The Tomb Gardens of the Moghuls

By- Kamala Vasudevan

The Tomb gardens were different from the Pleasure gardens in the layout of the design. The Tomb garden was a perfect square while the Pleasure garden had a linear axiality. In the Tomb garden, the focus was on the Tomb and the austere garden was an adjunct. The idea of the tomb architecture was to provide the mausoleum with a character full of dignity and sobriety, thoughtfulness and quietitude instead of gaiety and splendor. It was intended to be an elegy in its true sense, rather than anything else.

Old Mullah, circa 1615, Mughals, signed Farrukh Beg, Minto Album, Victoria and Albert Museum.

The Moghuls designed their tomb garden invariably on the Char-Bagh plan, the tomb occupying the central and thus the most important place, in the plan of the garden. The tomb architecture had the gardens and water devices in an integrated plan. The tomb garden though sombre in setting was still lovely and impressive. It was a graceful place to rest

Floral motifs were used in the decorative arts on the tile reliefs of tombs as in this tile from Humayun's tomb.-- Photo- courtesy- Shalini Sharan.

A Classic Char Bagh plan for a garden was a square or a rectangular area divided into four quadrants

.Humayun's tomb under Akbar.
Humayun's tomb in Delhi was constructed under Akbar and his mother, Hamida Banooo Begum, initiating the Akbaride Hindu- Muslim style , using red sand stone and marble with burgis-kiosks.Humayun's tomb at Delhi started in A.D. 1566 is the earliest Moghul tomb and the architectural plan was a very successful one. As with all Moghul gardens the primary necessity was abundant water to irrigate the garden and to feed the numerous tanks and channels. Water came from a huge well situated in one corner of the enclosure. Here, instead of the usual four square water channels, the garden id made up of innumerable water channels with raised paths on both sides all leading to a central point. At the intersection of each pathway, is a sunken ornamental tank, square in shape outside but octagonal or round water basins inside with trefoiled and cusped borders. Water chutes have been introduced to create rippling water effect. These stone water chutes are called "chaddars" or shawls for their intricate design, the favorite being shell and wave design. Once again terraced garden is a preferred motif to create tiny waterfalls. The gurgling of the running water, the cypress avenues, the pergolas and the flowerbeds completed the tomb of Humayun.

Humayun's tomb , front view was the forerunner of the Taj Mahal and it remains a tranquil oasis in the heart of a bustling capital city. Photo- courtesy- Shalini Sharan

Akbar's tomb at Sikandara.
Akbar's tomb at Sikandra, gateway look towards water channels on the large plinth.
Photo- courtesy-Lindsay Habberd
The garden at the tomb of Akbar at Sikandara (A.D. 1605-1612) also has a Char-Bagh design with the same water arrangement as in characteristic Moghul garden. The Moghul's love of waterfalls manifested here in several of them being installed. Each terrace has a tank in the center with a fountain and four tanks have also been provided in the center of the four sides of the main platform on which the mausoleum stands. Each quarter of the Char-Bagh has a number of wells to supply water to the fountains and the channels. A sophisticated system of underground earthen pipes were installed to feed the fountains. There are no cypress avenues or flowerbeds or flowing water channels on the terrace today. In accordance with the personality of Akbar, one of the greatest rulers of India and the real founder of the Moghul dynasty, the architect has given the tomb garden an air of sober and solemn impression full of dignity and reverence.

The garden at the tomb of Itmad-ud-daula is also designed on the Char-Bagh plan, the mausoleum occupying the central position as in all tomb gardens. This marked the stage where the Gardner, the architect and the water engineer coordinated their efforts very successfully with the resultant harmonious composition. This is a much smaller garden than the previous ones and that facilitated the planning. Instead of the Persian well, the Pur system was used here from the two wells situated on the riverside.
The storage wells supplied the water to the shallow water channels, which in turn, took care of the garden as well as the mausoleum. This shallow channel here was sunk in the center of the raised stone pathways and had lotus ponds and water chutes creating a delightful effect. The flower beds were planted with roses, tulips, iris, and other flowers of typical Persian origin. The water which overflowed from the channels were ingeniously diverted to water the flower beds and the tree belts. This is a superb example of the combined efforts of the garden planner and the architect for producing a beautiful landscape. Itmad-ud-Daula's tomb planned like a garden Pavilion with a simple tomb garden surrounding it.The tomb was decorated with a Guldasta of flowers stylised into an arabesque with inlays of stones.

Itmad-ud-daula tomb:
Stylised cypress tree with Chenar leaf motifs and other floral pattern decorated the tomb of Itmad- ud- Daula. Peter Mundy, the English traveler who saw the Moghul gardens of Agra in A.D. 1632, left a detailed description in his journals. Enchanted with the Char-Bagh design and the water arrangements and the pavilions, he wrote particularly about the plants grown in the garden. He writes in quaint archaic English, "This square garden is divided into further squares and that into other like beds and plots; in some, little groves of trees , as apple trees, orange trees, Mulberry trees, etc. Mango trees, Caco (coconut) trees, fig trees, Plantain trees, these latter in ranks as are the Cypress trees. In other squares are your herbs etc.; whereof Roses, Marigolds abundance; Poppies, Red Carnation and white; and diverse other sortes of faire flowers which wee knowe not in our parts, many growing on prettie trees all watered by hand in time of drought which is 9 monethes in a year."

Jehangir's tomb.
Jehangir's tomb is situated in the Dilkusha Bagh or the garden of delight popularly called Shah- Dara across the Ravi at Lahore. It was built by Nur-jehan. It is an elaborate version of the Char-Bagh design. The central Mausoleum is surrounded by ornamental raised fountains, water chutes, cascades and water channels with the typical Moghul trade mark cypress avenues and flower beds. The flowers were the Persian variety of tulips, roses, violets, poppies, lilies, anemones, and red cyclamen and each flower variety was allotted a separate bed. The profusion of flowers in this tomb is partly because Jehangir was a great flower worshipper and the garden design paid a tribute to the soul of the Emperor by his beloved Begum. The inlay work in all the murals of his tomb also represent his favorite flowers. The water chutes rippling through the channels give this tomb garden that poetic charm which fascinated Jehangir in his lifetime.

Shah Jahan's Taj Mahal.
The Taj Mahal, the mausoleum of Mumtaj Mahal built by Shah Jahan (A.D. 1631-1648) is one of the seven wonders of the world and reflects the acme of Moghul garden technique and water devices and superb architecture. Though the standard Char- Bhag plan was adopted, the aesthetic ideals of the architect and the patron's own sense of the beautiful has created a magnificent garden. The mausoleum, instead of occupying the usual central position, is situated in the north side above the river standing majestically overlooking the garden. Each of the four quarters has been further divided into further smaller quarters with stone paved pathways. The centre of the garden is occupied by a raised marble lotus pond with cusped and trefoiled border. Perfect symmetry is the focal point here. The crude pur-ramps and conduits for water pipes have been shifted to adjacent Bagh Khan-i-Alam to leave the Taj aesthetically pure. All the storage tanks and water channels so necessary for the garden could be worked there and abundant water could be brought to the Taj through underground pipes without intruding into the grand design of the snow white Taj.
Great precision was required for devising the water arrangements. A massive ramp and raised purs and water channels helped fill massive storage tanks supported by huge arches. Except for the ramp, other water devices have survived. The noisy water chutes have been avoided in the Taj and ethereal fountains have been substituted instead. Five marble fountains have been placed in the raised lotus pond, and another 24 fountains ornament this pond on all sides. 24 fountains have been set in the north side and the same number in the south and the desired symmetry obtained. The water channels at the Taj are broad sheets of crystal clear water mirroring the magnificent Taj through the trellis of intricate work. The air from the trellis ripples the water and allows the pure white tomb to dance in it. The Taj is a miracle created by an Indian builder created so perfectly that the shadows and light play on it leave a wonderful impression.
The original intention of the makers was to present the Taj as a whole without being obscured from view and this is confirmed by the method with which the garden was irrigated. Except for the outlets at two extreme ends, the entire garden was irrigated by the overflowing of canals and the fountains. Flowers like roses, tulips, crown-imperials, lilies, irises, marigolds, and others were grown in such a way that it didn't obscure the view of the Taj. The trees like the mango. guava, orange, lemon, pomegranate, apple, pine-apple, palm and others were grown at the distant quarters so as to allow a clear view of the mausoleum.

Royal tombs of Golconda.
Whenever Moghul architecture is mentioned, only the great Moghuls of the North India is referred to as the supreme example. The Moghuls of the Deccan have not been given as much importance as they deserved, even though they were great patrons of Art and architecture and their grand tombs are evidence of this.
Golconda from where they ruled, was the citadel of the Qutub Shahis until the 1600s.The Moghul king, Aurangazeb captured it in 1687 bringing to an end a golden era in the history of the Deccan. The history of the Qutub Shahis is synonymous with the history of Hydearbad. The dynasty formed out of the five provinces of the Bahamani Kings of Bidar and Gulbarga in the early 16th. century, was founded by the first Sultan Quli Qutub Shah, a Turk, and one of the grandsons of Persia's Mir Jahan Shah. His reign was marked by extensive building activity within the fort. He added many structures to the fort and strengthened the fortifications. He was killed by his son Jamshed Qutub in 1543. His mausoleum built during his lifetime stands at the corner of the fort.
The tomb of his son Jamshed Qutub stands next to his and the cylindrical structure with a balcony running round it,, unusual in tomb architecture, resembles the leaning tower of Pisa in Italy.
Jamshed's grandson Ibrahim Qutub Shah, the fourth generation in the dynasty, was a distinguished builder, like his great grandfather. The Moghul's love of water was shown in creating the historic Hussainsagar Lake, which links the twin cities of Hyderabad and Secunderabad. He also built another scenic lake at Ibrahimpatnam near the city during his reign.

Tomb of Sultan Quli Qutub Shah.
The mausoleum of the fifth King, Mohammed Quli Qutub Shah, which is undoubtedly the most magnificent of all the tombs in the complex, is built on a massive scale on a high terrace. This is the grandest architecture with intricate embellishment done on the tomb. Its dome is around 20 metres high and the pillars supporting the ceiling, the parapet wall, the minarets are decoratively coated with stucco. The royal grave is in a crypt below while the shadow tomb is above. The usual quadrangle design of the layout of the whole structure is perfectly balanced with the surrounding garden.
To the right of these tombs of Mohammed Qutub Shah and her six children, is the tomb of Begum Hayat Bakshi who was the daughter of Mohammed Quli Qutub Shah and since he had no sons, he made his son-in-law the king.
The design and architecture of the Qutub Shahi tombs is an amalgamation of the Hindu, Persian, and Moghul styles. A prominent use of stucco, moulded into a variety of floral designs, entwining creepers and geometrical patterns are the hall-mark of these tombs. The gardens are not as extensive as the great Moghuls of the North and more importance was given to the architecture than to the garden which was beautiful, but simple.

Indoor Water Devices in the Palace Gardens of the Moghuls.
Akbar was the first Moghul to incorporate ornamental and utility water devices in his residential headquarters at Fatehpur Sikri in A.D. 1571. It is generally believed that Akbar abandoned Fatehpur Sikri because of shortage of water and it is a misunderstanding that still persists because no attempt at a detailed study of the water system in Fatehpur Sikri has been undertaken. Akbar being a pioneer in water management, it is not possible that he would have miscalculated the availability of water. Actually, elaborate arrangement of water had been made with precise calculations and plans made systematically. A complex of wells, storage tanks, aqueducts and other water structures was built to ensure adequate supply of water for all purposes in all seasons. Akbar had to abandon Fatehpur Sikri for 13 years and to go to Punjab in order to counter the threat posed by Abdullah Khan Uzbek from the north-west.
The plan of Sikri will show the precise plans of Akbar's architect in planning the water devices. The water-works is situated almost intact at the Elephant Gate. The original source of water was a big step- well near the Hiran Minar. The whole gigantic structure is made of red sandstone and is octagonal in shape. A complex of staircases which have been arranged symmetrically lead below to the water level. Two separate chambers are built for the machinery of the Persian wheel. The massive stone beams which have survived point to the heavy machinery stored here. The Persian wheel supplied water to two massive channels which in turn supplied water to the four Hammams and baths through one channel and the other channel filled water into an aqueduct and collected in wells, which finally reached the large storage tank at the Elephant Gate. A complicated system of water arrangement and accurately planned tanks and viaducts placed at strategic points took care of almost all requirements. Several smaller palaces like the Birbal palace, Nagina Masjid, palace of Jodhbai and the famous Mariam's garden all received water from the huge tank. experts have made a through study of the water system here and find it is still relevant today to get to know the water source in Fatehpur Sikri. Little has survived the ravages of time, but it is enough to confirm that water was adequately provided for in all apartments. The complete system of aqueducts comprised of a network of conduits which carried water from one part of the city to the other, from the lowest level to the highest and maintained a constant supply water into the palaces and hammams throughout the year. This shows clearly that the town did not suffer from any shortage of water.

A beautiful garden was laid out in the harem quarters of the palaces on the living rock! It is situated adjoining to the palace of Mariam Zamani and hence is known as Mariam's garden. The manipulation of water was done here exactly as in the time of Akbar's grand- father in Rambagh.The flower borders and water chutes and the grand candle niches provided the aesthetic appeal.

Agra Fort.
Akbar laid great stress on the production of hammams rather than on any other water devices. His grandson Shah Jahan, who was an equally great builder was, on the other hand, more favourably disposed towards the indoor water devices in the palaces and their gardens than in separate constructions like the hammams. It was during his reign that running and splashing water became the center of his planning of a garden. His white marble pavilions in the forts of Agra and Delhi bear witness to it. Conduits and a large circular basin have been discovered beneath the Khwabgarh apartments.
Khas Mahal with its 32 fountains and Anguri Bagh ponds and baths and the Jahangiri Mahal are the main places of Shah Jahan's brilliant water arrangements. There are inscriptions with details of the engineering plans, which are not traceable. Grand visitors like the Amir of Afghanistan and the viceroy of the Agra fort were received in the Anguri Bagh and the Diwan-i-Am when special decorations were under taken.
The white marble tank on the high terrace in front of the Khas Mahal was shaped with ornamental foliations with cusped and foiled border. The water overflowed into a shallow channel and fell below into an ornamental cascade where candle niches were provided as part of artificial lighting.
The Anguri Bagh is considered one of the best palace gardens of the Moghuls. It was a perfect example of an indoor garden laid out in geometrical stone-edged parterres wit four terraced walks, paved with white marble , radiating from a central Chabutra or dove-cote with a raised fountain tank. The name Anguri Bagh came from the flower beds laid symmetrically in red sand stone in a vine pattern. The trade mark of Moghul garden, the cypress avenues were planted in angles to the plots. With its chattering birds, ands bright colored butterflies, glittering gold fish in the lily ponds, flowers, running and rippling water, Anguri Bagh was indeed a garden of Paradise and a symbol of the artistic inspiration of Moghul decorative art.
When the brutal attack of Aurangazeb on this vast palace garden cut off all supplies of water to it, to force it to surrender, Shah jahan shed tears of blood, but amidst raging thirst, had to yield to his son. The Agra fort was opened to Aurangazeb on 8th. June, 1658 and the Emperor was forever confined within the harem quarters behind the Diwan-i-Am.
The Diwan-i-Am section supplied water to the Hammam Shahi,Nagina Masjid, Machchhi Bhavan apartments, Shish Mahal and Musamman Burj. The Machchhi Bhavan courtyard had huge fish ponds and fountains which required constant water supply. Two pipes supplied water to the famed Shish Mahal for its waterfalls and fountains. The broad sheet of water which rippled in front of the twinkling candles, accommodated in two series with 21 niches in each, and the two beautiful ornamental cusped marble lily ponds gave the Shish Mahal its floating mirror like appearance.
These water devices with its complicated pipes above and below ground shows the Moghul artisan's unmistakable mastery of water levels and control of volumes in relation to the momentum. The Moghul artisan was fully confidant of his work and anticipated no repairs. His system has been evolved and perfected through centuries of experience and his art therefore admitted no errors or omissions.
The Musamman Burj lotus basin is a truly a beautiful specimen of an indoor water device. It has been sunk in the middle of the pavement of its western dalan overlooking the courtyard. It is in white marble and small in size but beautifully ornamented with flowers and leaves, inlaid with precious and semi-precious gems in red and green, and delicately wrought. There is a fountain in the center. It is an exquisite piece of art.

The Red Fort In Delhi.
The finest and the most magnificent water devices of the great Moghuls is in the Red Fort in Delhi built by Shah Jahan in A.D.1638. The work on the palaces was not completed before A.D. 1647. It was a great water palace. Water was vital to its plans and it was brought from a canal originally built by Jalauddin Firoz Khilji in A.D. 1291-96. It was repaired from time to time by the various Governors of Delhi. Shah Jahan's architect, Ali Mardan Khan cleared it and brought it to the fort. The Rehant was used to draw water and allowed to fall as a rippling cascade down the marble chute into a square tank with a scalloped basin in the Shah Burj pavilion. The tank was gorgeously inlaid with semi-precious stones with a white marble balustrade. From the tank, the water passed into a rectangular basin of white marble, the slabs being cut in a curvilinear pattern and passed into a Nahar-i-Bahisht or the stream of paradise as Shah Jahan named it. After running through the palaces, it flowed along the terraces that bordered the Hayat Baksh Garden and all along into hammams and baths and glided through the Mizan-i-Insaf or scales of justice across a sun bathed courtyard into the cool of the Rang Mahal, and thence on to Mumtaz Mahal and other buildings of the imperial zenana. The inexhaustible supply of water enabled laying of a chain of gardens with fountains, waterfalls and cascades, and pools all decorated with imagination and artistry.
The French traveler Bernier was so overwhelmed by the beauty of the Red fort, he wrote, "nearly every chamber has its reservoir of running water at the door; on every side are gardens, delightful alleys, shady retreats, streams, fountains, grottoes, deep excavations that afford shelter from the sun by day, lofty divans and terraces on which to sleep coolly at night". The effect of the whole was the perfection human mind could possibly conceive. It led Shah Jahan to inscribe in the Diwan-i-Khas, the immortal words of Sadi, " If there is a Paradise on earth, it is Here, it is Here, it is Here".
The pattern of the Moghul garden was imitated, with different degrees of success, by the later Indian rajas, Nawabs and anyone else who could afford to do so. We still follow the lines and geometry which the Moghuls bequeathed to us, although their taste and sophistication is lacking in us.
Photos- Marg and V and A Museum, London.

Author

Kamala Vasudevan Kamala Vasudevan is an eclectic mix of antique collector, art History writer, travel writer and a raconteur of Hindu mythology. Her interests include books, on art mostly, antique jewelry, about which she has written in many magazines, and Classical Music in which she was well trained. She had written several small books for an E- Book venture, which was translated into several European languages and few other dotcoms as well on the traditions of various cultures in India. She had been in love with antiques from very early age and believes that a country's true history and identity lie in our traditional arts and crafts and the people who create them, specially those executed as votive offerings because the craftsmen who made them were single minded in their devotion, untainted by commercial considerations, and aesthetics were their final aim

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