World Cultural Heritage Sites - India 2

2015·8.3 MB·English

by  Centre for Cultural Resources and Training

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fUf^Pdch l—^TTTrT World Cultural Heritage Sites-lndia
The General Council of UNESCO in 1972 adopted the “Convention
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concerning the Protection of the World Natural and Cultural
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Heritage”. The aim of the Convention was to promote cooperation
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fe Tfe rddiftfe 4 wn yfem fe fer «n, ferr 4 ftt the protection of the natural and cultural heritage which belongs to
all mankind. A large group of nations ratified the Convention and
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pledged to conserve the sites and monuments within its borders
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which have been recognised as having an exceptional universal
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Committee.
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Another important achievement of the Convention was the
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creation of the World Heritage Fund which allows it to call upon
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fed fefe fey 3 fefeT feff 3 fefer TTFFTFT fefe TFFt t, cultural sites listed as the World Heritage. The World Heritage
Fund receives incomes from different sources which are used to
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finance conservation projects and upkeep of the monuments and
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sites.
fed dfe dffe fe fe 4' TTyr feyr Ffe t ddT ffer dt The World Heritage Committee, which meets once a year, has
ddf t- two important tasks :
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natural wonders that are to form part of it. The Committee
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is helped in this task by ICOMOS (International Council of
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Monuments and Sites) and IUCN (International Union for
d dfefeTd 3Tfd fed tfe fefeT foMd) fdfed fe fe the Conservation of Nature and Natural Resources) which
ydrdldf dt dtd-y^dld dd dddt i^edldd ftfe ddl dd dfefd carefully examine the proposals of the different countries
and draw up an evaluation report on each of them.
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— to administer the “World Heritage Fund” and to determine
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the technical and financial aid to be allocated to the countries
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■^■tddt dldl dldd R ^ dd fed ddtdd ddH ddr ddR t-dddT The World Heritage Sites selected by UNESCO in India are:
Ajanta Caves; Ellora Caves; Agra Fort; Taj Mahal, Agra; The Sun
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Temple, Konarak; Mahabalipuram Groupof Monuments; Churches
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and Convents, Goa; Khajuraho Group of Monuments; Hampi
ddfddt ddTdd ddjd; dfe % ddTdd; dfe^d dttdTt-'^deTdRdtd Monuments; Fatehpur Sikri-Mughal City; Group of Monuments at
dT¥d; d^ddd ddTdd ddjd: djdfed dt tJdTd; ^d4ddd dtdd, ddT^d, Pattadakal; Elephanta Caves; Brihadesvara Temple, Thanjavur;
Stupas, Sanchi; Qutub Complex and Humayun’s Tomb, Delhi.
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The Centre for Cultural Resources and Training (CCRT)’s
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endeavour has been to produce informative and attractive
t fd dF eftdf dt “dTddtd dtdfed” % dlt; 4' Mfe dd4 % educational material to teach about Indian Culture. These
fdd dddtFd d dFTdTdt fe dTeft dfetd dTTddft FdeRd ddTd I feft materials are distributed to schools in all parts of the country from
ddTffe dTTddft fe dd % d^T d^eft 4 feftd dt dldl 'i‘, dFT % where teachers have been trained by the CCRT. They are used
in a variety of teaching situations to create an understanding of
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ftsrfcFTf #' FTT#tF FTdlcHF> 3^*## % 3RT: WJ F# FF^T# % fall the inter-disciplinary approach in Indian artistic manifestations.
#FFT FTFT tl TFFF F#?F #F F# FFI FTfFF F# FTTcflF FRTT FF They aim at sensitising the youth to the philosophy and aesthetics
inherent in Indian art and culture. Students do not always get a
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chance to visit museums and historical monuments to get a first¬
FRT: t5T^TT F# WM' FF T^fcl ^ I f-H ^+> TFKFF F# FTFT hand experience of learning about our cultural heritage; hence, the
FT FT FR y dM FTRT =mH FF 3TFFT -ml P-l <rt cl 11 #Ft fTFf# materials of the CCRT bring to the students, in the confinement
of the four walls of the classroom, the splendour and beauty in
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Indian thought and art.
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Apart from other audio-visual materials prepared by the CCRT
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its Folios and Cultural Packages have received wide acclaim and
#RF 3RT #FR Fit Ff ^?F FF F^T FTFFt #T FfFfTFF ^FF# TjfiRT are very popular with teachers in all parts of the country, who are
FTF# Fit Ft #FT FT % 3RFTFFit' F FFF# FFTFT Fit tl FF# #F using them to create amongst students a sense of responsibility
for conservation of all that is beautiful in our natural and cultural
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heritage.
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To celebrate the World Heritage Week in India the CCRT is
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presenting four Cultural Packages on the 16 World Heritage
FRF F fFFF FT#R FW FFT# % %F FTFf##FT FRT F# fIfTSTR Sites in India. These packages contain about 24 pictures each
with detailed descriptions of each picture alongwith a booklet
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giving information about each monument and related activities
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for students and teachers. The 96 pictures contained in these
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packages are not adequate to recreate the splendour of these
F# FWFFFit' Fit FTFFFT# % f#F FT TFTTFi FF F#F FFT FFfFF sites. However, within the given constraints, it is hoped that
FfFfFfFFt FF RF#TF tl FFIf TF % 96 TFtF f#F FF TFTF# inspired by the activities provided in the booklet, teachers and
students will collect more information about their cultural heritage
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and interweave it into the curriculum subjects that they teach and
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learn. Schools can also form groups, clubs and work with other
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voluntary organisations to systematically take up the work of
T^RF FT# eft FRT FT FRTF FFTFR FT fFR 3RF T#f#5FT FTFTF# % conducting detailed studies of the sites and encourage the youth
to learn simple conservation techniques.
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Of the thousands of ancient monuments strewn all over the
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countryside in India, some are protected by the Archaeological
TT# # #Rt FFRt # RFTF 'JTTFF TFTTFif # # ^15 FF TRSJF Survey of India, a few by voluntary organizations and endowment
FReftF ■’JTTFcF F#FF fFFTF, ^R5 T#f%Fi TTTFTF, FFt# ^FTF FFT trusts and some by members of the community at large. It is a
matter of great pride that UNESCO has selected 16 monuments
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of India and placed them on the World Heritage list. Though this
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number is small in comparison to the large number of monuments
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in the country, it brings prestige to the artists and architects of
fFR Ft FFF FF FiTFT Fi FRTTFiTft FF FTT^fF# FF TTOH FFT t India of that bygone era, who made these monuments in a period
fFRFl# 2000 FFf Fit FIFt 3TFfF #' fF TFTTFif Fit FTFFT fFRTT FTI covering a span of 2000 years.
• World Cultural Heritage Sites —India 1 ■ World Cultural Heritage Sites —India 2 ▲ World Cultural Heritage Sites —India 3 ♦ World Cultural Heritage Sites —India 4
Sanchi Stupas, Agra Fort; Sun Temple, Konarak; Khajuraho Temples; Ajanta Caves; Ellora Caves; Elephanta Caves; Mahabalipuram Monuments; Brihadesvara Temple,
Fatehpur Sikri; Taj Mahal, Agra Qutub Complex, Humayun's Tomb, Delhi Churches and Convents, Goa Thanjavur; Pattadakal Temples; Hampi Monuments
Tffer, chluilc^ Sun Temple, Konarak
The art and architecture of Odisha had an unbroken tradition
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of temple building during the Kalinga rule. The series of extant
•tF'H Tl RRT%?T flldl TFtl rfR cm el "4 hP\< deMeil'l RTeTT temples of that period are an historical record of the Kalinga Order
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In the lOth-llth century A.D. rose a new powerful dynasty of the
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Eastern Gangas, the most famous of whom was Narasimha Deval,
RT^qfq 137TI Rd% (R5RT) FT! RTF qq WTTcT TRT RT q«TT Fq4 who built the renowned Surya Mandir at Konarak in Odisha. An
yPh«S ctilullcP ^ ^4 hT4< RF Rnh ct,<c||4|| &TTI mR^cI RlPd high level of sophistication in philosophical thought, aesthetics,
ideational concepts and advanced astronomy had culminated in
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the construction of this beautiful temple.
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Konarak is in the district of Puri and is very near to the Bay of
d>ll4> FTt fqq) R fRR t cT^TT qRTet q4 % RcRfaqr fqqqj Bengal. Though the early history of Konarak is shrouded in myths
ti qFrfq cblu11cR qq RTTfqqr fIfftr yUiRiqi ifa qqqTqrqr)' % ^nri and legends, it is believed that the name is derived from the name
of the presiding deity Konarak, meaning the Arka (Sun) of Kona
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(corner). The style of architecture and sculpture of this region,
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was also influenced, by its contact with the neighbouring areas
R^RTI FR sfa qR Rfcldiell RR R|R(q,eil RT 37TRFTR % $qf and its historical connections.
rri 0,Pi^iRh'+ RRRf qq qqqR frtr ti The Sun temple at Konarak is situated within the centre of a
large quadrangular compound. The main structure is facing the
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east and the temple has been constructed on a high plinth. The
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temple consisted of a rekha deul and a jagamohana. In front
RTI RjIF1fH % -HU^y FZ-RpR tl RTR FTFfR H-KIImF % RIFTR qR of the jagamohana was the nata-mandir, the dance pavilion.
Ud faFIHH FFf t, fFR Rf FR^ ^ RAtdF RTF, RfR % TRJT RR 3 Its pyramid shaped roof has been lost, but some of the other
elements such as the pillars covered in reliefs and lavishly carved
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base are preserved in excellent condition. Decorative sculptures
3Tdd'c+><u| qqR RTeR ^ ^llPHdld aTT^RT, yPdTrR RRF, 37^37)' include geometric ornaments and miniature buildings, the motif
of apsaras — celestial nymphs, devdasis — temple dancing girls
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and musicians.
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In this temple three kinds of stones have been used. The door
tl ^<dldT dt "dhdd ddT ^ftdT' ddlil^i dc«R dt tl "d^dd ddT frames and a few sculptures are in chlorite, staircases and
#fddT ^tdfd dt ddT dtd RTd fd^d ^dt % ddfedTRd drdt ^ ddT platforms are in laterite whereas the rest of the structure was
built in a poor quality of khondalite stone. It is believed that these
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stones were brought here from a distance of many kilometres
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as none of these three kinds of stones are available in this area
dTd {|3d t fdT d?dt dt 3TRdf t dl-S^ % RdM, PhRl dR-pHddl % today. It has been found that though mortar was not used, dowels
FdTd dd fdfedf dd Fddffd fdTdT ddT dTI were employed to hold the stones together.
Khajuraho
Khajuraho, once the capital of the Chandella Rajputs, is now a
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village in the Chhatarpur district of Madhya Pradesh. It lies 55
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kilometres south of Mahoba and 47 kilometres east of Chhatarpur.
pRidlHW ^T RRT RRTRT % Rzf 3 47 f+d)4W ^T f#R tl RF # The area witnessed a great artistic and cultural activity from the
9# 3 12# RIdI«<l RT #R |TR TFTR chdlrHRi RR RTRfTfRRT fRRTTTT 9th to the 12th century A.D. The tract around Khajuraho has
been referred to by various names such as: Vatsa, Jejabhukti,
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Bundelkhand, Khajjurvahaka and Khajurapura, meaning the
RcTT, #RTRfRR, «J#rciF, T=F[TRTFRT RRT T^ Rt RTRT RTRT village (pura) with golden date palms (khajura).
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Khajuraho is an important place because of the magnificent
temples built here by the Chandellas. The Chandellas—or
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Chandratreyas as they have been referred to in the inscriptions—
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trace their origin to the moon (Chandra vanshi) through the
<5chIt1 # MklpRR) RRR# % rRr RRRT Tt RTRR RTRRT ^ legendry Chandravarman. Before coming to power, the Chandellas
TRR # RRR# RT RT# ?tl RRT 4' 3# Rt RFRt 3 R# R#-#TFRt' were feudatories of the Gurjar-Pratiharas. During their period, all
aspects of culture flourished; the Chandellas also patronized the
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literary arts.
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It is commonly believed that over eighty temples were constructed
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by the Chandellas, although only about twenty-five survive today.
RTR: RF RTRT RTRT ^ fRT R#ft ^ RFT RTRRR 3RTTf rT# RR PihIuI The temples at Khajuraho are situated within a radius of a few
RTTRTRT RT, #RTR RRR 3 RTRRR <T#|R Rt #T tl kilometres. These temples represent a strikingly homogeneous
group and seem to be the product of a continuous, concerted
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effort by the rulers over a period of time. Because of this, most of
1°fR: R H111 RR # TTRF "4 RTRR RT# t RRT #TT #tR F# t fRT them share certain conceptual and stylistic features, regardless of
TMI# # RRT RT^ RTRR RRT R<rl RRTTTT % RTRTRRR PiIhcI 1R #fl whether they are Saivite, Vaisnavite or Jain Temples. The temples
at Khajuraho have been built on high and solid platforms without
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the customary enclosure walls. The vimana of the temple rises
RR % RT f#T #T # #, RTRt RRT f#TR RTRRRT RT R# RTf RR# from the platform and its vertical towers reach high, piercing the
tl ^ RTRt R#T #TT RRT R# RTf# (RRRt) Rt ## t RRT sky, as it were.
RTtt RTRT RTTRftRT RtRlff RTT # R# tl Rf# % f#R R^rff ^ In the early period, granite was used for buildings and the extant
RTRT R3RTT RTT# *Rl| RRT RTR tl Chausath Yogini temple has been built exclusively of this stone.
Later, granite and sandstone were used simultaneously. There
-5fITtR^ RTTRT f f#fR TTRt RRR 3 # tl #TT3 Rtf#t RTT are other temples at Khajuraho which are built of sandstone of
RfRT 1#: #t RcRT ft RRT tl RTR t RTRTT #T?R R R^3TT RTRT fine grain with varying shades of buff, pink, or pale yellow.
RTT fRfRR RRRlR 13TTI RRT tft RT| RTRT t, # ^uId: Hlu1, IRTTRt The iconography details the sculptural record of battles, and
festive processions and also includes numerous depictions of
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loving couples. Delicate workmanship of toran decoration, as seen
fR Rftff R M#T fRRRf # R# T^^RRT ^ RRRT# f#TT RRT t# in these temples testify the genius and skill of the sculptors.
RfFT Rft 3TRTRTTRT #ft # RTTffnft % 3RJRR RRTRTRT tl The temples at Khajuraho have been divided into three broad
zones—the western, eastern and southern groups. Some of
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the famous temples include: Chousath Yogini temple, Lalguan
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Mahadeva temple, Kandariya Mahadeva temple, Devi Jagadamba
RRT# Rf#, #t RR#T RTT Rf# RF#T Rf#, f^PJRT R#, temple, Mahavira temple, Chitragupta temple, Vishwanatha
f#RRTR RfRT, RT#t R#T, RT8RR rIrT, RT#RTR R#T, ^RTT# Rf# temple, Parvati temple, Lakshmana temple, Parsvanatha temple,
Duladeva temple and the Chaturbhuja temple.
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Today, Khajuraho remains a village having a permanent population
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of a few thousand inhabitants who cultivate wheat and vegetables
RIR RT TR RRT tl ^t cftR 3RTRt-3RRt #1 RT ff^RRT TTf#RT RRFT on their share of land and graze their cattle and goats on the
dry pastures and hillsides. However, it is a tourist town also and
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thousands of visitors come every year to see the splendour of
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architecture and sculptures of the temples at Khajuraho.
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cF^--qfTTrr, fsrcrft The Qutub Complex, Delhi
ftcrf! RRR k Rlkfkq7 yikk rT^TT kfcfFTfkqi qqk R k RRT kl RF Delhi is one of the most ancient and historic cities of India. It has
3T^ RFTR •Hiyi^lT kfc RfkmTek qrf qk qiRqFk TFt t RRT R^ been the capital of mighty empires and powerful kingdoms. It has
RRRclTSk % fTTf akq Wf Rk RT8k kl fftcrfl ”4' qiklHdH 3#f^ra seen the ebb and flow of many civilizations. The earliest reference
RR TlRk Fk qfkF HFiqM W7S77M k qTRT FlRT t, fkqk R^RT to a settlement at Delhi is to be found in the famous epic, the
Mahabharata, which mentions a city called Indraprastha built
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along the bank of river Yamuna. Delhi,as the name of a place,
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seems to have been referred to for the first time during the first
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and second centuries A.D. The more reliable notion is that Delhi
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was founded in the eighth century A.D. by the Tomars, a clan
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of the Rajputs. Prithviraj Chauhan, one of the greatest Rajput
RRt 3Mra qq TrRRT fqRTI rRffq qk ^Rfk RFT^ 1992 ^RT q. k Princes, faced great wave of Turkish invaders in 1197 A.D. The
7^kkR kteH rrt kiFraq kk % kq fkRk <N^dT qk sjk second battle of Tarain, in 1192 A.D. between Prithviraj Chauhan
d<6 FK qq k 1857 dq> 3h i)k) k 3jRiH ^Jid ■nyid qk 3TqqRR and Mohd. Ghori ended in complete defeat for the Rajputs. From
3^7 Idk^d fkRT, fkkt qk R^t (fWRH) FT f%I gfkRR RRTPT that day on, until 1857 when the last of the Mughal emperors was
R7T lk SrfqRTR 7FTI deposed and exiled by the British, a Muslim monarch always
occupied the throne of Delhi.
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Mohammad of Ghori left behind no descendants and appointed
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his deputy Qutub-ud-Din Aibak as his Viceroy. Since Qutub-ud-
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Din had started life as a slave, historians have generally referred
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to his dynasty as the ‘slave dynasty’. Another term used for this
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dynasty is Mamluks.
Ffkft fkRk k fkiq ^q Rfkra k q|RKkf FRKk i', fkrk rrt In the Qutub Complex which is situated in South Delhi one finds
Rferq, RRT fqqqqldR, q^ RRRR, Rq7 RqjRT, qqr fqRTR R%TRFf a variety of buildings. These include a mosque, a victory tower
kik 3RRqkRqq7 qrakr qfk rtr Rfn#rq ti ^q-qf-qk qqqr k or minar, a tomb, a madarsa, a grand gateway and amazingly
RFRt IkdM Rfkqq, qR7 tkiqfeq Rlk % Rq?k qq, fkqfkk % an ancient Iron pillar. Built by Qutub-ud-Din Aibak, the first great
3TR7 qqqpl Rkqq % R1RR R 37fRkqk' RffR 1500 TJRRT mosque was constructed inside a Hindu citadel on the platform
of a dismantled temple site. In the courtyard of the mosque, a
qftF RTR tl FR Rlk fqqq k Rqffqqr R|^q4'ddch R«R RF t
1500 years old Iron pillar with inscriptions is standing. The most
1% RRRR 1500 Rk % RTF Rt RF ^7 sfk RTkRT RFk % RTR^q
surprising fact is that the pillar shows no traces of rust inspite of
W 7RR RT RR Rq q.Ri Rt Piqild djjl kl ^Jciqld kRRi k fqRR
exposure to sun and rain for nearly fifteen hundred years. The
RkiR kr rr k FR iRRMRUR 72.5 kkq kkt kknq qq fqqkT fkRTi
enormous minar 72.5 mt. high was created by Qutub-ud-Din
^v^q kkR % din k qfk«s rf rIrr ^cci^ ftrir Rfkqq %
Aibak as a tower of victory. This minar known as Qutub Minar,
klRR fI TJRR: FRRk RR kfkk' Rfl FR ^|chK 3RRRcM adjacent to Quwwat-ul-lslam mosque, originally had four storeys,
qq kq 15 kt. afk fkqqq qq 3 kfeq k, fkq qq rrt qq'R^qq 75?kt tapering from 15 m diameter at the base to 3 m at the top,
37RkRR tl 1368 k kiRdl (qfFR 3TTRTR) fRI kklR % RRTfqq crowned by a pillared kiosk. In 1368 after lightening had struck
F"k qq, fqkkiw ^trrt k k ^Rk kkiTRqq kfkk RRRTfi RR^kr the minaret, the two upper rounded storeys were added by Firoz
^R^qfkRT k 1229 fikl qR7 k, tjr Rferq % rir rtf Rkki rr k, Shah. In 1229 A.D, Shams-ud Din lltutmish doubled the size of
3n-c^ikd Rik 3kq qq; RFqikt 3qqquT kteRR f^Rir Rkraq the Quwwat-ul-lslam Mosque by adding new arched screens and
arcades arranged co-axillary with the original mosque. His own
k" 3Rqqq qk kkpi fkiRTi qqq $cRdlkqi k R^k k rr k, Rfkqq
tomb, a square domed chamber was added adjacent to the north¬
k qqq-qfkqkt qkk k fkqrq qqr qqfqqq Tpqq^qq q^ ^qj q^
west corner of the mosque. Bands of inscription with kufic and
klsi rrti fr qq ^RTlkkkf 3TRkqRT qk qiRqi sftq rr kok^qq
naskh characters are interweaved with stylized lotus and bands
qraqr qk qfqqraqqT qrfFR ^qk 3fR dfHdi kqk k ^qq 3kkkqk
of geometric ornament.
qk qqfkk' qk RRqffRR fkRT rrt ki
All the buildings in the complex present the glorious period and
FR qfkR k 3qqfqRR Rkt FRRk' ttfr-ttfr qq qrarar qfkfkkk' activities that took place here from time to time.
rrt ^kk ^rf^ qqqr qk RRTFt kkt-qft qkk Fkt ki
^Hl^j TT^oRT, IdcFFl Humayun’s Tomb, Delhi
TffTFTT, ^f^njT-T^ fHcrell ^ FFRF tFFTRJ^F sftfRRT % Humayun’s Tomb is located near the shrine of Hazrat Nizamuddin
% fFFTF fTFF f I FFFTt TJ-FTdl 3pR WM flcft Fit Aulia in South-East Delhi. Its beauty and splendour is a lasting
1fffTff/TcFTFFFT FT 3Tf?FT FFRF tl F^HH F«JTI Tfe ^ FlFR testimony to the architectural achievements of the Mughals. The
§FI^ % H<=b«R FT H^-dl FT ■Hc^rll T? I route leading to it diverges from present Mathura Road.
’’Jp FTTcFF^f Vldl^l FTT F%RT TTFFfFFT RF Rl STRITF FFFTFto TRF % The history of the early sixteenth century A.D. present a picture
F^7 ^ tFRFl' TTRFFF FT) PFdlTFd FRFT tl eftpt FRT % 3#R FFTF, of the Delhi Sultanate as a politically disturbed tribal state. Babur
$s<I$1h cM FTT FTlfFF FTRl % FlMId. M % 1526 pel F. ^ ^Idd^l after defeating Ibrahim Lodi, the last emperor of the Lodi dynasty
°h I 3TRT^T f^TT I founded the Mughal dynasty in 1526 A.D.
®TTFT ei^Pd^ 3pk TtRf^FTFT RfFFl ^ TO ^tIff FTI 3TFFt Babur was a man of culture and exceptional aesthetic taste.
Fig'^fe SfiMlirdWH fee FTRJRT FT) FTF FT) FTVdMI Wt % fpR To remind him of Kabul in Afghanistan his homeland, Babur
laid out gardens surrounded by trees, birds and flowing water.
FTFT 3 ^^t' ef^TFf FFT FF^ "'Tpft t) M 1|TT FTF FFFTF;i FTFT P
Babu’s memoirs, the Baburnama is written in Turkish with great
3mt ^Pdi|T-“dN<dmi” FTt TJFff FTFT 3 F|[F Ft FI^Fdl, FRF
sensitivity, humour and frankness. It is a delight to read about his
sffc WFFI TT frffFTI FTFT % f|cm 3TR FR^T 3TFFTTRT % Sjnff %
life & leisures, Babur died in 1530 A.D. and the empire that Babur
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left for his son Humayun was magnificent but unstable.
F ?rf 3Tk FTFT TJ)JF ITRffJ % Rriy, Ft TTTTTFF tilsi, FT? RTHFR rfPf
FT Ft FfTFT Fll Humayun was extremely sentimental. It was Humayun who was
responsible for founding the Mughal school of painting. While he
|F1^ 3RFF FRJFT ^qtFd FII 'gFFf fFFFTRTT Ftelt FF FFrfFT TRlpf'Ft FI,
was brave and experienced as a military commander, he lacked
FT FF’ Ftr Ftr 3RJFFt -Hdintd $ld % FTF'Tjff RTT% cfRkIcF F F1FT
Babur’s vigour and determination. Humayun died unexpectedly
% FFH FTF1F 4t <TSFT FFf Ftl IFT^Fp FFJ FFFF1F Ft 1556 pTFt
in 1556 A.D., his grieving queen Haji Begum (Bega Begum)
FF Pi Ip, FF FFFtt jdl TFdt FIFl FFF (®FTT pFF) FTTdfF sflT pTRt
assembled both Indian and Iranian designers and artisans who
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raised this magnificent mausoleum in Humayun’s memory.
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This creation proved a turning point in the construction of
FF FFTTF % fFFW 3 FTTF FTt FFTFTT-fFFfF-FFTT Fteft P FftFpF
mausoleum in India. It is considered to be an excellent example
3TTFTI IFTf % FFTFp Fp ^FF FIT^Fdl FF FF FFJFS FFTFFF FRT
of Mughal architecture. Humayun’s tomb is altogether different
FTrfl Pl ^FTp FF FFFFTI 37Rp TFoF, 3Tf^FFTF, FrFFI p FTFTFTF
from the typical pre-Mughal tombs in respect of its site, lay-out,
^4,JldFldld FFTFp P ^JpFFl fFF Pi FTFTFel FF FTTFtF FIFJFFFT
plan and design and it is, in fact, an unprecedented innovation
% pF P FF" 3F^d^4 FFtFFl Pi TTfJTF FTT^FFT fpTlFT IPFlt PTFTF, on the Indian architectural scene. The chief architect was an
pTHt FTTFFFT FT, fFFp FlT^FTeF P Ff PPt Fit FFF fpFT 3pT Iranian, Mirak Mirza Ghiyath, marking the initiation of a new style
FFf P FRdtF FFTTdf FT FFTpt FFTF FF 3FTF f3TTI FFTFt FFT FfdP in architecture and the beginning of Persian influence on Indian
pT fpiT ^FeftFl FTF 3pR 3FP 1JFt FFFT FTP P FtdR F^TTFT FFdT buildings. In approaching the mausoleum one has to cross the
Pi RIFF Ft fFTp Pr FFTFt Pr FpFpt FpFl FTP Fp IPw FTpFR Bu Halima garden and its eastern gateway of Humayun’s tomb-
PfTTF Pi TFFTFt FR FRT fPrgRd FT 3FFrfpT 3HdFlRF FFpFT FFT Pr enclosure. An important innovation is the setting of the tomb in
■^F P FFTFT FTT fpFTTT M,F FFTF'JP FTTdFTRTTrFFT FptddT Pi FF’ an ornamental square garden based on the Persian char-bagh
FFtFTR FFT Pr F?F P FF FFTFTT tpTd FI df^T FFT FfpFF Fp 3TR principle.
PrPt dtFTp FFT FpFTFTpf P FFTFTT fpTT ^3TT Pi FTTFT FrFT FFT dPd
The mausoleum is located in the midst of a large square garden.
TTFFTFT Fp FrfPff TpFF TTPP FtFT P ?RpT dTTFTp fPfPd Pi FFTFt
It is screened by high walls, with gateways to the south and west.
Pr FR FFTFTR FTW FTF t, Pt FF^ P^pF FTF Pr RTF TTFlfPcftF RTF The gateways are built of grey stone with bands of red stone and
P FtP FT Pt ^FFTrFFT 3pT TFTfdFT RTF P TFdP (3TRRT) Pi
marble. The tomb has four cubic outer chambers which are linked
^FT^ pr FFTFt Pt TTFFT, 3RF fFTpt FFTFp P gFRT FRT Pr |dP RR geometrically to a central chamber but are independent - visually
TMP FP FTp FFf Pi FTRfftFT ^FTp FT Pf FFTTfFFFpP Fp 3RFF and spatially - a fusion of the Hindu idea of an enclosed sanctuary
FFTFTFT FFT, FT IFTppT FTd Pr 3RF TTFTp Fp FTp ^FT^ Fp FTF FT and an Iranian concept of sequence of rooms.
FTTT P FFf Fl feT P, Fp FT 1857 pTpf TTF. P FTpRT FFTTF P No other mausoleum contains so many distinguished members
PfdF '5]M TTRTS, FFT^T RTTF FTFR Fp Fp FFTFTT ^FH'HK pFT FFT of the Mughal dynasty as the mausoleum of Humayun. Although
3pT P 3TFFt ijc^ FFT Fp Tpl his three immediate successors were buried elsewhere most of
FTT pF P 3RF FFTFp' Pt FjfdftFF, fFT^pT FFTFp pT FRT, FtR-TJPf the later emperors lie close to him. It was here again in 1857 A.D.,
Col. Hudson captured the last Mughal emperor Bahadur Shah
3pT F^ tP® tlddHT 3TFfpTF Pi
Zafar who was sent to Myanmar and kept there till his death.
Apart from other mausoleums in the vicinity, a Sikh gurudwara
stands close to the Humayun’s tomb to its north-eastern side.