Gul Begum -- The Muslim Wife of Raja Ranjeet Singh

05-02-2014

Gul Begum -- The Muslim Wife of Raja Ranjeet Singh

Gul Begam was a dancing girl from Amritsar, who in 1832 became the queen of Punjab after her marriage to Maharaja Ranjit Singh.  Ranjit Singh had become fond of her after seeing her perform at his meeting with Lord William Bentinck at Ropar in October of 1831. He had been so captivated by her beauty that he decided to marry her against protests from orthodox members of the Sikh community. The maharaja was 51 years old at that time. He took the wedding party to Amritsar and married Gul Begam in a grand ceremony. The wedding celebrations included both Sikh customs and Muslim traditions. Gul Begam moved to Lahore from Amritsar and Ranjit Singh furnished for her a palatial haveli near Kashmiri Gate. Renamed, Rani Gul Bahar Begam, she rode with the maharaja on the same elephant, sat in the darbar without veil and dwarfed the influence of other wives on the maharaja.

She built an elegant garden in the area of Mozang which came to be known as Bagh Gul Begam. Pools, fountains and corridors were built; in the midst of these an elegant mosque was constructed. The garden was finished in 1855. Gul Begam survived Ranjit Singh and was awarded an annual pension of Rs 12,380 by the British after the fall of the Sikh Government. Gul Begam died at Lahore in 1865 and was interred in a tomb that she had built for herself in her garden. Having no issue of her own, she had adopted one Sardar Khan as her son in her life time, whose descendants still live in the area.

The garden enclosure and the tomb are located next to the enclosure of Mirza Tahir Bandaghi's shrine in the Miani Sahib Graveyard. The main gate is on the west side of the garden. The gate stretches across two storeys; the lower part has a locked metal door blocking the central arch while on the upper storey, the openings have been partially closed up with bricks. To the north of the main gate, the old mosque exists even today. Presently, the mosque has been white washed leaving no trace of original artwork. The garden walls are hemmed in by houses on all sides. In the centre of the garden, there is a domeless mausoleum on a raised platform, where the remains of Sardar Khan are interred. There are a few other graves within this enclosure belonging to his offspring. The sarcophagi are embellished with black and green stones.

Along the southern wall of the garden is a domed building containing the grave of Gul Begam. The building sits atop a platform, portions of which can still be seen. The door to the building is locked. Some of the frescoes on the walls are in relatively good state of preservation considering how dilapidated the rest of the garden is.

Along the northern facade of the tomb building, above one of the arches, there is a marble slab with the inscription:

A Sikh Samadhi in Kohrian that is no more

Thursday, 21 May 2015

Kohrian is a small village, which is located hardly 3 kilometers from the BRB canal on Barki Road. I came to know about the presence of an old Sikh Samadhi in this village. So, we decided to pay a visit to this edifice as well; in our recent exploration of Sikh Era architecture on the outskirt of Lahore. The approach road to Kohrian was in very bad condition.  The current Samadhi is located in the middle of the village.  Sadly, it was half demolished. Locals told that this was done in order to widen the road. The most exciting thing in this Samadhi was the interior fresco paintings. These were so beautiful that almost made me spellbound for a moment. It was really sad to see this great heritage in this bad condition. Many questions arose in my mind after this; what our archeological department is doing? What the hell they are not doing anything for protecting them. There are many such structures that will vanish in a few years and the next generations will not even know that such artwork exists in Pakistan.

Kohrian is a quaint village nestled just 3 kilometers away from the BRB canal on Barki Road. During our recent exploration of Sikh Era architectures on the outskirts of Lahore, we stumbled upon the knowledge of an old Sikh Samadhi residing within this village. Intrigued by this historical gem, we decided to pay it a visit.

However, our excitement was dampened by the deplorable state of the approach road leading to Kohrian. It was riddled with potholes and in dire need of repair. Despite the challenging journey, we pressed on and finally reached the village, where the Samadhi stood proudly in the center. Unfortunately, what we beheld was a heart-wrenching sight—the Samadhi was partially demolished, with the locals informing us that this sacrilege was done to widen the road.

Despite the devastation, the interior of the Samadhi held a breathtaking surprise. Its walls were adorned with intricate fresco paintings, each stroke of the brush showcasing remarkable artistry. As I stood there, I couldn't help but be mesmerized by the sheer beauty of the artwork, momentarily spellbound by its presence.

However, the sorrow of witnessing this magnificent heritage site in such a dilapidated state weighed heavily on my heart. Numerous questions began to swirl in my mind, primarily concerning the actions—or lack thereof—of our archeological department. What efforts were they made to protect and preserve these invaluable relics? It was disheartening to realize that structures like this Samadhi were slowly fading away, their existence likely to be forgotten by future generations.

The urgency to take action and safeguard our cultural heritage grew stronger within me. I pondered upon the impending loss of many such structures, their disappearance a haunting reality. If left unattended, future generations may never have the opportunity to witness the artistic marvels that once thrived in Pakistan. It was a somber reminder that the responsibility to protect and preserve our historical treasures rested on the collective efforts of society, the government, and the archeological department alike.

Gurdawara Roop Chand or an Unknown Mughal Era Baradari

# Gurdawara Roop Chand or an Unknown Mughal Era Baradari

Accompanied by my brother and our friend Kashif Gurki, we embarked on an exciting exploration of the outskirts of Lahore, driven by our shared passion for uncovering the remnants of the Sikh era. Having already visited a Samadhi in Kohrian village along Barki Road, our curiosity led us further towards Jahman village, nestled beside the BRB canal.

As we made our way along the canal, a local resident approached us, curiosity piqued by our presence in the area. Eager to share our purpose, we explained that we were avid enthusiasts of history, particularly intrigued by old architectural wonders. The friendly local, appreciating our enthusiasm, directed our attention towards a small village called Gaga, where the remains of an ancient Samadhi were said to lie.

Gaga, a quaint village located near Nurpur, held significance beyond its own historical remains. It was in Nurpur that the legendary subcontinental wrestler, Kikar Singh, received his early training, making it a place steeped in sporting history. However, our immediate focus was on the Samadhi awaiting our exploration in Gaga.

Located at the far end of the village, the site had been allocated to migrants who had arrived during the partition of 1947. Intriguingly, the ancestors of these migrants shared a captivating tale with us. They explained that the edifice we were about to visit was believed to be the tomb of a Sikh named Roop Chand, who, after embracing Islam, had been laid to rest at this very spot. However, even after residing in the village for the past 68 years, they remained uncertain about the authenticity of this account, considering that the structure itself appeared to be at least 300 years old. Speculation arose that it could very well be a Samadhi—a testament to the Sikh heritage of the region.

As we approached the enigmatic structure, our minds filled with anticipation and curiosity. The possibility of unearthing centuries-old history and untold stories beckoned us forward. Gaga, with its quiet charm and a hint of mystery, seemed to hold the key to a forgotten chapter in the region's past. We were ready to immerse ourselves in the exploration, hoping to shed light on the true nature and significance of this enigmatic Samadhi.

It has roughly 12 x 12 feet in horizontal dimensions and 10 ft in height. It has an arch opening on all four sides and one side opening was closed with temporary brick masonry. The top roof dome had fallen a few years back.

I have seen almost every old structure of the Sikh era in this area. But, this building's architecture is quite different from them. In Sikh gurdwaras and Samadhis; the entrance opening is from the eastern side which is an auspicious old tradition. But this structure has openings on all four sides; which is not observed anywhere else. This type of configuration was usually used in Mughal Baradari. Locals also told us that a few decades back it has a tall entrance gateway and garden which disappeared with the passage of time.

The bricks used in the construction of this edifice are different as compared to bricks used in any historic building on the outskirts of Lahore.  Arches, partitions, and brickwork; all relate to Mughal construction. I came to the conclusion that maybe it was a tomb or baradari constructed in the Mughal era and during the Sikh era that might be converted into Gurdwara or Samadhi…..

A 17th Century Tomb of Sheikh Mohtram

19-03-2014

2014:

Late Rao Javed, a great historian from Lahore, took me to the Co-op store area of Lahore in 2014 to show me a historical tomb of unknown history from the Mughal era. After the construction of the Shalimar garden in the 16th century, a large number of residences, villages, shrines, and tombs started lining up along the new alignment of the Grand Trunk Road in the mid-seventeenth century. Begumpura is the most interesting town among these sites, in terms of Mughal gardens, that has survived along the Grand Trunk Road between Lahore Fort and Shalimar Garden. The sites of Begumpura were developed over a hundred years from the mid-seventeenth to the mid-eighteenth century. 

At first glance, the structure seemed to be a tomb built in the seventeenth century. It was a square building roughly 18 feet long and wide, with its actual plinth level below the current natural soil level. The side walls were 12 feet tall and were raised above after the construction of squinches in the corner dome. Unfortunately, the entire building has been whitewashed and is now being used as a mosque by residents.

2024:

In 2024, I came across a historical reference that mentioned the tomb belonged to Sheikh Mohtram. Sheikh died in Lahore in the year 1690 AD and belonged to the lineage of Naqshbandi Islamic scholars. He was a famous saint who lived during the reign of all four great Mughals - Akbar, Jahangir, Shahjahan, and Alamgir. The tomb was in rectangular shape with a dome on top, and there were small minarets on all four corners which have fallen over time. Inside the tomb, there were three graves; one belonging to Sheikh and the other two belonging to his close relatives who were also buried there.

There were four arched entrances on each side, but they were later closed with bricks. The tomb's bad fate began during the Sikh era when the expensive marble was brutally removed and sold out. Later, during the British colonial period, it was sold to an Englishman who flattened the graves and constructed a hall on all four sides of the tomb, making it his residence. Later on, it was used by the North Western Railway Co-op Store office, which previously used it as storage for weapons. Then, it was used as part of a Soda Water factory for the Railway.

An interesting Farsi script was written on this tomb in the past, but it has faded with time. A translation of the script is as under:

"Those guiding lights for seekers of the path of salvation, who possessed the wisdom akin to Solomon and the intellect of Asif, the esteemed servants of God, have departed from this world to the assembly of saints. When I searched for their date of passing, Aqil Saleem remarked:

Subtract five from his date of death and say : 'O God, admit them into the highest paradise.'

The script talks about wise and knowledgeable individuals who were like guiding lights for people seeking a righteous path. They were compared to Solomon, known for his wisdom, and Asif, renowned for his intellect. These esteemed individuals, considered servants of God, have passed away from this world and joined the revered group of saints in the afterlife.

The riddle states that the numeric value of the phrase "قدس اللہ سرہ الاشرف" using the Abjad numerical system is 1107. When subtracting 5 from this value, as mentioned in the previous verse (شعر), it becomes 1102, which represents the Hijri year of the person's demise.

It essentially emphasizes the respect and admiration held for these departed souls and suggests a prayerful act to seek God's mercy and blessings for their souls in the afterlife.

GURUDWARA RORI SAHIB, JAHMAN VILLAGE, LAHORE

A decade ago, my friend Tanwir and I found ourselves wandering in the outskirts of Lahore, near the border area, in search of daffodils. It was during this expedition that we stumbled upon a magnificent architectural gem from the past, steeped in historical significance. Unfortunately, due to time constraints, we were unable to explore the site thoroughly and vowed to return another time.

Finally, on the 3rd of May, 2015, we embarked on our journey once again to explore the remnants of the Sikh era scattered throughout the outskirts of Lahore. This time, we made it a priority to revisit the sacred shrine believed to be associated with Guru Nanak Dev Ji, situated near Jahman Village. Located less than two kilometers from the Indo-Pak border, reaching the site required traversing the Badian road and crossing the BRB canal. From there, Jhaman village was a mere three kilometers away, with a well-paved approach road that allowed access by four-wheeler vehicles.

The site, known as Rori Sahib, derived its name from the place where Guru Nanak Dev Ji had stayed on three separate occasions. The proximity of Dera Chahal, the ancestral village of Guru Ji's maternal grandparents, played a significant role in attracting him to this area. Notably, another Gurudwara is also present in Dera Chahal. Initially, there was a small pool at the site, which was later expanded into a tank by one of Guru Ji's devoted followers, Naria, a resident of Jhaman village. Through Naria's unwavering faith and efforts, a considerable number of Bhabray individuals converted to Sikhism.

The construction of the Shrine commenced under the patronage of Bhai Wadhawa Singh, who dedicated his resources to building a beautiful Darbar. Over the years, Vaisakhi and the 20th of Jaith became significant occasions when vibrant fairs were organized at the site. The Gurdwara enjoyed an endowment of 100 Bighas of land, ensuring its sustenance and maintenance.

However, the passage of time has taken its toll on the shrine. The once-expansive tank has now dwindled into a small pool, and the dome requires urgent repairs to prevent further deterioration. Without prompt action, this architectural marvel could ultimately succumb to the ravages of time, becoming nothing more than a mound of dust.

Preserving and restoring this sacred site should be a priority to honor its historical and cultural significance. The repairs and maintenance efforts should encompass the tank, the shrine's dome, and the surrounding area. By undertaking these restoration measures, future generations can continue to appreciate and be inspired by the rich heritage associated with Guru Nanak Dev Ji and the spiritual legacy left behind.

Haveli Nau Nihal Singh

Victoria Girls High School is a government girl’s school inside the walled city of Lahore and is housed in a nineteenth-century Sikh period haveli of Naunihal Singh, the son of Kharak Singh and grandson of  Maharajah Ranjeet Singh.

The haveli is one of the few remaining royal residences from the Sikh period in Lahore. It is an intact structure of over forty rooms with most elements of its original ornamentation preserved on the two main elevations and the interior courtyard facades.
The most important and incidentally also the better-preserved feature of this haveli is the ‘rang mahal, a small picture gallery on the top floor. The ‘shish mahal’ or ‘rang mahal, is a typical feature of both Sikh and earlier Mughal architecture and consists usually of a highly ornamental room with embellishment in the form of frescoes, mosaics with mirror pieces inlaid in stucco, decorative ceilings with painted designs and beading patterns.
The rooms were used for entertainment and relaxation and opened onto a view or the courtyard. While the rest of this valuable piece of architectural heritage has lost most of the interior surface ornament due to its heavy use as a school building for over a hundred years the room has been saved due to its location on the top floor and its fame as the haunted room was also a reasonable deterrent.
The lore of the school is what girls from the walled city get to experience.