With Love From Mandu

Spread across 123 acres, the Royal Complex hosts 14 Monuments managed by Archaeological Survey of India (ASI).

You can marvel the grandness of this stretch, if you spend time lavishly here.
And if you want to hear stories of a bygone era wandering through the monuments, it is absolutely necessary to have a great Tourist Guide by your side, right through your trip at MANDU.

We were fortunate to have found Parvez Qureshi, our story teller.

JAHAZ MAHAL

JAHAZ MAHAL or the Ship Palace reflects the palace life of the ruling dynasties, the Sultans of MANDU.

This spectacular monument was artistically built during the reign of Sultan Ghiyasuddin Khilji from 1469 to 1500.
The two storeyed palace which is about 120 metres long with width of 15 metres and height of 9.7 metres, rests between two artificial lakes, Munj Talao (Lake) and Kapur Talao.
Every monsoon, when both the lakes are full to the brim, JAHAZ MAHAL appears to be sailing in water.

The Front gateway of JAHAZ MAHAL made in white marble was built by Emperor Jahangir in 1617 who had stayed in MANDU for 7 months.

The pinkish beige hue of this palace comes from the red sandstone used in the making of the palace which was transported from Dholpur in Rajasthan.
Inside the palace, there are three large halls on the ground floor with connected corridors and narrow rooms at the extreme ends. Each of these halls have balconies overlooking the Munj Talao.

The Central Hall has an ornamental dome shaped ceiling with a band of blue, green and yellow tiles which were procured from Samarkand, Uzbekistan.
The walls here are around 3 metres in width which bears white fresco and Parvez explained how iron clips were used as interlocking system to join two pillars.

We walk up to the terrace through a flight of stairs, about 40 of them.
There are two pavilions with beautiful domes and turrets with the most stunning views - Munj Talao and Jal Mahal on one side and Taveli Mahal and Kapur Talao on the other side and the far stretching Royal complex with many imposing monuments.

The most intriguing feature of JAHAZ MAHAL is the Water channel system.
There are two water well/tanks on the terrace, one for rain water harvesting and the second for water channeling to the swimming or bath pools, one located on the terrace and a large pool at ground level.

On the south east corner of the upper pool is a spiral aqueduct that supplied water to the pool. The channel controlled the water flow for a royal bathing experience.

Spiral water duct would control flow of water from the terrace of Jahaz Mahal

Tortoise shaped Open swimming pool at ground level of Jahaz Mahal

THE ROYAL PLAN : RAINWATER HARVESTING AND WATER FILTRATION SYSTEM

MANDU atop the Vindhyas at 2000 feet had no groundwater.
Rulers, way back several centuries had realized the need for Rainwater harvesting for survival and built 2 Artificial Lakes, 4 BAODI (Wells) and 6 Reservoirs within the Royal complex.

Every monsoon, water from Munj Talao (Lake) would be lifted into JAHAZ MAHAL through Persian wheels - traditional water lifting system, into a central channel. This channel had small water blocks to clear impurities and dust particles.
There are water channels running along the terrace of JAHAZ MAHAL.
Parvez showed us how rainwater would flow from the terrace through the spiral aqueducts to the open bath/ swimming pools.
He explained how water channels built within pillars of the palace, would further let the water flow into the reservoir which is seen outside the palace.

Main reservoir outside Jahaz Mahal

From this reservoir, water would flow through the arched underground water channel which exists even today, to another channel for the first round of Water Filtration with two defined blocks containing Sand and Charcoal.
This water would then flow into the Kapur Talao.
The name of this lake was derived from the word, Kapur or Camphor which was incensed over a specified area around the lake and acted as a mosquito repellent.

Water filtration channel with two blocks which would contain sand and charcoal

Water from Kapur Talao would further flow into the final filtration area which had large blocks or compartments of sand, limestone and charcoal. Water would pass through these different blocks which were uneven in size and height as they had different measures or quantity that was required for filtration.

Final Filtration area

This filtered water would flow into the Baodi (wells) for drinking and other purposes to be used by the Royal family.

It is remarkable to see how our earlier civilizations were adaptors to environmental challenges.
Over 500 years back, MANDU's rulers, architects, scientists and engineers had envisioned Rainwater harvesting and had also designed 3 stages of water filtration.

DON'T MISS : THE GIANT GRINDER

The Giant Grinder made of red sandstone is still under use today for the restoration work of the monuments.
Centuries back, a mixture of sand, brick, limestone, nutmeg, lentil, egg and jaggery was used for construction

HINDOLA MAHAL

HINDOLA MAHAL reflects an elegant style of construction with massive sloping sidewalls.
The T shaped monument is believed to be the Diwane e Khaas, Hall of the Sultan and his ministers. 
Walk through main hall and admire the six arched openings on both sides of the hall. The interiors were planned with different passages, a distinct one for the Sultan and the sloping stages for the women of the Royal family to go up in a palanquin.
The exterior of the monument is neatly chiseled with no ornamentation which gives a majestic appearance.

CHAMPA BAODI

It is believed that CHAMPA BAODI (Well) was built between 14^th to 15^th century and was one of the prime water wells for the Royal women who lived in the underground rooms or Tahkhana of the SHAHI MAHAL.

SHAHI MAHAL

SHAHI MAHAL or the Royal Palace was a 3 storeyed structure with 2 underground levels. One can walk through the -1 level now, -2 level has been closed by ASI.
With some initial hesitation, Parvez convinces us to walk through the underground chamber or TAHKHANA.
He explains how this monument was constructed and connected with the well and the pavilion, towards the bank of Munj Talao, thereby allowing light and cross ventilation and making the stay comfortable for the Royal women.
Parvez followed the water channel trail and showed us how water would flow into Champa Baodi and thereafter could be accessed through the two underground levels of Shahi Mahal.

If only the silent pillars in this TAHKHANA could tell the tales of the Royal women who lived here, and the gentle breeze could whisper how often it ruffled the silk curtains in these vaulted rooms.

HAMMAM

HAMMAM, an Arabic word stands for a Turkish bath or Steam bath.
About 600 years back, architects built this HAMMAM for a luxurious steam and sauna experience for the women who lived in Shahi Mahal.

The remains of the fireplace are visible and it is believed that anthracite coal which was used here was brought from Kashmir and Ladakh.

Parvez explains how the water tank would release steam through the hollow channels behind the wall. This steam would further find its way out through numerous holes carved within the walls to the centreplace for a sauna bath.
There were two bathing rooms with water channels for hot and cold water which flowed separately from a larger water tank located outside the HAMMAM.

The dome shaped roof is carved with stars and circles for light and ventilation.
Imagine - A Royal sauna under a moonlit night, and the blue starry tinge melting away with the steam.

HAMMAM, for the Royal Women of Shahi Mahal 

DILAWAR KHAN'S MOSQUE

It is believed that this red sandstone structure was originally built in the 11^th Century by Parmara rulers.
Thereafter, in 1405, Dilawar Khan,the First Sultan of Malwa converted this monument into a Mosque.
This structure however does not have minarets, water tank and platform which are the essentials of a Mosque.

As you enter the mosque, there is a large central court surrounded by a covered section which has multiple rows of pillars and columns. Some of them bear Hindu workmanship like Temple bells, leaf of banana etc.

Each row has 16 pillars and about 160 Pillars support the entire ceiling that was built with large stone slabs. 
The western side of this mosque was revered as the sacred Kaaba where namaz (prayers) were held.

NAHAR JHAROKA

NAHAR JHAROKA and the Moghul Garden ahead

Locals here refer NAHAR as the Tiger and JHAROKA means Balcony.

During his stay at MANDU, Emperor Jahangir built this Hall of Commons or Diwan e Aam. The Marble Jharoka here originally carried a huge effigy of a Tiger - a broken portion of the structure lies within the monument.
Walking past Nahar Jharoka, we see a Water Fountain and an intricately designed Mughal Garden, exemplifying Mughal architecture of that era.

JAL MAHAL

JAL MAHAL was the home of all the MANDU Rulers - Ghori, Khilji and Mughals from 13^th to 17^th Century. Royal guests who would halt at MANDU would also reside here.
JAL MAHAL overlooking the Munj Talao has 5 Water reservoirs,
Four of them inside the palace complex and one reservoir attached to the beautiful Lotus shaped Water Fountain.
"Capture the view of Jahaz Mahal from here. You will not get this one again." said Parvez.

View of Jahaz Mahal as seen from Jal Mahal

As we walked back towards the main gate, Parvez's narrative had cast a spell, as if we could hear the past, a sense of being part of something vast, and a feeling of being dwarfed by the magnificence of these monuments.

Closer to the exit, I kept turning back, gazing at JAHAZ MAHAL.
I quietly asked Parvez - "Can we comeback early tomorrow morning before we start looking at other monuments?"
"Yes, we can certainly! Early morning will be good to take pictures and if we are lucky with the weather, we can capture some unforgettable moments."

Next morning, Parvez was right there as he had promised and we drove down to the Royal Complex. It was around 7 am and the sky was overcast.
"This is it," exclaimed Parvez and I could not believe my eyes.

A veil of clouds had descended here. Embracing the mist and drizzle, we started walking through the royal corridors where every monument was calling out - all over again.

ROYAL COMPLEX under a veil of mist

LADY OF THE LOTUS : RANI ROOPMATI

Sultan Baz Bahadur enamoured by the alluring voice of Roopmati
Illustration is a water colour painting by Gautam Chatterjee (email : gautamchat68@gmail.com)

I did attempt to unknot the tangled string of many tales that surround the love story of Prince of Shadiabad, Malik Bayazid Baz Bahadur and Lady of the Lotus, Rani Roopmati.
And I found myself further drawn and entwined into many more.

What is real then?  Together, Baz Bahadur and Rani Roopmati were the embodiment of pure love. Their romance filled with verse and music was so powerful that even today, it leaves a lasting impression amongst the travelers to MANDU.
For me, this expression of MANDU, remains mysterious.

As stories say, Roopmati was the daughter of Thakur Than Singh of Dharampuri, a well placed Rajput aristocrat of the Rathod clan.
At a very young age, Roopmati would listen to musicians who were invited to perform on various occasions in her father's court.
Her yearning for music was further harnessed by her uncle, Thakur Riteshwar Singh who was a great exponent of Hindustani classical music.
Thus, began little Roopmati's musical journey, who was barely 6 years old. She practiced and learnt music with great dedication and she grew up singing on the banks of River Narmada with the first rays of the sun.

Over the years, she revered River Narmada as her mother and would seek Her blessings every morning.
Roopmati's dazzling beauty and her magical voice, her poise and grace was unmatched across Malwa.

Sultan Malik Bayazid, one of the three sons of Shuja Khan crowned himself as Sultan Baz Bahadur and became the independent ruler and the last Sultan of Malwa in 1554.
Sultan's prowess as a warrior to sweep through the air and come down attacking his enemies, just, like a FALCON, gave him the title, BAZ Bahadur.
As a poet and a musician, Baz Bahadur hosted many performances of renowned musicians and dancers in the music chambers of his palace.
It was during one of his deer hunting expeditions in the dense forests near Dharampuri, Baz Bahadur heard the alluring voice of Roopmati on the banks of River Narmada.
He was completely mesmerised by her melodious voice and captivating beauty and sought Roopmati's consent to accompany him to MANDU.
Roopmati who worshipped River Narmada every morning, relented and said that she would not be able to live in a place without the sight of her beloved mother, River Narmada.

It is then, Baz Bahadur had built REWA KUND transporting holy water from River Narmada so that Roopmati could worship her every morning.
Baz Bahadur had conquered Roopmati now –  it was the coming together of two souls for their love of poetry and music.

MANDU was taken over by Baz Bahadur's poems and the enchanting voice of Rani Roopmati. They would sing to each other, songs of love that would reverberate through the music chambers and illuminate the palace.

Destiny, however usurped their selfless love and this rhythm of life was silenced forever.
As Emperor Akbar's show of power spread across the region, he set his eyes to overthrow this Afghan ruler, Baz Bahadur who defied orders from the Delhi Sultanate.

Ballads of Sultan's love for Rani Roopmati had reached Akbar. He had also heard the praises of Rani Roopmati's beauty and her finesse in singing.
In 1561, Akbar called his general, Adham Khan and ordered him to proceed with a formidable battalion and invade MANDU.
Baz Bahadur's men were no match to the mighty Moghul army. Facing defeat and death in the hands of the invader, Baz Bahadur's commander advised him to flee and save his life.

Baz Bahadur escaped from the battlefield and rode away to a distant land. An abandoned Rani Roopmati was left behind at MANDU.

Being victorious in this battle at Sarangpur against Baz Bahadur, Adham Khan marched towards MANDU. His desire now was to overpower Rani Roopmati.
Devastated with this sudden separation from her Sultan, Rani Roopmati lamented through her songs and pined for him.
Her plea for mercy and messages to Adham Khan to show generosity, were all in vain. He was a manifestation of vice and greed and pride.
There are tales which reveal the pain of a desolate Rani Roopmati who made several bids to escape and save her life from this indignation.
She was however captured by Adham Khan's troops and brought back to MANDU.

Rani Roopmati's helplessness made her realise that she could never run away from her ill fate. She poignantly accepted that her life had drifted away, far away from her beloved.

The looming threat made her more vulnerable and miserable with every passing day.
Rani Roopmati looked at the sky which appeared hazy now with the dust of ambition, and felt the deep silence that had engulfed the empty palace. She finally resolved to make the foremost choice, her honour.

Rani Roopmati sent a message to Adham Khan to meet her after three nights.
On that fateful night, while Adham Khan rejoiced and celebrated, Rani Roopmati adorned herself in royal finery for one last time.
She concluded her last song in sorrow of her Sultan and consumed poison, leaving behind a lifeless Rani Roopmati who remained faithful to her Sultan. This Lotus never to bloom again.

It is believed that 26 poems written by Rani Roopmati were collected by Ahmad Ul Umari in 1599 during Akbar's reign.
Through hundreds of years and after changing many hands, the original manuscript later reached Colonel C E Luard and then translated into English by L M Crump in 1926 as –
LADY OF THE LOTUS, RANI ROOPMATI, QUEEN OF MANDU

REWA KUND

Following the mist and raindrops, we reached the REWA KUND which is quiet, and stands testimony to this immortal love story.
Baz Bahadur Palace and Roopmati Pavilion glow in remembrance, as this is where conversations in music and love were woven.

REWA KUND today is worshipped as part of Narmada Parikrama.

Water from the REWA KUND was drawn through Persian wheels that would further run through the water channels or aqueduct built over the tall arches to the Baz Bahadur Palace courtyard.
The walls of Baz Bahadur palace then were connected with Rewa Kund.

BAZ BAHADUR PALACE

Water reservoir in the palace courtyard

The two storeyed Palace situated on the slope of a hill was built originally by Nasiruddin Khilji, son of Ghiyasuddin Khilji in 1508-9.
Parvez points out at the inscription in Persian on the Main gateway of this palace that mentions the name of the Sultan and the timeline.
Later, during Mughal era, Baz Bahadur took over this palace as his own and stayed here with his soldiers.

As we walk through the arched gateway, there is a passage that leads to the outer court of the palace with another doorway that further leads us to the Main palace.
Inside, there is a spacious open court with surrounding halls on all the four sides and the water reservoir inside the courtyard is stunning.

View of Baz Bahadur Palace

Baz Bahadur had designated a section of his palace as the music chamber and the sound of music and dance would reverberate through the pillars and passageway into the courtyard.

What left us spellbound is the natural acoustics embedded in the structure which brings out great clarity of any rendition - a voice or a song.

Such was the celebration of life in Baz Bahadur's music chamber, ornate with musicians playing their instruments and dancers tossing their feet with the sound of thousand ghungroos (anklets with tiny bells) that would embellish every corner of the palace.

Parvez pulled me back from the trance and led us further to the open terrace which has two domed pavilions.
From the terrace, there is a spectacular view of Roopmati Pavilion.The green foliage surrounding the palace are traces of erstwhile gardens which added to the elegance of the palace in those times.

View of Roopmati Pavilion from the terrace of Baz Bahadur Palace

ROOPMATI PAVILION

Originally built as the Watchtower and for the military, this sandstone structure was built on the crest of another hill, close to Baz Bahadur Palace - the ROOPMATI PAVILION.
The magnificent arched openings in the basement corridors and the beauty of the two pavilions on the terrace that was built by Baz Bahadur for Rani Roopmati - give way to a gorgeous view of the green plains that stretch as far as eyes can meet.

ROOPMATI PAVILION overlooking the Nimar plains

It is believed that Rani Roopmati who stayed at Jahaz Mahal would visit here at the break of sunrise for a glimpse of River Narmada and offer her prayers.
And on a sunny day, they say, a silver stream of River Narmada is visible far away amidst the Nimar plains.

Pause here for that moment to watch the sun fading away in the horizon,
And as the twilight sets in, walking down the slopeway of Roopmati Pavilion,
There is stillness and a sense of being alone
Many a night, Rani Roopmati may have been here by herself
Singing in despair, away from her beloved.

Roopmati Pavilion

A DAY AT MANDU VILLAGE

Today, this place is the centreplace of MANDU, abuzz with locals and tourists.
There are three magnificent monuments here - Jami Masjid, Tomb of Hoshang Shah and the Ashrafi Mahal.

All these monuments that were planned and built by Hoshang Shah and Mahmud Khilji had a grand design with an aesthetic sense of architecture and great simplicity.

JAMI MASJID

Courtyard of Jami Masjid

The construction of this majestic mosque was planned and started by Hoshang Shah and completed in 1454 by Mahmud Khilji, almost 33 years later.
At the entrance, the hugeness of this monument leaves you baffled.

The elevated structure on a huge plinth which is 4.6 m high above ground level, has everything inside that is a marvel.
There are 4 Domes, first one at the entrance and three Domes above the Main Prayer hall and a courtyard which could accommodate 4000 people for namaz (prayers).

The huge domed porch is the centre point of the mosque and it is believed that Imam's prayers could be heard towards the end of the courtyard as sound would travel through the domed porch to the surrounding miniature domes. It is estimated that there were 120 miniature domes in the original structure.
Combination of Basalt rock, red sandstone, marble and granite that have been used here reflects the detailing that has gone behind the making of this monument.

The gigantic size of the prayer hall with multiple rows of arches and pillars, the jaali screens and patches of blue coloured tiles here and there, many hundred years old, can be felt and seen - simply evokes a sense of awe for a plan and scale that was envisaged in those times.

Blue tiles in Jami Masjid prayer hall

Magnificent Jami Masjid

TOMB OF HOSHANG SHAH

Tomb of Hoshang Shah, India's first Marble monument

Through a connecting gateway from the Jami Masjid and a fleet of steps, we reach another distinct monument, the Mausoleum of Sultan Hoshang Shah.
This is India's first marble monument and Parvez calls out with pride that this monument is also called MANDU's TAJ MAHAL.

There is an inscription on one of the doorposts that Emperor Shah Jahan who was highly inspired by this monument had sent four of his best architects in 1659 to pay homage to the builders of this tomb and study the design and features. One of these architects, Ustad Hamid was associated with the construction of Taj Mahal.
Work on this marble mausoleum was initiated by Hoshang Shah and was completed by Mahmud Khilji.

At the entrance, there is a red standstone porch which opens itself to the grand marble structure made from Makrana marble procured from Rajasthan.
The mausoleum stands in the centre of a quadrangle on a square marble platform.
There are carved ornamental borders on the platform supported by a row of elephant tusk brackets. The Main dome of the mausoleum has smaller domes in the 4 corners and has Jaali carved windows with intricate floral and geometric designs allowing subtle light to enter inside the mausoleum.