Tomb of Sheikh Musa Ahangar's Lahore (2018)

**Date of Visit18.08.2018

(All pictures and writeup text used in this blog, is author's property, kindly respect copyrights)

The shrine of Sheikh Musa Ahangar, a celebrated 15th-century saint, is located approximately one mile west of Lahore's walled city, along Mcleod Road. To reach the shrine, travel north towards the Railway Station and take a turn beyond Chowk Qilla Gujjar Singh, near the junction of Nicholson, Mcleod, and Flemming Roads. Entering the narrow Chiragh Din Street on the left (west), the shrine’s entrance is marked by an old arched gateway with a plaque that reads Mazar Sharif Hazrat Sheikh Musa Ahangar (Tomb of Sheikh Musa Ahangar). Inside the gateway lies a serene courtyard shaded by large trees, dominated by the imposing 16th-century tomb.

At the center of the courtyard stands a square tomb chamber, with openings on three sides. A rectangular mihrab projection adorns the western side, while northern and eastern openings are screened with small bricks. A small doorway, featuring a recent marble threshold, provides access to the tomb chamber. Constructed between 1519 and 1560, this tomb is among the earliest surviving Mughal-period structures in Lahore. It is also notable for its pre-Shahjahani tile work, showcasing a unique transitional style between the Multan and Lahore schools of architecture. The glazed tile decorations reflect influences from the Multani tradition.

The tomb’s simple square design is constructed using thin Mughalai bricks, with five-foot-thick walls that slightly taper in line with Multani traditions. The exterior features double-storeyed blind windows flanking the central windows, and a three-foot-high parapet above the roofline. A break in the parapet on the western side allows access via a ladder.

The dome, measuring over 15 feet in diameter, has a slightly shouldered profile and rests on a cylindrical neck. The transition from the square chamber to the dome is achieved using a series of niches: four large ones in the corners, forming an octagon, and 16 additional niches supporting a ring of 32 smaller niches above. Spearhead brackets provide further structural support. The dome is clad in turquoise blue wedge-shaped bricks, while the neck features lapis lazuli tiles arranged diagonally, separated by bands of terracotta molding. The upper sections of the walls display similar tilework, while the lower sections highlight the intricate brick patterns. Inside, the tomb chamber’s surfaces are adorned with fresco paintings and cusped arches inset with panels. While much of the original enameled green ceramic tiles noted by historian Latif have disappeared, traces of these decorative elements remain.

Natural light filters into the tomb through screened arches and windows above each opening. The interior of the dome is painted with an eight-pointed star pattern and roundels. Quranic verses, inscribed in Tughra script on the interior window borders, are accompanied by floral and geometric motifs in raised molding. The saint’s grave rests on a raised marble-tiled platform, though no ancient inscriptions survive.

The shrine exudes a tranquil ambiance, heightened by its unaltered historic character and the aged trees within its courtyard. While it is not as meticulously maintained as some other sites, its original features contribute to its sanctity and peaceful atmosphere.

The shrine compound includes several graves, including two located in a basement under a raised platform in the northeastern corner. One of these belongs to a Hindu woman who converted to Islam after witnessing a miracle by Sheikh Musa Ahangar. The basement graves are accessed through a small arched opening, and identical grave markers are visible above.

Sheikh Musa Ahangar, revered during the Lodhi period, was a blacksmith by profession, earning him the title Ahangar (ironsmith). His life and miracles are documented by Sheikh Abu Bakr in the Tazkira-e-Kutbul Alam. One famous account tells of a Hindu woman who brought the saint a spindle to straighten. Mesmerized by her beauty, the saint gazed at her, prompting the woman to accuse him of improper intentions. To prove his purity, the saint declared his admiration for the Creator’s craftsmanship and passed a red-hot spindle over his eyes, leaving them unharmed while the spindle turned to gold. The woman, awestruck by the miracle, embraced Islam.

Abul Fazl, the court historian of Akbar, also mentions Sheikh Musa Ahangar, noting his miracles and his burial in Lahore during Akbar’s early reign.

Baradari of Raja Todar Mal (2018)

**Date of Visiting of the Site: 04.03.2018

Date of posting this blog: 14.09.2019

All pictures are owned

The three Dilapidated Edifices along the old Bank of River Beas

(Baradari of Raja Todar Mal)

WHO WAS RAJA TODAR MAL?

Raja Todar Mal, a Khatri Rajput had served his youth under the administration of Sher Shah Suri and had gained priceless experience in management of Land and revenues. He assisted Akbar’s chancellor of exchequer Muzafar Khan first and then took part in suppression of Ali Kuli in 1566.

Raja Todar Mal was the First Hindu which was sent to lead the Mughal Army. This was particularly because of Akbar’s suspicion that a Muslim may act in collusion with the rebel enemy.

After that Raja Todar Mal was employed settling the revenue system of Gujarat and then again given the military command to win Bengal.

He became the finance officer (Mushrif-i-Diwan) of Akbar in 1575 and Diwan-i-kul (Chief Finance Minister) in 1582.  He took over from the famous eunuch, Khawaja Malik Itimad Khan, in 1560.He was one of the Navaratnas in Akbar's durbar (court) and introduced the reforms also known as Todar Mal’s rentroll, the book of land records in Mughal Empire.

Raja Todar Mal is best known for introduction of the following reforms: Land measurements, Dahasala System and  Karori / Crori System

Following Todar Mal's death on 8 November 1589 in Lahore, his body was cremated according to the Hindu traditions, the Finance Minister in Akbar's Darbar. One of the largest funeral processions ever to leave the Walled City of Lahore headed for the River Ravi outside Mori Gate. The cremation of Raja Todar Mal was taking place and almost every dignitary in the court of Emperor Akbar was there. The proceedings were supervised by Raja Bhagwan Das, the head of Lahore’s revenue department, and the fire was lighted by Todar Mal’s son Kalyan Das, who would rise to become the Finance Minister in Akbar’s ‘darbar’. The death of this ‘jewel’ among the ‘Nau Ratans’ of Akbar had been preceded by the death of Raja Birbal, and suddenly, it seems, the ‘kitchen cabinet’ or ‘Nau Ratans’ was diminishing, much to the emperor’s dismay. Raja Todar Mal’s eldest son Dhari had earlier been killed in battle fighting for the Mughals in Sindh.

The subject Baradari site located between Changa Manga and Chunian and it is believed to be constructed by Raja Todar Mal. However, no historical proofs have been found in this regard which can further validate Todar Mal connection with this.

INTRODUCTION:-

A narrow road connects Tibba Mondeke with town of Changa Manga.  One can find a small village named Mundeke on roadside, which is roughly ten kilometers from Changa Manga. From here a dirt path will take you to site of three dilapidated Bardari’s.

This site can also be approached from Chunian.

Famous traveler writer; Salman Rashid describe in his blog that, ‘ The country where the baradari stands was once very picturesque with the Beas River flowing by through a thickly wooded tract near the present town of Chunian.’

The Sutlej meets the Beas River in Hari-Ke-Patan in Amritsar in Punjab, India and flows to the southwest, penetrating Pakistan to join the Chenab River. However after Indus water treaty the Beas and Sutlej River were vanished from the maps in the Pakistan. Their beds got dried and new towns constructed on their routes.

The area was rich in history from prehistoric times, archeologist found remains of seven mound in nearby areas.

LOCATION:-

31° 0'37.31"N    74° 3'55.55"E

ARCHITECTURAL DETAILS:-

At first sight, it looks a Baradari building standing along with its two compartments on a protected plinth platform (82 ft x 86 ft).  However, according to Salman Rashid, the building was actually not designed in two wings. It was, in fact, two distinct structures separated in time from each other by about 200 years. The larger building occupying the middle of the plinth was clearly early 17th century, but the smaller one to a side was from the Sikh period.

BUILDING 1:-

The oldest structure among these three buildings, it has rough dimension of 18 ft in width by 34 ft in length.

This is supposed to be constructed in Raja Todar Mal time and tenure.

This structure has five arch openings on length side among which three are closed with brick work also there are three openings along the width among which two openings are closed.

Alternate arch style and pattern used along the lengths, two arches at side and one at center are of multifold type, while the other two remaining are of four centered arch design.

Along the width the two corner arches are of four centered design while the centered one is multifold pattern.

On all four sides a roof shade is extended, it has rough dimension of 1.5 ft in width and 8 inch in depth. The shade is further supported by architectural brackets.

There is also a parapet wall raised above roof in this building.

This building is in state of despair, the floor excavated and uprooted long ago by treasure hunters. Building fresco and plaster work totally faded with time.

Building 2:-

This looks a little less unspoiled structure from exterior than the rest of two buildings. Although have different dimensions, this buildings has same architecture and design than the oldest one. According to traveler writer Salman Rasheed the present baradari seems to be constructed some 200 years after the oldest one and most likely of  early 17^th century era.

Before Sikh’s rule in present Pakistani Punjab, Raja’s Todar Mal family owned large properties around Chunian. Therefore it is assumed the current building constructed by Raj’s family.

A typical baradari structure having rectangle configuration with each side has dimension of 34 ft. Three arch openings present along each length, the side openings of arch are of typical multifold design, where as the middle one is four centered arch.

Like other buildings in periphery, roof shade is present on all four sides supported by elegant brackets, between two brackets floral fresco art paintings were made. The outer wall is more than 3 ft in width. The portion inside the arches are crafted with floral and fresco work. The inside of Bardari’s walls still have some remains of fresco work, which proves how gem of building this looks in past.

Building 3:-

The third building the smallest one in dimension, supposed to be constructed in Sikh Era of late seventeenth century.

This building has different design than others.

This building have dimension of 13 ft in width and roughly 18ft in length.

On length sides there are total five arches openings among these three of them are close. On width side three arch were provided among two were close. All arches in this building are of four centered arch design.

The Building is in total state of despair nobody even visit it in day time as  local  associate false haunted stories with this. More, sad to mention here no rehabilitation and conversation work has ever done by concerned archeological and historical department to protect this site of great historical importance.

The Story of Hazrat Meeran Mauj Darya & Mughal Emperor Akbar

23-09-2017

Hazrat Mauj Darya, known by his birth name Saiyid Meerah Muhammad Shah Bokhari, was a revered saint of his era. His extraordinary ability to meditate while standing on one leg became legendary. One particular tale of his wisdom and counsel caught the attention of the Mughal Emperor Jalaluddin Akbar, who sought to conquer the Chittorgarh Forts from the Rajputs. Struggling with this endeavor, Akbar turned to Hazrat Mauj Darya for guidance. Following the saint's advice, the emperor effortlessly achieved his goal, leading him to invite Hazrat Mauj Darya to stay at his royal fort. However, the humble saint declined, emphasizing the disconnect between emperors and dervishes. As a gesture of goodwill, he chose to settle in Lahore instead.

Upon his arrival in Lahore, Hazrat Mauj Darya quickly gained popularity within the community. Mystics played a significant role in the social fabric of the Indian Subcontinent, and the saint's righteousness and charitable nature became widely recognized. It was said that he selflessly donated his wealth, which he had received as gifts from Emperor Akbar, to the impoverished. His acts of charity extended to providing shelters for the homeless, establishing schools, and constructing wells in villages. The impact of his generosity on the local community remains palpable even today.

Lahore, with its rich and fortified history, holds a special place in the folklore of Central Asia. The roles of artists and poets have preserved a culture that once thrived centuries ago. The Sufi order, which profoundly influences South Asian culture, inherently embraces diversity. It welcomes people from all walks of life, spreading the message of equality before God.

The shrine of Hazrat Mauj Darya is nestled within a narrow lane, concealed from the bustling city. Locating the shrine may prove challenging for outsiders, but with the advent of technology such as Google Maps, it has become more accessible to all. The mausoleum's architectural beauty, characterized by delicate details, enchants visitors. Arches and linear columns enclose a veranda, from which smoke and incense waft toward the heavens. Trees within the mausoleum intertwine with the overall structure, creating a harmonious presence. One particular tree, often mentioned in historical accounts, is adorned with decorations and ornaments. Although the shrine's embellishments may appear modest compared to more prominent shrines in the city, its simplicity adds to its charm. The tiles, likely crafted recently, showcase the use of natural stones. Imagining the past, one can envision communities gathering on humble floors to pay their respects.

It is worth noting that a tree mentioned in various historical journals has recently been cut down due to its interference with the orange train route. Despite this change, the shrine of Hazrat Mauj Darya continues to emanate an aura of spirituality and tranquility, attracting visitors from diverse backgrounds who seek solace and divine connection.