Tomb of Sheikh Musa Ahangar's Lahore (2018)

**Date of Visit18.08.2018

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

The shrine of this celebrated 15th-century saint is located west of Mcleod Road, one mile from the walled city. Traveling north towards the Railway Station on Mcleod Road, you will find the shrine in a street beyond Chowk Qilla Gujjar Singh (the crossing of Nicholson, Mcleod, and Flemming Roads).  Approaching on foot through the narrow street on the left (west) known as Chiragh Din Street, the entrance to the shrine is through an old arched gateway on the right, which carries a plaque saying 'Mazar Sharif Hazrat Sheikh Musa Ahangar' (Tomb of Sheikh Musa Ahangar). Beyond the gateway is a courtyard habited by large trees, and the ponderous 16th-century tomb looms large as you enter the courtyard. In the center of the rectangular courtyard, one finds the square tomb chamber pierced with openings on three sides. On the western side is a rectangular projection containing the mihrab, while the northern and eastern openings have been covered with screens formed with small bricks. A small door with a big marble block threshold, of recent vintage, gives access to the tomb chamber. The shrine, thought to be constructed sometime between 1519 and 1560, is the earliest example of an extant original structure of construction of the Mughal period at Lahore. The tomb is the only surviving example of pre-Shahjahani tile work at Lahore.  This unique specimen represents the transitional period of architecture between the Multan School of architecture and the Lahore School of architecture. It retains the earliest specimen of decoration in the glazed style of Multani origin. The building, with a simple square plan form, is constructed with thin Mughalai bricks. The thickness of the walls is about five feet which, in the Multani tradition, are slightly tapering. Externally, the monotony of the walls is broken by double-storeyed blind windows flanking the central windows. There is a three feet high parapet above the roofline which has been interrupted over the northern edge of the western side to facilitate a ladder. The dome, over fifteen feet in diameter is slightly shouldered. It rests over a cylindrical neck. The phase of transition has been effected initially by means of four bigger niches built at the upper corners of the chamber, making it into an octagon over which sixteen niches have been built to accommodate another ring of thirty-two smaller niches above. Spearhead brackets have been placed under the corners of these smaller niches as a transition between them and the larger sixteen niches below.  On the outside, the dome of the shrine has been covered with wedge-shaped bricks of turquoise blue color set horizontally. There is a projecting band containing arch-like moldings in the terracotta separating the neck from the dome. The neck has been covered with square tiles in lapis lazuli shade placed diagonally and bordered with projecting bands of more turquoise blue tiles. The portion of the walls above the blind windows has been covered with resembling tiles. The lower portions have been left plain to show the fine patterns used in the laying of bricks. The body of the building is composed of inset panels with cusped arches, which, in the manner of Mughal buildings, were, as witnessed by Latif, once decorated with enameled green ceramic tiles. Today, however, the interior and exterior wall surfaces have been white-or color-washed, except for the top part of the interior surface of the dome.  Multiple arrangements of corner quenches, embellished with fresco paintings, are used in the transitional zone transforming the square of the chamber into the circle of the dome. The interior has been lit by natural light through the door and the other two screened arches. There is also a window above each opening. The underside of this single dome has been painted with eight ribs forming an eight-pointed star having roundels in between the corners. Internally, the windows have been bordered with fine calligraphic verses from the Holy Quran written in Tughra characters, in raised letters, of solid masonry.  The sides have intricate floral and geometric patterns in similarly raised molding.  The saint himself lies buried in a grave on a raised platform faced with marble tiles. Unfortunately, no ancient inscription is extant. Although the tomb seems not as well looked after as some others, an air of sanctity pervades the environment, reinforced by the original character of the tomb (untouched by modernizing efforts) and the old trees in the enclosure, contributing to the exclusive and the peaceful ambiance of the shrine. The compound of the shrine contains many graves. On the northeastern corner under a raised platform is a basement where there are two graves of ladies - one of them being that of a Hindu lady who converted to Islam after witnessing a miracle performed by the saint. A small arched opening gives access to the grave's chamber. Above this chamber, there are identical grave marks. Sheikh Musa Ahangar flourished during the Lodhi period and was held in great esteem by the people. He acquired the appellation Ahangar (ironsmith) because of his occupation as a blacksmith. Sheikh Abu Bakr, author of the Tazkira-e-Kutbul Alam relates many of the miracles performed by the saint. One famous miracle was when once a Hindu woman of great beauty brought him a spindle, to get it straightened. The sheik put it on the fire to work it out, but was so much struck by her beauty that he fixed his eyes upon her face. The woman, suspecting ill motives on the part of the sheik, tauntingly observed, "What is there in my face that you are looking at? You seem to have forgotten your work." The sheik replied, "I am only contemplating the Maker's skill, who modeled so beautiful a shape as yours, and if I had any ill motives towards you, here is the red hot spindle, I will put it in my eyes. If I have looked on you in bad faith, let them be roasted." Saying this he passed the burning spindle over both his eyes. They were unhurt, while the iron spindle, by coming in contact with the saint's eyes, was changed into gold. The woman, on seeing this miracle, was convinced of the innocence of the sheik's intention and was so deeply impressed with the truth of his faith that she forthwith became a convert to Islam. Abul Fazl, the court historian of Akbar mentions him as "a smith (ahangar) [who] performed many miracles. He died in the beginning of Akbar's reign and was buried in Lahore.

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.