Governor Kirpa Ram of Kashmir: Triumphs, Trials, and the Forgotten Baradari of Kunjah

23rd April 2023

(All images copyright 2023 Mirza Ali Usman Baig, text written in this article is the author's Research)

Diwan Mohkam Chand, a prominent figure in Punjab's history, held the position of chief minister (Diwan) under Maharaja Ranjit Singh during the Sikh Empire. His contributions were instrumental in shaping the political and administrative landscape of Punjab during a crucial era.

In December 1827, Maharaja Ranjit Singh appointed Diwan Mohkam Chand's grandson, Diwan Kirpa Ram, as the governor of Kashmir. Kirpa Ram's responsibilities included paying an annual tribute of 26 lakhs of rupees in cash, along with pashmina and shawl's worth 14 lakhs. Prior to this appointment, Kirpa Ram had held significant positions in Hazara and the Jalandhar Doab. Historian Griffin commended both father and son, recognizing them as exceptional governors of Kashmir. Known for their integrity and incorruptibility, they embarked on notable construction projects and established breathtaking gardens in Srinagar.

During Kirpa Ram's governorship, Kashmir faced several challenges. In 1828, a devastating earthquake struck, causing extensive damage to buildings and houses. Subsequently, a cholera epidemic further compounded the region's troubles. Additionally, rebellions led by the Bambas and Kakkas, instigated by Sayyid Ahmad Brelvi, posed significant threats to Kirpa Ram's governance.

In January 1831, Raja Faiztalab Khan of Bhimbar was expelled from his state by Raja Dhian Singh. Seeking refuge, Faiztalab sought shelter with Kirpa Ram in Srinagar. Dhian Singh persuaded Maharaja Ranjit Singh to dismiss Kirpa Ram for his act of defiance. Consequently, Kirpa Ram was imprisoned in Lahore. Recognizing the detrimental consequences of punishing honest and capable officers, a group of influential nobles in the Lahore Durbar advocated for Kirpa Ram's release during a conference on February 22, 1831. Eventually, the Maharaja freed Kirpa Ram upon payment of a fine amounting to 9 lakhs of rupees for his defiance. Disillusioned by the experience, Kirpa Ram requested permission to join his father in Banaras, but his appeal was denied. Instead, he received permission to visit Jawalamukhi. As a gesture of consolation, the Maharaja granted him the jagir (landed estate) of Kunjah, which had an annual worth of 3 lakhs, on December 14, 1831.

However, Kirpa Ram's bitterness regarding his imprisonment persisted, as he regarded it as a stain on his honor. Rejecting the notion of being treated like a common criminal, he chose not to return to Lahore and crossed into British territory. Despite attempts by the Sandharivalia chiefs and Maharani Chand Kaur to bring him back to Punjab, Kirpa Ram never returned. He passed away in Haridwar on November 11, 1843.

Diwan Mohkam Chand, the progenitor of the Diwan family, gained renown as a skilled and successful general. It was largely due to his military prowess that Maharaja Ranjit Singh established himself as the sole ruler of Punjab. However, even Diwan Mohkam Chand's military achievements failed to shield his son Moti Ram and grandson Kirpa Ram from continuous mistreatment, fines, confiscations, and eventual downfall.

The narrative surrounding Diwan Mohkam Chand and his descendants reflects the intricate complexities and challenges faced by influential families at the Sikh Court during this period. It underscores the delicate balance of power, shifting alliances, and the profound impact of political rivalries on the lives of individuals.

Meanwhile, on the outskirts of Kunjah, an abandoned Baradari stands in a state of complete neglect. This deteriorating structure is believed to have been constructed by Kirpa Ram after his exile from Kashmir. Even in its current dilapidated condition, the Baradari whispers stories of its former grandeur. Previously surrounded by a thriving fruit orchard, the Baradari featured tall arched entrances on either side and wells drilled to ensure the orchard's irrigation. Built with small bricks, some parts of the building date back to the mid-19th century. Its architectural design closely resembles that of Mughal buildings found in Punjab.

Over time, the once-lush garden surrounding the Baradari disappeared, giving way to crops cultivated by the local community. While a few arches of the northern entrance gates still manage to stand, they have succumbed to weathering and neglect. It is perplexing to note the lack of concerted efforts by relevant heritage authorities to preserve this historically significant structure.

BARADARI:-

Gateway of Baradari Garden

Hazuri Bagh Pavilion, a Symbol of Maharaja Ranjeet Singh Sikh Empire (2016)

Date of Visit:- 16th May 2016

(All pictures taken by me, please respect the copyright)

The picture was taken from Badshahi Masjid Minarets on 05/16/2016

The Hazuri Bagh Baradari, located in Lahore, Pakistan, is an impressive structure built in 1818 by Maharaja Ranjit Singh, a Sikh ruler. Made of stunning white marble, the pavilion features intricately carved pillars, delicate cusped arches, and a mirrored ceiling in the central area where the Maharaja held court. Originally a two-story building, the baradari lost its upper level due to a lightning strike in 1932.

The Hazuri Bagh Garden, aptly named "Royal Garden," holds great historical significance as it witnessed significant events during the Sikh Empire from 1801 to 1849. It hosted the final darbar conducted by Sikh Emperor Ranjit Singh and the coronation of his son and successor following the Maharaja's passing.

During the Mughal era, Emperor Aurangzeb constructed a caravanserai called Serai Alamgiri, which fell into ruins with the decline of the empire. It was Maharaja Ranjit Singh's capture of Lahore in 1799 that sparked the restoration of the area's royal splendor, a process that took over fifty years to complete.

In 1913, Maharaja Ranjit Singh acquired the renowned Koh-i-Noor diamond from Afghan ruler Shah Shuja Durrani. To commemorate this monumental acquisition, a royal garden called Ranjit Bagh or Hazuri Bagh was planned under the supervision of Faqir Azizuddin. Jamadar Khushal Singh proposed the construction of a marble baradari pavilion at the center of the Bagh, despite initial disapproval from the Maharaja due to the difficulty of obtaining marble. Eventually, marble was sourced from various Mughal monuments in and around Lahore, including those previously belonging to Mughal royals such as Asif Khan, Zeb un Nissa Jhangirband, and Nur Jahan.

The renowned Sikh architect Tota Ram was entrusted with the design of the bagh complex. The pavilion, supported by sixteen pillars with delicate cusped arches, features twelve entrances and includes a basement with subterranean chambers. Its roof is adorned with elegant floral and bird motifs, complemented by mirror decorations. Ranjit Singh frequently visited the pavilion during his reign, using it to hold court with his generals and English guests. Despite having more than three entrances on each side, the Hazuri Bagh pavilion is still referred to as a baradari, which traditionally signifies a square structure with three entrances on each side, totaling twelve entrances. The two sides facing the Badshahi Mosque and the Raushnai Gate each have four entrances, while the remaining two sides have five. The baradari is elevated on a raised platform accessible via two sets of stairs on each side. Its façade is adorned with repurposed white marble from various Mughal monuments in Lahore, featuring relief work and jali work as prominent ornamental elements. The exterior of the baradari showcases elaborate arches with delicately rendered images of fruit dishes, vases, and peacocks. Stepping inside, visitors will find a central portion and an outer section connected by three archways on each side, creating an enclosed baradari within the main structure.

While the ceilings of the baradari are made of plain wooden planks, the central portion features exquisite Sikh period minakari (mirror work). Due to a shortage of white marble during construction, the flooring is made of stone instead.

The Hazuri Bagh Baradari is widely regarded as the architectural masterpiece of Maharaja Ranjit Singh's reign. It served as a venue for state affairs and imperial court proceedings. Maharaja Sher Singh, Ranjit Singh's son, also utilized the pavilion for official functions and personal pursuits. When the British took control of Lahore, the pavilion was repurposed as a bandstand where regular Sunday afternoon music performances took place.

Unfortunately, on July 19, 1932, the upper story of the pavilion suddenly collapsed, reducing it to a single-story structure. The debris was removed from the fort, and since then, it has remained at its current level. The historical significance of the pavilion is further highlighted by its use in displaying the bodies of Maharaja Ranjit Singh and his son, Nau Nihal Singh, after their respective deaths.

According to Robert Montgomery, the Hazuri Bagh Baradari is considered the architectural masterpiece of Ranjit Singh's reign. Within this baradari, Ranjit Singh conducted state affairs and held discussions with his ministers and Sardars. Later, Maharaja Sher Singh, the son of Ranjit Singh and Rani Mehtab Kaur, utilized the gilded pavilion for his own court proceedings and displays of power. During the British rule in Lahore, the pavilion was repurposed as a bandstand, where music was played regularly on Sunday afternoons. However, the upper story of the pavilion unexpectedly collapsed on July 19, 1932, resulting in its current single-story structure. The debris was subsequently removed from the fort.

The Hazuri Bagh pavilion holds historical significance as it was used to display the bodies of Maharaja Ranjit Singh and his son, Nau Nihal Singh, after their respective deaths.

The information you provided adds valuable insights into the history and transformation of the Hazuri Bagh Baradari.

Hazoori Bagh and Pavilion

 

Ceiling Minakari and cusped Arches

Standing in the Basement of Pavillion 

Cusped Arches

Cusped Arches

Basement

Basement 

Basement

Basement

Basement

Basement

Standing on the roof of Hazoori Bagh Pavillion 

Standing on the roof of Hazuri Bagh Pavillion 

Wazir Khan's Baradari

18-08-2018

Wazir Khan's Baradari is one of the finest and largest of the genre, and is in well preserved state. It is perched between the Punjab Public Library (PPL), National College of Arts (NCA) and the Lahore Museum and is approached from the Punjab Public Library Road. It has been put to good use as a reading room for the adjoining library and is therefore considered a part of the library.

The building is named after its founder Hakim Ilmuddin titled Wazir Khan, the same grandee of Shah Jahan's court who gifted the city of Lahore with such sumptuous monuments as Wazir Khan's Mosque and Wazir Khan's Hammam, also known as Shahi Hammam, in the Walled City.

The chronicles record how Wazir Khan, after having completed his spectacular mosque, turned his attention to laying out a fine garden—a garden which became known as Wazir Khan's Nakhlia Garden because of the large number of date-palm trees. In the middle of the Nakhlia Garden he built an elegant baradari, which has carried his name to this day.

The baradari (lit. twelve openings) was so titled because of a sehdara centre and flanking deeply-inset arched openings or peshtaq on each side of the square, resulting in 12 dars or doorways openings. The two storey pavilion-like structure is dominated by four corner belvedere towers, terminated by sloping chajjas (eaves) and capped by cupolas. It is surrounded by pools on all four sides containing fountains which would have provided misty breeze to its occupants in the hot Lahori summers.

As in the case of Anarkali's tomb, this monument also has undergone extensive alterations having served varied functions: as part of Sikh and British cantonments, as the Settlement and Telegraph office, and also as a museum. Its use as Punjab Public Library, was lauded by Latif: "A nobler aim it could not have served. The founder of the building was himself a patron of learning and a profound scholar, and the association of his name with an institution pregnant with such significant results for the rising generation of the Punjab may be regarded as a happy coincidence."