REMARKABLE BUILDINGS AROUND AGRA.
The House of the Wuzeer—The Jāmma Masjid—Tomb of
Jahānārā Begam—The Tripolia—The Mahookma Masjid—The
Madrissa—Etmad-od-Doulah Cheen-ke-Masjid—Rām Bagh—Syud
Bagh—Secundra—The Chamber of Gold—Miriam Zemānee—Kos Minārs.
1835, _Feb._—The residence of the Wuzeer close upon the Jumna, and
without the walls of the Tāj, is a house now in ruins, with a large
garden containing the tombs of the Wuzeer of Shāhjahān and of his family.
An Eastern writer says, “He rendered the field flourishing and fruitful:
he passed through life with reputation and lustre; and when he sank into
the grave, a cloud of sorrow obscured the face of the empire.”
THE JĀMMA MASJID,
Or great mosque, was built by Jahānārā, the favourite daughter of
Shāhjahān and Arzamund Banoo. The princess Jahānārā (the Ornament of the
World) was an unmarried lady, and devoted to religion. She is described
as fourteen years of age when her father mounted the throne; sensible,
lively, generous, elegant in person, and accomplished in mind. Her
influence over her father was unbounded.
The Masjid is a fine mass of building of red carved granite; the court
and fountains handsome. The three domes, with their peculiar adornments,
are beautifully formed; they are inlaid with red granite and white
marble. This immense masjid is very handsome: over the doors are Arabic
characters in black and white marble, and the outside is ornamented
with the same. Within it is ornamented with chūnā and white marble. The
workmanship cost five lākh, and the time it took in building was five
years. The stones and marbles were sent from different Dependents as
presents to the princess. The masjid was much shaken forty years ago by
an earthquake, which also did injury to the Tāj.
The Jāts from the Deccan, who were in Agra about ten years, despoiled
this masjid: they were expelled by the Vukeel of the Delhi Padshah. There
are three domes on the roof, and four burj at the corners. In the court
of this mosque the sixtieth regiment of Native Infantry saw some fighting
some thirty-three years since, and the old place certainly shows marks
of hot work; however, they succeeded in taking it. From the top of this
masjid you have a good view of the city of Agra, with Akbar’s tomb at
Secundra in the distance. This princess also made the garden called “Bagh
Zaarrai” on the opposite bank of the Jumna.
About one mile east of the city (of Delhi) is the tomb of the celebrated
Jahānārā Begam, eldest daughter of the emperor Shāhjahān, no less famous
for her wit, gallantry, and beauty, than for her filial attachment in
undergoing a voluntary confinement of ten years with her father in the
castle of Agra. The tomb is of fine white marble, with a hollow space at
the top, which was formerly filled with earth and flowers. At the head
of the grave is a tablet of white marble, with an inscription in black
characters; the slab is decorated at its corners with cornelians of
different colours.
١٠٩٤
بحجز کياه و سبزي نپوشد مزار ما
که قبرپوش غريبان همه کياه و بس
الفقره العاجلت جهان ارا بيکم بنت شاه جهان مريد
In English thus:
“Let no one scatter over my grave aught besides earth and
verdure, for such is best befitting the sepulchre of one of an
humble mind.”
On the margin,
“The perishable fakīr, Jehanarai Begam, daughter to Shāhjahān,
and disciple of the saints of Cheesty, in the year of the
Hijerah 1094[127].”
From the Delhi Gate of the Fort of Agra, which is grand and solid, but
sadly disfigured by fanciful patterns in whitewash, you come to the
Tripolia, so called from its three gates, I imagine, but it may be three
any thing else. A low arcade of stone runs all round the area, and forms
the Fort Bazār. It is built of red granite.
The Mahookma Masjid beyond the wall is remarkable for its five domes; it
was built by Jahāngeer, and is now used as a Company’s Godown (magazine
of stores).
The Madrissa, a Muhammadan College, erected two years ago by the
Government, is a handsome building.
THE MAUSOLEUM OF ETMAD-OD-DOULAH.
This tomb is situated on the opposite side of the Jumna: to arrive at it,
you cross a bridge of boats. It is situated in a walled garden, to which
there are four gateways of red granite ornamented with black and white
marble. The building stands on a quadrangular terrace of white marble,
on each side of which is a marble fountain. The tomb is of white marble
inlaid with precious stones, and fretwork of the same material, both
internally and externally. The roof is ornamented with four turrets and a
sort of dome in the centre.
Chaja Aiass, a native of Tartary, of ancient family, was raised to the
rank of absolute Wuzeer by Jahāngeer, under the title of Etmad-od-Doulah,
after his marriage with his daughter, the beautiful Mher-ul-Nissa, the
widow of Sher Afgan. The centre room in the tomb contains the sarcophagus
of the Wuzeer and that of his wife, of yellow marble, carved. The walls
of the room are of white marble, inlaid, the pavement of the same. The
ceiling is a mass of the most curious, the most elaborate workmanship
in gold and silver, and coloured flowers, raised in compartments. What
labour must have been bestowed on such a ceiling! The effect is rich,
curious, and fairy-like. In one of the four apartments at the side is
the tomb of his son, in another that of his daughter. The pavement is
very handsome, of coloured and white marbles and precious stones, lapis
lazuli, bloodstone, agate, &c. The place is quickly going to decay, no
care whatever being taken of it further than to prevent any persons
carrying off the marbles. The name of Etmad-od-Doulah is revered to this
day in India, both on account of his own merits, and his being celebrated
as the parent of the “Sun of Women.”
THE CHEEN KE PADSHĀDĀNEE, KE MASJID,
Or the mosque of the Princess of China, is on the same side of the river
as the tomb of the Wuzeer, situated to the left of the Bridge of Boats.
It is built directly upon the river. The effect of the reflection of
the brilliant porcelain enamel with which it is inlaid must have been
most beautiful in the clear stream below. The building consisted of the
tomb itself, on each side of which was a masjid, and beyond each masjid
was a burj, as the natives call them, a pavilion or turret. These five
buildings were all of the same brilliant enamel, like finely coloured
porcelain—flowers in compartments, and Arabic inscriptions over the
arched doorways. The interior was of the same work, mixed with much gold.
As bits fall from the ceiling the natives melt them and sell the gold.
Within the tomb are some sarcophagi which have been completely destroyed
by the gardeners, who live within the tomb and tie their bullocks to the
graves! When the sun shines on the outside of the building the remains
of the porcelain dazzle the sight. The river flows by and washes the
walls. A native boy offered to bring me some of his toys, bits of enamel
which had fallen from the roof; but the father interposed, and rather
angrily prevented his showing them; of course, on account of the value of
the gold mixed up with the enamel. This place, they tell me, belongs to
the Government, by whose order they say the ceilings have been sold to
merchants in Agra, by which means the two mosques and the two burj have
been quite destroyed. To whom this monument and mosque belonged I could
not discover. “When he died and when the worms ate him I know not[128].”
The Rām Bagh, adjoining this tomb, is a fine native garden, laid out, by
the Empress Noor-jahān, in stone walks, terraces, temples, pavilions, and
a building in the centre, on the side of the river.
Invalids come here to reside for the benefit of their health; I sat down
under the shade of the fine trees, and spent some of the hottest hours of
mid-day, reading the history of the mighty dead, and pondering over the
fallen greatness of former days. It was cool and pleasant, and the scene
a gay one: the garden was filled with gaily-dressed Hindoos, who came to
visit the place during the fair that is annually held near the spot; the
fruit sells for about one thousand rupees a year.
The Syud Bagh, a garden next to it, although in ruins, is a much finer
one than the Rām Bagh: the pavilions on the river-side are remarkably
beautiful, of richly-carved red granite; it was laid out by—_non mi
ricordo_.
_19th._—My husband having arrived dāk, with great delight I accompanied
him to visit the Fort, and displayed for his benefit all my
recently-acquired knowledge.
SECUNDRA.
As the burial-place of Akbar Shāh, this is the most interesting spot
near Agra; and I accepted an invitation to spend the day there with much
pleasure. The tomb is on the Delhi road, about seven miles from Agra;
we drove there in the early morning. It is situated in a fine piece of
park-like ground, encompassed by a high wall, filled with noble trees
and fountains,—a quadrangle of forty acres. To this enclosure there are
four gateways; the principal gateway is of red granite, richly carved,
inlaid with ornaments in white marble, with inscriptions in the Persian
character in black marble. The form of the gateway is reckoned very fine,
and likely to be durable. It is very lofty, and the roof is ornamented
by four shattered white marble minarets, one at each angle, which are
all broken off about the centre; this appears like the effect of time or
storm, but I have some idea that they were left in this unfinished state,
for some particular reason.
[Illustration: THE TOMB OF AKBAR SHAH.
فاني پارکس]
Having passed the gateway, you proceed to the mausoleum, a magnificent
pile of red granite, erected by Jahāngeer in memory of his father; the
design of the building is most remarkable, and consists of a series of
terraces, rising one above the other, until finished by one of white
marble; all the arches of which are filled with lattice-work of different
patterns. The terraces are ornamented with numberless small turrets, of
the most beautiful shape; their domes of white marble, with the exception
of eight, which are covered with enamelled porcelain. The sketch annexed
was taken by Luteef, a native artist at Agra; it merely gives the outline
of the building.
THE SONAHLĀ MAHAL.
On entering the building, the first apartment into which you are
conducted is the sonahlā mahal, or Chamber of Gold. The sides and ceiling
of this vaulted room are in compartments, ornamented with flowers raised
in gold, in silver, and enamel; Arabic characters, in gold, are raised
upon a blue ground; and the ornaments are of different coloured stones,
and enamelled tiles, richly gilt. This chamber is thirty-four feet and
a half square; the conjectured height thirty feet. From this a low,
vaulted, narrow passage leads to the vault containing the sarcophagus,
in which is deposited the remains of the mighty Akbar, covered with a
plain marble slab, over which a lamp is kept continually burning. The
tomb is seen as represented by Luteef, of Agra, in his sketch of the
golden chamber, but not quite so distinctly. The length of the passage
is thirty-five paces; the square vault thirty-seven feet and a half. The
building is of red granite, until you reach the upper or marble terrace,
which is four stories high; in the inside of which is a beautiful
court-yard, with an arcade running round it. The pavement is of white
and coloured marble, inlaid; at each angle is a white marble turret,
and the whole is surrounded by a screen of the most exquisitely carved
fretwork in white marble. This terrace is entirely open to the winds and
the sun, having no roof. The cenotaph in the centre is of white marble,
beautifully carved in flowers; and inscribed in Persian characters are
the “Now Nubbey Nām,” the ninety-nine names or attributes of the Deity,
from the Kur’ān. “Verily there are ninety-nine names of God; whoever
remembers them shall enter into Paradise.” At the head of the monument is
inscribed “Allāhu Akbar!” carved in the Persian character; the whole is
covered by a wretched chhappar or awning, which the old Muhammadan, who
was in attendance, informed me was to protect the “_words of God_” from
the rain; had he not told me this, I should have thought it was intended
to protect the tomb from the weather.
A chiraghdānee (the place of a lamp), of white marble, finely carved,
stands at the head of the grave. It is a tomb worthy of him who reposes
beneath it. The unfortunate Emperors of Delhi! shadows of royalty! well
may they look at the tomb of Akbar, and exclaim, “My dead are better than
your living[129].”
The lower verandah of this building is immense; you may judge of its
capacity, when I mention, it was once used as a barrack, and held a whole
regiment of dragoons! Ten of the arches contain tombs; in one of them
are two monuments of carved white marble; on the larger of the two is
this inscription in Persian,—“This is the grave of Arām Banū.” The tomb
of the infant daughter, Asalut Banū, is at the side, which is of plain,
undecorated marble; on the top of it is a hollow space, which used to be
filled with milk. The followers of the prophet make a difference in the
architecture of a tomb for a man or woman: on the slab of a man’s tomb
a portion is raised and finished with stone, on which there is often an
inscription; the tomb of a woman is hollowed out at the top some few
inches in depth, to receive earth, in which flowers are planted; and, for
the water to run off, there is a small hole at the end. The first archway
on the left contains the grave of Shuker Nisa Begam, another of the
daughters of the Emperor; the pavement is inlaid, and the tomb of carved
white marble. The second archway contains the tomb of Sultan Banū, in
the same style as the former; the screens in front of the arches are of
exquisite open-work in white marble.
The daughters of the Emperor were destined to remain single, there being
no prince worthy of alliance with the family of Akbar. Jahāngeer married
the Jodh Baee, the daughter of Rao Sing of Bikaner; she was the mother
of Shāhjahān; her tomb is at Secundra. The natives call the garden
Bihishtabād, or the Paradise. The Government keep this noble tomb in
repair.
Our tents having been pitched under one of the fine trees in the garden,
we partook of a most luxurious tiffin; and the wine, which was iced to
perfection, proved very acceptable after the fatigues of the day.
In the cool of the evening we visited the tomb of Miriam Zumanee, one
of the wives of Akbar: it is a large building of carved red granite,
half a mile from the Emperor’s monument. The sarcophagus is below; the
cenotaph, of plain white marble, above in the open air; and the structure
is ornamented with turrets of red granite. The whole is rapidly falling
to decay.
Driving to Secundra, I observed two of the Kos Minār, which were erected
by Akbar, at a distance of every two miles on the road from Agra to
Delhi; one of them was in a very perfect state of preservation. As they
will be mentioned hereafter, I will close this account of a pleasant day
in the East.