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Agrasen Ki Baoli

Agrasen Ki Baoli: An Ancient Reservoir with a Mysterious Past

Tucked away amidst the modern skyline of New Delhi, Agrasen Ki Baoli is a stunning yet enigmatic stepwell that echoes the architectural grandeur of a bygone era. This ancient structure, located on Hailey Road near Connaught Place, is a historical marvel that has sparked numerous speculations about its origins. While officially attributed to Maharaja Agrasen, a legendary king from the Mahabharata era, the present structure is believed to have been rebuilt during the 14th or 15th century by the Agrawal community. However, certain architectural elements hint at an even older, possibly Hindu temple influence, raising the question: Could Agrasen Ki Baoli have been a sacred Hindu site before evolving into a functional stepwell?

Architectural Brilliance of Agrasen Ki Baoli

Agrasen Ki Baoli is an architectural gem, featuring 103 stone steps that lead down to the now-dried reservoir. The rectangular structure measures approximately 60 meters in length and 15 meters in width, exhibiting a sophisticated multi-tiered design with arched niches and chambers on either side. The structure is composed of three levels of arched corridors, providing an eerie yet captivating visual experience as one descends towards its depths.

Key Architectural Features:

  1. Stepped Reservoir: The main feature of the baoli is its series of descending steps, allowing access to the water source regardless of seasonal changes in water levels.
  2. Ornate Pillars and Niches: The walls of the baoli are adorned with intricately carved niches and alcoves, some of which bear resemblance to Hindu temple mandapas (pillared halls) commonly found in ancient temples.
  3. Floral and Geometric Motifs: The carvings on the baoli’s walls showcase lotus patterns and floral engravings, both significant symbols in Hinduism.
  4. Arched Chambers: While the pointed arches on the walls are reminiscent of Indo-Islamic influences from the later periods, the presence of certain semi-circular arch designs aligns more closely with Hindu and Jain architectural traditions.
  5. Presence of a Shrine: Some historical accounts and local lore suggest that a small shrine or temple once existed within the baoli premises, potentially indicating its earlier use as a religious site before being converted into a utilitarian structure.

Hindu Temple Influences in Agrasen Ki Baoli

Despite being labeled a medieval stepwell, certain elements suggest the baoli may have had religious significance in the pre-Islamic era:

  1. Symmetry and Vastu Alignment: Traditional Hindu water structures, like temple tanks and stepwells, were built in strict accordance with Vastu Shastra, ensuring harmony with the natural elements. Agrasen Ki Baoli’s geometric precision and alignment with cardinal directions strongly indicate adherence to these ancient architectural principles.
  2. Sculptural Relics: While many of the original carvings have been eroded over time, faint traces of Hindu deities or auspicious symbols have been reported in historical studies.
  3. Connection to Sacred Water Bodies: Water has always played a crucial role in Hindu religious practices, and stepwells were often attached to temples or pilgrimage sites to facilitate ritualistic bathing and water conservation. Agrasen Ki Baoli’s grand scale and careful construction suggest it may have served a similar purpose before being repurposed.
  4. Legends of King Agrasen: The baoli’s association with Maharaja Agrasen, a ruler linked to Sanatan Dharma and Vedic traditions, strengthens the theory that this site originally had religious significance.

Possible origins of the Ancient Site

Several factors contribute to the hypothesis that Agrasen Ki Baoli may have been a sacred Hindu site before being repurposed:

  • Cultural Transition Over Centuries: Delhi has witnessed multiple dynastic transitions, from Hindu rulers to Turkic and Mughal invaders. Many Hindu structures were modified, repurposed, or overlaid with newer architectural elements.
  • Islamic conversions of Hindu Stepwells: Several stepwells across North India, originally built by Hindu kings, were later used or renovated by invaded rulers. The addition of Islamic-style arches at Agrasen Ki Baoli suggests later modifications rather than an original feature.
  • Absence of Inscriptions: Unlike most Mughal-era constructions, which prominently feature Persian calligraphy, Agrasen Ki Baoli lacks any clear inscriptions attributing it to a specific ancient ruler, reinforcing the possibility that its origins predate Islamic rule in Delhi.

Conclusion

The key factor of this article is to understand the origins of the Ancient monument and to understand if any possible conversions of the site is discovered. 
Agrasen Ki Baoli stands as an architectural enigma, seamlessly blending elements of Hindu, Jain, and later Islamic styles. While its functional role as a stepwell is undisputed, the presence of Hindu architectural motifs, its alignment with Vastu principles, and the legends surrounding its origins all fuel speculation that it was once a sacred Hindu site. Whether it was a temple tank, a spiritual retreat, or simply a grand water reservoir, its past remains shrouded in mystery. More archaeological and historical research may yet unveil the deeper secrets of this Ancient Baoli.

Isa Khan’s Tomb (Humayun Complex)

Isa Khan’s Tomb: A Forgotten Relic of the Past

Nestled within the grand Humayun’s Tomb complex in Delhi, Isa Khan’s Tomb stands as an overlooked yet historically significant monument. Believed to date back to the late 16th century, during the Mughal era. While widely recognized as an Islamic funerary structure, its architectural elements hint at an intriguing past, suggesting that it may have been built over or incorporated elements from a pre-existing Hindu site.

Architectural Features of Afsarwala Tomb

The Isa Khan’s Tomb follows the typical Mughal architectural style, characterized by a domed structure, intricate stucco work, and finely-carved sandstone elements. The tomb is accompanied by a mosque, enhancing the spiritual significance of the site. Despite its Mughal identity, closer examination of its design and ornamentation reveals unexpected Hindu temple influences.

Key Architectural Elements:

  1. Domed Structure with Islamic Calligraphy: The tomb features a single massive dome, a signature feature of Mughal architecture. Calligraphic inscriptions can be found on its walls, adding to its Islamic character.
  2. Ornate Entranceway and Facade: The entryway, adorned with decorative motifs, combines geometric Islamic patterns with floral designs that bear a striking resemblance to those seen in Hindu temples.
  3. Mihrab and Mosque: The adjacent mosque, which aligns with Mecca, is similar in design to other Mughal-era mosques, featuring arched niches and prayer halls.

Hindu Architectural Influences in Isa Khan’s Tomb

Despite its clear Mughal lineage, certain architectural elements raise speculation about the site’s origins:

  1. Carved Brackets and Pillars: The overhanging eaves (chhajjas) and stone brackets supporting them resemble those found in Hindu temples, where they were used to provide structural stability and decorative appeal.
  2. Floral and Lotus Motifs: The presence of lotus carvings, a key symbol in Hindu iconography, suggests either an adaptation from an earlier temple or the involvement of indigenous craftsmen familiar with Hindu temple designs.
  3. Use of Spolia (Repurposed Temple Materials): Some pillars and ornamental friezes display carvings reminiscent of pre-Islamic Indian architecture, hinting at the possibility that elements of an earlier Hindu or Jain structure were reused in the tomb’s construction.

  4. Presence of a Well: A significant feature of the tomb premises is an old well near the mosque. Wells were often associated with Hindu temple complexes for ritualistic purposes, raising further speculation about the site’s original use before its transformation into an Islamic funerary monument.

Possibility of a Pre-existing Hindu Site

Several factors contribute to the speculation that the Isa Khan’s Tomb may have been constructed over a Hindu religious site:

  • Historical Patterns of Temple Destruction and Reuse: The Mughals, like their predecessors, often repurposed materials from older Hindu temples when constructing new buildings. The integration of Hindu motifs in an otherwise Islamic structure suggests such a possibility.
  • Location within a Sacred Landscape: Before the Mughal period, Delhi had a rich history of Hindu and Jain temples. Given its proximity to the Yamuna River and other ancient sites, this location may have once been of religious importance.
  • Structural Discrepancies: Some of the tomb’s elements, particularly certain stone placements and carvings, do not align perfectly with traditional Mughal architectural principles, suggesting the adaptation of pre-existing structures rather than an entirely new build.

Conclusion

The Isa Khan’s Tomb is an intriguing piece of Delhi’s architectural puzzle, embodying the fusion of Islamic and indigenous Indian artistic traditions. While officially recognized as a Mughal-era funerary structure, its Hindu architectural elements hint at a deeper, possibly pre-existing history. Whether this site originally housed a Hindu temple remains uncertain, but its design details and construction materials leave room for speculation. Further archaeological and historical research could unveil more secrets, shedding light on yet another forgotten chapter of India’s syncretic heritage.

Shesh Gumbad and Bada Gumbad: Lodhi Garden

Shesh Gumbad and Bada Gumbad: Echoes of a Forgotten Past

In the heart of Delhi’s Lodhi Gardens stand two striking yet enigmatic monuments—Shesh Gumbad and Bada Gumbad. These structures, built during the late 15th and early 16th centuries under the Lodi dynasty, are remarkable examples of Indo-Islamic architecture. While traditionally considered tombs or mosque-related structures, their design elements suggest a deeper, more complex history. The presence of Hindu temple architectural motifs raises intriguing questions: Could these monuments have been constructed over an ancient Hindu site? Were elements of pre-existing structures repurposed into their design? These questions remain unanswered, adding an air of mystery to these silent sentinels of history.

Bada Gumbad: A Grand Architectural Statement

Bada Gumbad, literally translating to “Big Dome,” is one of the most imposing structures in Lodhi Gardens. Built during the reign of Sikandar Lodi (1489–1517), it consists of a large domed structure, an attached mosque, and a gateway. Though often assumed to be a tomb, no grave has been discovered inside, leading to speculation about its original purpose.

Key Architectural Features:

  1. Massive Dome and Square Base: The structure follows a square plan, crowned with a hemispherical dome, a hallmark of Indo-Islamic architecture.

  2. Ornate Facade: The western wall of the adjacent mosque is elaborately decorated with geometric and floral motifs, reminiscent of Persian influences.

  3. Jali Screens and Arches: The presence of perforated stone screens (jali) suggests both Islamic and indigenous Indian influences.

Hindu Architectural Influences in Bada Gumbad:

  1. Bracketed Chhajjas (Overhanging Eaves): The stone eaves, supported by brackets, closely resemble those seen in Hindu temple construction.

  2. Lotus and Floral Motifs: While floral patterns are common in Islamic art, the specific use of lotus imagery hints at an adaptation from Hindu traditions.

  3. Chhatris and Pillared Elements: Though largely an Islamic structure, some remnants of Hindu-style pavilions (chhatris) and stone pillars can be identified, suggesting either adaptation from a prior structure or the influence of indigenous artisans.

Shesh Gumbad: A Tomb Shrouded in Mystery

Standing close to Bada Gumbad, Shesh Gumbad is another intriguing structure, believed to house the remains of an unknown noble from the Lodi era. Unlike other Lodi tombs, its identity and history remain obscure.

Architectural Highlights:

  1. Octagonal Tomb Design: Unlike Bada Gumbad’s square plan, Shesh Gumbad follows an octagonal layout, which is commonly seen in both Indo-Islamic and Hindu temple architecture.

  2. Carved Brackets and Eaves: The intricate stone supports beneath the eaves resemble those found in medieval Hindu temples.

  3. Multi-layered Ornamentation: Some patterns on the facade bear an uncanny resemblance to temple carvings, raising the possibility that the structure incorporates repurposed materials from an earlier site.

Possibility of a Pre-existing Hindu Structure

The subtle yet undeniable Hindu architectural influences in both Gumbads invite speculation:

  • Material Reuse: Many Indo-Islamic structures in Delhi incorporate stones and pillars from demolished Hindu and Jain temples. The presence of Hindu-inspired brackets and motifs suggests the possibility of reused elements.
  • Sacred Geography: Before the Islamic period, Delhi was home to numerous Hindu temples and sacred sites. The Lodhi Gardens area may have once been a spiritual or cultural center.
  • Structural Anomalies: The orientation and design of certain architectural elements do not align perfectly with typical Islamic tomb structures, leading to theories of adaptation rather than original construction.

Conclusion

The Bada Gumbad and Shesh Gumbad stand as intriguing relics of Delhi’s architectural past, embodying a blend of Islamic and indigenous Indian design. While their official history places them within the framework of Lodi-era tombs and mosques, their Hindu architectural elements spark curiosity about their origins. Whether they were built upon a pre-existing Hindu site remains uncertain, but their fusion of styles highlights the syncretic nature of India’s rich architectural heritage. Further archaeological investigations could provide deeper insights into these forgotten layers of history, helping us unravel the true story behind these enigmatic monuments.

Sikandar Lodi’s Tomb in Lodhi Gardens

Sikandar Lodi’s Tomb in Lodhi Gardens: A Historical and Architectural Analysis 

Sikandar Lodi’s Tomb, located in Delhi’s famous Lodhi Gardens, is a remarkable example of Indo-Islamic funerary architecture from the late 15th and early 16th centuries. Built by Ibrahim Lodi in 1517 to honour his father, Sikandar Lodi, this tomb reflects a blend of Persian and indigenous Indian architectural traditions. While the tomb primarily follows the Islamic architectural style characteristic of the Lodi dynasty, certain elements suggest subtle influences from Hindu temple architecture. This raises the intriguing question of whether the site held historical significance before the tomb’s construction, possibly as a Hindu sacred space.

Architectural Features of Sikandar Lodi’s Tomb

The tomb is an early example of an enclosed garden tomb, a concept that would later be refined in Mughal architecture, particularly in Humayun’s Tomb and the Taj Mahal. Its defining features include:

1. Enclosed Garden Layout (Charbagh Influence)

Unlike earlier tombs, Sikandar Lodi’s Tomb is situated within a walled enclosure, giving it a fortress-like appearance. This is an early adaptation of the Persian Charbagh garden-tomb concept, which was later perfected by the Mughals. The use of enclosed spaces was also a feature of Hindu temple precincts, which were often surrounded by boundary walls and gateways.

2. Octagonal Tomb Structure

The tomb follows an octagonal plan, a hallmark of Lodi-era architecture. The octagonal shape was favoured for its symbolic significance in Islamic geometry, but it also has parallels in Hindu temple architecture, where sacred spaces were often designed using geometric precision.

3. Chhatris (Domed Pavilions)

One of the most distinctively Indian elements in the tomb’s design is the presence of chhatris (small domed pavilions) on its roof and exterior walls. Chhatris are an integral feature of Rajput and Hindu temple architecture, commonly used to adorn temples, cenotaphs, and palatial structures. Their presence in an Islamic tomb suggests a cultural fusion that was characteristic of Indo-Islamic architectural evolution.

4. Ornamental Brackets and Overhanging Eaves (Chhajjas)

The overhanging eaves, supported by carved stone brackets, are another feature commonly associated with Hindu and Rajput architecture. In Hindu temples, such brackets were intricately carved and used to support balconies and roofs. In Sikandar Lodi’s Tomb, these brackets, though simpler in execution, serve a similar structural and decorative function.

5. Decorative Motifs and Indigenous Craftsmanship

The tomb is relatively austere in terms of ornamentation, following the Lodi preference for simplicity. However, some floral and geometric motifs carved into the stonework resemble patterns found in Hindu temple architecture. This suggests that local artisans, skilled in temple construction, may have contributed to the tomb’s design.

Interior of the Tomb

The interior of Sikandar Lodi’s Tomb is relatively unadorned, in keeping with the minimalist style of the Lodi dynasty. The main chamber houses the cenotaph of Sikandar Lodi, while the actual grave is believed to be underground. The walls are plain, lacking the elaborate calligraphy and tile work seen in later Mughal tombs. The tomb’s simplicity contrasts with the more ornate interiors of earlier Indo-Islamic structures, reinforcing its transitional nature between the Delhi Sultanate and Mughal architectural traditions.

Was There a Hindu Site Before the Tomb?

The presence of Hindu architectural elements, while not conclusive, sparks speculation about whether the site originally held a Hindu temple or another sacred structure. Several historical factors support this possibility:

  1. Historical Precedent of Site Repurposing: The Delhi Sultanate and later rulers often built mosques and tombs over pre-existing Hindu and Jain temples, either repurposing materials or demolishing structures to assert dominance.
  2. Chhatris and Brackets: The use of these features suggests either direct adaptation from existing structures or an attempt to blend Hindu architectural elements into Islamic designs, possibly to integrate local craftsmanship.
  3. Absence of Documented Pre-Islamic Structures: While there are no clear historical records of a Hindu temple at this location, the broader Lodhi Gardens area was part of Delhi’s ancient settlements, where Hindu religious structures would have been present before Islamic rule.
  4. Sacred Geography: Many tombs and mosques in medieval India were deliberately built over sacred Hindu sites to recontextualize their religious significance. Given the strategic and central location of Sikandar Lodi’s Tomb, it is plausible that the area once held a Hindu or Jain shrine.

Conclusion

Sikandar Lodi’s Tomb is a fascinating blend of Islamic and indigenous architectural traditions, reflecting the transitional phase between the Delhi Sultanate and Mughal styles. While its core structure adheres to Lodi-era Islamic design, the presence of Hindu elements like chhatris, ornamental brackets, and decorative motifs hints at either an intentional fusion of styles or a deeper historical connection to a pre-Islamic past. Whether the site originally housed a Hindu structure remains speculative, but the architectural dialogue between different cultural traditions makes Sikandar Lodi’s Tomb an important monument in understanding India’s syncretic heritage. Further archaeological investigations could potentially shed more light on the true origins of this historic site.

Muhammad Shah’s Tomb (Lodhi Garden)

Muhammad Shah’s Tomb in Lodhi Gardens: An Architectural and Historical Inquiry

Muhammad Shah IV’s tomb, an elegant yet lesser-explored monument in Delhi’s famous Lodhi Gardens, stands as a remarkable example of Indo-Islamic architecture. Built in the mid-15th century during the Sayyid dynasty (1414–1451), the tomb commemorates Sultan Muhammad Shah, one of the last rulers of the Sayyid dynasty. The structure’s design is not purely Islamic; rather, it incorporates several elements that are reminiscent of Hindu temple architecture. This intriguing blend raises the question of whether the tomb was constructed over an older Hindu site, a possibility that remains a topic of historical speculation.

Architectural Features

Muhammad Shah’s Tomb follows the traditional Indo-Islamic style but introduces key architectural elements that distinguish it from later tombs built during the Lodi and Mughal periods. The monument’s most defining features include:

1. Octagonal Layout

The tomb follows an octagonal plan, a characteristic of Sayyid and early Lodi tombs, unlike the square tombs favored during the later Mughal period. Each side features large arched entrances, allowing light and air to flow through the structure.

2. Chhatris (Domed Pavilions)

The tomb is crowned by a large central dome, surrounded by eight small chhatris placed symmetrically at the corners. Chhatris are a distinct feature of Rajput and Hindu temple architecture, often seen in traditional temple designs and cenotaphs. Their presence in an Islamic tomb suggests an architectural syncretism or the adaptation of indigenous styles into Islamic structures.

3. Ornamental Brackets and Overhanging Eaves (Chhajjas)

The overhanging eaves (chhajjas) of the tomb are supported by stone brackets, a feature heavily inspired by Hindu and Rajput architecture. Hindu temples frequently use such carved brackets to support projecting balconies and roofs. This stylistic adaptation can be seen in many Indo-Islamic monuments, but its prominence in Muhammad Shah’s tomb is particularly noteworthy.

4. Decorative Motifs and Carvings

While the tomb largely follows Islamic artistic traditions, certain decorative motifs—such as floral and geometric patterns—bear a resemblance to carvings found in Hindu temples. Some of these motifs are not strictly Islamic, which suggests the influence of local artisans accustomed to working on Hindu religious structures.

5. Interior Design and Ornamentation

The interior of Muhammad Shah’s Tomb maintains an austere yet elegant design. The walls are largely unadorned, except for traces of faded frescoes and calligraphy that once decorated the space. The main chamber houses the central cenotaph, which is believed to be a symbolic resting place, while the actual burial chamber lies underground—a common practice in Islamic tomb architecture. The use of perforated stone screens (jali) for ventilation and lighting enhances the ethereal atmosphere within the tomb. These jali patterns, though typically Islamic, also resemble latticework found in Hindu temple designs. The domed ceiling, though simple, may have once featured painted or stucco embellishments, which time has largely erased.

Historical Speculations: Was There a Hindu Structure Before the Tomb?

The presence of Hindu-inspired elements in the tomb has led to speculations that the site might have originally housed a Hindu temple or another significant Hindu structure. Several points support this theory:

  1. Architectural Adaptation: Many Indo-Islamic buildings were constructed over pre-existing Hindu or Jain temples, often repurposing materials and incorporating local architectural elements. The use of Hindu-style chhatris and brackets suggests a possible continuity of local construction practices.

  2. Material Reuse: Some Islamic monuments in India have been known to incorporate stones and carvings from demolished temples. Though no direct evidence has been found at Muhammad Shah’s Tomb, a detailed archaeological survey could provide insights into whether existing materials were reused.


  3. Sacred Geography: The Lodhi Gardens area, which was once part of an extensive necropolis, might have held earlier religious significance. It is not uncommon for Islamic rulers to build monuments over sacred sites to assert dominance and repurpose the location for their own cultural and religious expressions.


  4. Absence of Contemporary Hindu Records: There is a lack of direct historical records mentioning a temple at this specific location before the tomb’s construction. However, the broader region of Delhi had numerous temples during the pre-Islamic period, making the possibility of an earlier Hindu structure plausible.


Conclusion

Muhammad Shah’s Tomb stands as an architectural testament to the cultural syncretism of medieval India. While its core design is rooted in Indo-Islamic traditions, its Hindu temple-inspired elements add an intriguing layer of historical complexity. Whether these features were purely stylistic choices or evidence of an older Hindu site remains an open question. Further archaeological studies and historical research could shed light on the true origins of this fascinating monument. Regardless of its past, the tomb remains a symbol of the fluid architectural and cultural exchanges that define India’s rich heritage.

Khair-ul-Manzil, Delhi

The Khair-ul-Manzil, meaning “The Best of Houses,” is a historic mosque and madrasa situated opposite the Purana Qila on Mathura Road in New Delhi, India. Constructed in 1561 by Maham Anga, the influential wet nurse and foster mother of Mughal Emperor Akbar, this monument reflects the architectural styles of the Mughal era.

The mosque’s gateway evidently is built of red stone, showcasing not only Mughal architectural elements but also presence of Hindu motifs and architectures which lies underneath the history.

The interior structure exhibits characteristics of Delhi Sultanate architecture. The huge alleged garbagriha, today known as the prayer hall, has five high- arched openings, and the mosque is constructed primarily of rubble covered with plaster. What lies underneath the plaster is yet to be discovered and only time will speak the evidence of hidden truth.

Upon entering through the old gates, an octagonal shaped water storage is seen, which might not seem very common in mosques. This can raise the question whether something is present beneath the structure which is now mostly being used by few people. 

The masjid is huge in area, and behind it lies a garden, which is closed for the usual public, but some sort of structures can be seen. On both the sides of masjid walks old rugged stone structures which are now broken. This takes the shape of a few chamber-like designs and its significance remains unknown. 

Interestingly, Khair-ul-Manzil also served as a theatre of conflict during the Independence movement. It is believed as per reports that, once British officers discovered that some revolutionaries were hiding in the monument, no sooner cannons were set up and the structure was bombed. Traces of bombing in black marks are still evident in the walls and ceilings of the masjid.

A debate still remains unresolved as there are claims of Khair-ul-Manzil being built on the site of the Hindu temple. As per Sita Ram Goel, a renowned scholar and historian dares to mention in his book “Hindu Temples: What Happened to them” that Khair-ul-Manzil is allegedly built atop of Hindu temple site. Is this fact actually considered the truth? Only further research by archaeologists will break the silence. 

Though there are strong beliefs and evidence that suggest the masjid was constructed on a Hindu Temple as there are presence of certain motifs and architectural elements surrounding the complete structure of the monument.

In summary, while Khair-ul-Manzil stands as a testament to Mughal architecture and the influence of Maham Anga, claims of it being built over a Hindu temple site remain inconclusive without further archaeological evidence. The mosque’s rich history and architectural significance continue to make it a subject of interest for historians and scholars alike.

Delhi

List of Masjids in Delhi which was built by destroying Hindu temples

LIST OF HINDU TEMPLES DESTROYED AND CONVERTED TO MOSQUES IN DELHI BY MUSLIMS

We give below, state-wise and district-wise, the particulars of Muslim monuments which stand on the sites and/or have been built with the materials of Hindu temples, and which we wish to recall as witnesses to the role of Islam as a religion and the character of Muslim rule in medieval India. The list is the result of a preliminary survey. Many more Muslim monuments await examination. Local traditions which have so far been ignored or neglected have to be tapped on a large scale.
We have tried our best to be exact in respect of locations, names and dates of the monuments mentioned. Even so, some mistakes and confusions may have remained. It is not unoften that different sources provide different dates and names for the same monument. Many Muslim saints are known by several names, which create confusion in identifying their mazars or dargahs. Some districts have been renamed or newly, created and a place which was earlier under one district may have been included in another. We shall be grateful to readers who point out these mistakes so that they can be corrected in our major study. This is only a brief summary.

Sita Ram Goel
It should be kept in mind that the list below doesn’t include all the temples destroyed by Muslims and which were converted to mosques. The below is the list of mosques and Dargahs where evidences exists of having been made after destroying the temples at these locations. In many mosques, Muslim rulers were able to eradicate all signs of temples, and hence not given in below list.
Anyone is free to visit the below list of mosques and see the remnants and materials of Hindu temples used in their construction. Archaeological Survey of India should conduct an excavation of below mosques to find out more about the ancient temples in these locations and possible mass graves around the mosque sites.
Islamic invaders destroyed the Hindu cities of Indarpat and Dhillika with their extensive suburbs and built seven cities successively. The following Muslim monuments stand on the site of Hindu temples; temple materials can also be seen.

I. MEHRAULI
1. Quwwatul Islam Masjid (1198).
2. Qutb Minar.
3. Maqbara of Shamsud-Din Iltutmish (1235.)
4. Dargah of Shykh Qutbud-Din Bakhtyar Kaki (d. 1236).
5. Jahaz Mahal.
6. AlaI Darwaza.

7. AlaI Minar.
8. Madrasa and Maqbara of Alaud-Din Khalji.
9. Maqbara of Ghiyaud-Din Balban.
10. Masjid and Mazar of Shykh Fazlullah known as Jamali-Kamali.
11. Madhi Masjid.
II. SULTAN GHARI
12. Maqbara of Nasirud-Din, son of Sultan Shamsud-Din Iltutmish (1231).
III. PALAM
13. Babri (Ghazanfar) Masjid (1528-29).
IV. BEGUMPUR
14. Masjid.
15. Bijai Mandal.
16. Kalu Sarai-ki-Masjid.
17. Mazar of Shykh Najibud-Din Mutwakkal Chishti (d. 1272).
V. TUGHLAQABAD
18. Maqbara of Ghiyasud-Din Tughlaq.
VI. CHIRAGH-DELHI
19. Dargah of Shykh Nasirud-Din Chiragh-i-Dehli (d. 1356).
20. Maqbara of Bahlul Lodi.
VII. NIZAMUDDIN
21. Dargah and Jamat-Khana Masjid of Shykh Nizamud-Din Awliya (d.1325).
22. Kalan Masjid.
23. ChaunsaTh-Khamba.
24. Maqbara of Khan-i-Jahan Tilangani.
25. Chilla of Nizamud-Din Awliya.
26. Lal Mahal.
VIII. HAUZ KHAS
27. Maqbara and Madrasa of Firuz Shah Tughlaq.
28. Dadi-Poti-ka-Maqbara.
29. Biran-ka-Gumbad.
30. Chhoti and Sakri Gumti.
31. Nili Masjid (1505-06).
32. Idgah (1404-00).
33. Bagh-i-Alam-ka-Gumbad (1501).
34. Mazar of Nurud-Din Mubarak Ghaznawi (1234-35).
IX. MALVIYANAGAR
35. Lal Gumbad or the Mazar of Shykh Kabirud-Din Awliya (1397).
36. Mazar of Shykh Alaud-Din (1507).

37. Mazar of Shykh Yusuf Qattal (d. 1527).
38. Khirki Masjid.
X. LODI GARDENS
39. Maqbara of Muhammad Shah.
40. Bada Gumbad Masjid (1494).
41. Shish Gumbad.
42. Maqbara of Sikandar Lodi.
XI. PURANA QILA
43. Sher Shah Gate.
44. Qala-i-Kuhna Masjid.
45. Khairul Manzil Masjid.
XII. SHAHJAHANABAD
46. Kali Masjid at Turkman Gate.
47. Maqbara of Razia Sultan.
48. Jami Masjid on Bhojala Pahadi.
49. Ghata or Zainatul Masjid.
50. Dargah of Shah Turkman (1240).
XIII. RAMAKRISHNAPURAM
51. Tin Burji Maqbara.
52. Malik Munir-ki-Masjid.
53. Wazirpur-ka-Gumbad.
54. Munda Gumbads.
55. Bara-Lao-ka-Gumbad.
56. Barje-ka-Gumbad.
XIV. THE RIDGE
57. Malcha Mahal,
58. Bhuli Bhatiyari-ka-Mahal.
59. Qadam Sharif.
60. Chauburza Masjid.
61. Pir Ghaib.
XV. WAZIRABAD
62. Masjid and Mazar of Shah Alam.
XVI. SOUTH EXTENSION
63. Kale Khan-ka-Gumbad.
64. Bhure Khan-ka-Gumbad.
65. Chhote Khan-ka-Gumbad.
66. Bade Khan-ka-Gumbad.

XVII. OTHER AREAS
67. Maqbara of Mubarak Shah in Kotla Mubarakpur.
68. Kushk Mahal in Tin Murti.
69. Sundar Burj in Sundarnagar.
70. Jami Masjid in Kotla Firuz Shah.
71. Abdun-Nabi-ki-Masjid near Tilak Bridge.
72. Maqbara of Raushanara Begum.

EVIDENCE IS AVAILABLE THAT IN DELHI THE ABOVE MENTIONED MOSQUES AND DARGAHS WERE CONSTRUCTED BY DESTROYING HINDU TEMPLES. BUT IN MANY OTHER CASES MUSLIMS SUCCEEDED IN REMOVING ALL TRACES OF TEMPLES FROM THE MOSQUES. IN SUCH CASES ONLY AN EXCAVATION BY ASI WILL REVEAL THE DESTROYED TEMPLES.
WHILE MUSLIMS ASK FOR REBUILDING THE ILLEGAL MOSQUE IN AYODHYA, WHY SHOULD NOT HINDUS DEMAND THE RECONSTRUCTION OF THE DESTROYED TEMPLES IN INDIA?

                                                                                      

Sultanghari – Hindu Temple Seized By Sultan Iltumish

In the south-western part of New Delhi, the area that is now called Vasant Kunj, few kilometers from Qutub Minar, lies the tomb of prince Nasirudin Mahmud, eldest son of Mughal Sultan Shamsud-Din Iltutmish.

Indira Gandhi Centre of Arts, Ministry of Culture, GOI says about Sultanghari on its website –

‘The Sultan Ghari’s tomb lies about 8 km southwest of the Qutub, near Mahipalpur (originally known as malkapur). It was built in 1231 by Sultan Iltutmish over the remains of his eldest son and heir-apparent, prince Nasiru’d-Din Mahmud.

Laid out within a walled enclosure with bastions on corners, which impart it the look of a fortress, its octagonal grave-chamber lies underground, as the level around it was raised by a rubble-packing. The ceiling rests on columns raised with two pillars each robbed from an earlier Hindu shrine; carved lintels from another were found embedded in the thick lime-concrete roof. Other pieces were used in the ceilings of the prayer-chamber and bastions and the pillars re-utilised in the verandahs, originally used as a madrasa, after chipping the decoration off them. The tomb was repaired later by Firoz Shah Tughluq.’

Almost every source or mention of Sultanghari on the web uses the word ‘built’ for a glaring example of an intolerant wound inflicted on the history of a dharmika heritage which has been now crying for about 800 years that it has been forcibly hybridized and appropriated, initially with force, and later the acceptance came by the sheer propaganda of secularism. This in spite of the fact, that most historical written sources mention that a hindu structure, most probably a temple, stood there and the destructed parts of which were unabashedly misused to create the tomb.

The monument of Sultanghari is made of grey granite, red sandstone & marble with Hindu motifs and later-era Islamic inscription were added tastelessly to mark a religious victory. If nothing else, the pictures are narrating the saga eloquently.

Various ASI (Archeological Survey of India) officers in the past have written about the existence of a Hindu structure, most probably a big temple, at the exact location of Sultanghari, which was constructed during the Gurjara-Pratihara period. Some of these are mentioned in the book ‘Hindu Masjids’ by Prafull Goradia. Quoting some important statements from the book –

Naqvi has taken pains to describe at length the edifice which began as a temple, got converted into a tomb and to which was added a masjid with a marble mehrab and then a gate with pretty Arabic calligraphy of verses from the Holy Quran. As he puts it, the gateway projects 13 ~feet from the enclosure wall and is approached and entered by a flight of steps flanked by two square rooms which are roofed with stone slabs in the Hindu fashion. The external archway of the gate is formed by overlapping courses of marble and around it is the important Arabic inscription in Kufic characters.

He winds up his description with the words: The Hindu elements in the architecture of the monument are apparent in the dome of the mosque and the partly defaced Hindu motifs on some of the pillar brackets of the western colonnade. The presence of a Gauripatta or receptacle of a linga in the pavement of the western colonnade is a further significant point. Furthermore, the marble stones in the external facade of the mosque are serially numbered, indicating their removal from elsewhere.

The book also mentions historian Cunnigham’s writing on Sultanghari –

Cunningham’s observations made in 1871/72 should be taken even more seriously because his impartiality would be beyond doubt. There would be no bias as between the Hindu and Muslim viewpoints. In the ASI report of those years, he has written that the tomb of Sultan Ghari, with its domes of overlapping courses, appears to be pre-Muhammadan, but when to this feature we add the other Hindu features, both of construction and ornamentation, the stones set without cement in the walls, the appearance of wear or weathering of the stones, greater even than in the Kutb, though similar in material, and the fact that the inner cell was originally finished in granite, but afterwards cased with marble, it becomes extremely probable that this is, like the Kutb, a Hindu building appropriated by the Muhammadans, and the probability is rendered almost a certainty by the existence of the central cell, which is a construction adapted to some Hindu forms of worship, the Saivic, but which is an anomaly in Muhammadan architecture.

 

IMG_20180923_171729255_HDR

Tomb of Nasirudin Mahmud
Colonnade with different size slabs
Colonnade with different size slabs
Source – Wikipedia
Hindu temple pillars
One of the inscriptions in Sultanghari
One of the inscriptions in Sultanghari
Source – Sanskriti Magazine

So, from most records it is evident that there indeed was a reverential Hindu structure twisted and turned into a tyrannical victory reeking of absolutism in the oppressive sense. However, the author of ‘Hindu Masjids’ and other locals of the Sultanghari area mention that both Hindus and Muslims have been offering prayers in the said premises since several years and therefore, this has come to be a symbol of Muslim tolerance.

Calling it ‘tolerance’ is baffling, because in a Hindu majority nation post Independence, one is only allowed genuine ownership of barely a very small fraction of the real heritage that is centuries old and that has survived through sacrificing a lot of blood. This is the truth that has to be accepted here. And this truth is based on historical evidential validity. That it is not indeed ‘tolerance’, it is in fact a make-believe tolerance in cases where there is clear evidence that the heritage truly belongs to the Hindus but the claim to it, is shared. This ‘tolerance’ will cease to exist if at all this becomes a Muslim majority nation and the entire history is evidence of it.

 

 

A look at different sources of information about Sultanghari suggests planned restoration work. Most suggest that the heritage area of Sultan Ghari extends to 61.8 acres. This monument has been declared as a Grade A monument by the Indian National Trust for Art and Cultural Heritage (INTACH), The plan of restoration is under implementation by the Delhi Development Authority (DDA) and it seems to have undertaken the following construction activities as per Wikipedia –

  • The entrance gates of the Tomb have been built with dolphur sandstones to match with the architectural setting of the Sultan Ghari tomb, adopting the same technique as used for building the domes.
  • 100 m of restricted area and 200 m of regulated area are demarcated and fenced and four approach paths/ tracks constructed that lead to the main tomb.
  • A water conservation plan (water harvesting) has also been evolved to partially meet the water requirements for the park around the tomb.
  • ASI’s control extends only up to 300 m from the tomb since the rest of the area surrounding it is proposed for urban development by the Army.

So as we can see, the authorities seem more interested in protecting the later creativity of appropriation of a structure rather than reclaiming the original heritage that could be older than two millenniums. Of course, the tomb and the appropriation is also a part of history, but to provide balm to civilisational wounds, an independent Bharat could do well to shift the appropriated parts of the structure to somewhere else.

So while all history has to be accepted, we have heritage sites, especially Sultanghari, clamoring for a rightful presentation as a dedication to its ancestors who must have gone at length to try and preserve what they built with great devotion and taste.

 

This article is part of our efforts to research, document and publish about the ancient Hindu temples that came under the sword of Islamic invaders, so that Hindu society can reclaim, restore and revive them. You can contribute towards the efforts via https://reclaimtemples.com/donations/support/ or via UPI/BHIM to donate@hsbc

 

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