“When the hero of plain bravery departs from the transitory, may he become a resident of god’s paradise.”
Translation of an Arabic inscription on Safdar Jang Tomb
Safdar Jang Tomb, Delhi
A certain gravitas engulfs me as I write this last piece in my Delhi Diaries. There cannot be a better symbol to mark the tragic end of the Mughal Empire. Safdar Jang Tomb. Last of the garden mausolea to be built. For Abul Mansur Khan, the Viceroy of Emperor Muhammad Shah. The Monarch conferred upon him the title ‘Safdar Jang’, meaning brave in battle. Today, the capital knows of Safdar Jang as Safdarjung – a colony, a not-in-use airport, a hospital, and more. But Safdar Jang, the man, remains a mystery for them.
Safdar Jang – The Unknown
Safdar Jang was the Nawab of Oudh (Muslim governor of Awadh, in the Indo-Gangetic plains bordering Nepal). His able administration and successful liaison with Nader Shah, the Persian invader, earned him proximity to Muhammad Shah at the royal court. And the title. In 1748, Muhammad Shah’s successor Emperor Ahmad Shah Bahadur made him Wazir ul-Mumalik-i-Hindustan. Prime Minister of India or Hindustan as known then. Court politics and a fallout with the King made him return to his province in 1753. He died in 1754. Shuja-ud-Daula, his son and successor, commissioned this masterpiece mausoleum.
Grounds of the Mausoleum
Entry to the complex is through a double-storeyed gateway. A design called net-vaulting decorates the central arch. An intersection of ribs on the roof gives it a net-like appearance. Blue and red plasterwork embellish the spaces between. The solid wooden door is from the time of construction. The second floor of the entrance, I am told, offers a great view of the funerary garden.
To the north, on the same wall, is a mosque. The western wall of the square complex houses the Forest Pavilion or Jungli Mahal. The northern boundary has the Pearl Pavilion or Moti Mahal while the Emperor’s Favourite Pavilion, Badshah Pasand Mahal, is to the south.
Poetry in sandstone
The centrepiece is surrounded by the Islamic style Char Bagh as found in Humayun’s Tomb. Also, a water channel leading to the platform draws inspiration from The Taj Mahal. It is not well proportioned and looks narrow atop a tall podium. The dome is bulbous. A row of small chhatris hides the base. The four corners of the Rauza (Mausoleum) have minarets with Chhatris on each of them.
As we enter the central chamber, the ceiling draws attention. Stucco plaster carvings inlaid with marble adorn it. This plasterwork is superbly polished to give it a rich look and feel. At the centre of this small alcove, lies the cenotaph of Safdar Jang. It is exquisite and carved in white marble with the projection of a headrest on it.
The entire structure has limited use of the expensive stone that appears like a patchwork of different shades. There is a reason for it. Safdar Jang passed during Mughal empire’s least prosperous period. To design the imperial burial chamber, an architect from Abyssinia (Current Ethiopia) was appointed, but materials were scarce. The penury of the times did not allow Nawab Shuja-ud-Daula to afford new stone. It was plundered from many graves. Notable amongst them being Abdul Rahim Khan-e-khana, the famous poet. So, the main structure came up in sandstone while the dome and parts of the interiors were in marble.
This monument is an architectural classic assembled last in a long lineage of magnificent icons. And marks the end of a glorious era of architecture. The Mughals gave way to the East India Company and later to the British rulers. Lutyens Delhi created another benchmark but more on that some other day.
