue, the combinations walls are full of fresco work. Yellow, green and deep red roofs are painted in floral designs.

Moving further inside the building, we need to cross the marble jali gateway. These jalis are cut in honey comb design from single piece of white marble. Crossing these jali we can see the ground floor grave, above which hangs a lantern which was placed in 1910 and was brought from Calcutta. This works with electricity and made in Egyptian style. The original lantern was of gold and decorated with rubies. The whole roof was once decorated by diamonds which are no longer there.

This false cenotaph stone is white marble in one piece decorated with semi-precious stones inlaid into it. We can see 99 names of Allah written in black marble known as ‘Sang e Musa’. The name of the emperor is written in Persian

Huma Wasiq is a nature artist from Pakistan with MFA degree from the Punjab University. She has received many academic and merit awards, including the Presidential Award and Special Artist Award 2018. She is also a valued member of the Advisory Board of Fascinating Pakistan.