Contents

Chapter 1
- Introduction
- Aim and Objectives
- Hypothesis
- Need for study
- Scope of the study
- Methodology
- Limitations

Chapter 2
- Historic buildings and the causes of their decay.
- What is heritage conservation?
- The importance of heritage conservation.
- UNESCO/ ASI/ INTACH/CPWD guidelines for the conservation of the
monuments

Chapter 3
- Case studies of protected but neglected monuments in Delhi
- Condition mapping-Present conditions of the monuments-studies and
observations
- Measures being taken for the protection of the monuments.

Chapter 4
- SWOT Analysis of the monuments and the sites.
- The role of government for the protection of the monuments
- The role of public for the protection of the monuments.
- The role of tourism for the revitalization of the monuments.

Chapter 5
- Conclusions
- Policy implications.

Chapter 1
Introduction
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Heritage monuments of a country are a mute testament of its glorious past. They convey the
architectural and cultural richness of the country of various eras. India, being a vast and
culturally diverse country, has a rich historic background which is evident from the various forts,
temples, mosques, landscapes etc. Most of these structures were constructed when the Indian
civilization was at its peak and the architecture and the design makes one aware of the wisdom
and expertise of our forefathers. The same architecture and design also is, many times, a source
of inspiration for most of the modern age buildings.
Its a disturbing fact that we have not looked after the monuments properly and most of them are
in a very bad shape.
Work is often performed to reverse the decay or to improve the conditions in and around the
monuments, but they are often not completed, due to lack of funds, or if completed, not done
well.
Physical materials of an earlier time, that might have been state of the art at the time of
construction, might have failed and now need replacement with contemporary better functioning,
but aesthetically similar materials. Such reasons make it mandatory to instigate a systematic
approach in the area of heritage conservation.
Heritage conservation doesn't mean freezing a building in time, creating a museum or tying the
hands of property owners so they can't do anything with their properties. Instead, it seeks to
maintain and thereby increase the value of buildings by keeping their original built form and
architectural elements, favouring their restoration rather than replacement and, when restoration
is impossible, recreating scale, period and character.
Area of study:

Hypothesis
How important is the role of restoration In heritage conservation.

Objectives
To understand how important heritage conservation is in defining a citys identity.
To recognize restoration as an important element of heritage conservation.
To identify the concern for conservation with due to community participation.

Need of the study

Majority of the monuments are the identity of the
old cities and represent the architectural and the
religious, political and economical influences of the
past.
The conditions of such monuments are determined
largely by their present function and future use.
Some neglected monuments tend to deteriorate
rapidly than some of the monuments that are still used or functions as tourist attractions.
Need for restoration
Hence, the extent of maintenance varies from structure to structure. Restoration increases the
total expected life of the structure by strengthening it to withstand all imposed loads. If the
structure is not timely restored, its condition may worsen to an extent such that it becomes very
difficult to regain its original condition.

Methodology

Literature
study

Overall
research

Discussi
on

Collection of
documents and
physical evidences

Issue identification

Case
analysis

Inspection

Diagnos
is
Residen
ts

-Physical characteristics
-Socio economic
characteristics

Physical/ Socioeconomic Survey

-Interest groups

Identify development
issues

-Problems & Prospects

Priorities

- Issues

Social structure

Action plan
proposed

Community
role

CONCLUSI
ON

Chapter 2
What is a historic building?
An historic building is one that gives us a sense of wonder and makes us want to know more
about the people and the culture that produced it. It has architectural and aesthetic, historic,
archaeological, economic, social and spiritual values; but the first impact is always emotional,
for it a symbol of our heritage.
From the time the foundation was laid to the present date, a historic building would have artistic
and human messages and stories to say. A complexity of ideas and of cultures may surround
the building and also be reflected in it.
Any historical study of such a building should include the client who commissioned it, together
with the objectives which led to the commissioning of the project and an assessment of the
success of its realization.
Causes of decay
Gravity is the universal and the main cause of decay of historic buildings. It is then followed by
the action of men and then the diverse climate and environmental effects. At present, human
causes probably produce the greatest damage. only a small percentage of the Indian cultural
heritage has survived through time. Cultural property deteriorates, and Is ultimately destroyed
through attacks by natural and human agents acting upon the various weakness inherent in the
structure and the component materials.
Natural agents of deterioration and loss
Natural disasters like earthquakes, volcanic eruptions, hurricanes, flood, lightening etc and
considered the most destructive forces of nature. Through human history, they have had drastic
destructive effects on the cultural heritage.
Natural disaster, of lesser impact, affecting the structure are categorized under the general
heading of climate. Climate is the amalgamation of many factors such as radiation, temperature,
moisture in its many forms etc. Together, these environmental elements make up the various
climates of India, which In turn, are modified by local conditions such as mountains, valleys etc.
In general, climatic data as recorded in the form of averages does not really correspond to the
precise information needed by the conservation architect, who is more interested in the extreme
hazard that the building will have to withstand over a long period of time.

Human factors
Careful assessment of manmade decay factors should be done as the y are a consequence of the
industrial productivity that brings us wealth and enables us to press the claims of conservation.
Neglect and ignorance are possibly the major causes of destruction by man, coupled with vandal

What does conservation mean?

Conservation is based on a respect for the existing fabric and should involve at least possible
physical interventions. It should not distort the evidence provided by the fabric
-

Article 3, conservation principles INTACH Manual

Conservation is a action taken to prevent decay. It embraces all the acts that prolong the life of
our cultural and natural heritage.
The basis of historic building conservation is established by legislation through listing and
scheduling buildings, and ruins through regular inspections and documentations, and through
town planning and conservation action. Conservation of a heritage structure can range from its
town planning to the preservation to the crumbling artefacts.
The importance of heritage conservation:
Conservation of our built heritage is an important part of urban planning and development .
Historic areas add variety to the urban environment, stimulating visual interest and excitement
within the city.

The conservation of the buildings and areas in the city is testament to the rich architectural,
historical and cultural heritage.
Conserving and restoring our historic buildings also adds to the distinctive character and identity
of a particular city. More importantly, they give us a sense of history and memory even as we
move into the future.

Heritage preservation and designation increases property values, both of the

restored building and surrounding properties.
Heritage preservation can be a draw to tourism and helps businesses attract
customers.
Restoration keeps money within the community, by requiring fewer materials
from outside and more labour-intensive work by local trades.
Restoration reduces construction and demolition waste and uses less than half the
energy of new construction.
Heritage preservation is an investment in our community that rewards us today
and leaves an invaluable resource for future generations.

Conservation is much more than just preserving a facade or the external shell of a building. It is
also important that the inherent spirit and original ambience of these historic buildings be
retained as far as possible. This requires an appreciation and understanding of the architectural
structure of the buildings.
The original structure and architectural elements of historic buildings should be retained and
restored as far as possible, without reconstructing the entire building. Parts of the building should
only be replaced when it is absolutely necessary. Before any conservation work begins, thorough
research and documentation should be carried out on the conservation building to ensure that
quality restoration work is carried out through careful and accurate repair.
The scope of conservation of the built environment which consist mainly of historic building
ranges from town planning to the preservation of crumbling artifacts. Great many disciplines are
involved with building conservation and the workers in these areas should have a proper
understanding of the principles and objectives or else working together will be impossible and
productive conservation cannot be achieved.
Values in conservation
Conservation must preserve and if possible, enhance the message of cultural properties. These
values help symmetrically to set overall priorities in deciding proposed intervention, as well as to
establish the extent and nature of the individual treatment.
The values assigned to cultural properties come under three major headings:
1. Emotional values
(a) Wonder
(b) Identity
(c) Continuity
(d) Spiritual and symbolic
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2. Cultural values
(a) Documentary
(b) Historic
(c) Archeological/antique
(d) Aesthetic and symbolic
(e) Architectural
(f) Townscape, landscape and ecological
3. Use Values
(a) Functional
(b) Economical
(c) Social
(d) Political.
Skillful rehabilitation of historic buildings can be economical. There is an illusion that
conservation is costly: in reality it often saves large sums of money.
Ethics of Conservation
The following standards of ethics must be rigorously observed in conservation work:
1. The condition of the building, before any intervention and in all methods and materials
used during treatment must be fully documented.
2. Historic evident must not be destroyed, falsified or removed.
3. Any interventions must be minimum necessary.
4. Any intervention must be governed by unswerving respect for the aesthetic, historical and
physical integrity of cultural property.
Any proposed Intervention should :
1.
2.
3.
4.
5.

Be reversal if technically possible, or

At least not prejudiced of future intervention whenever this may become necessary.
Not hinder the possibility of later access to all evidence incorporated in the object.
Allow the maximum amount of existing material to be retained
Be harmonious in colour, tone, texture, form and scale. If additions are necessary, they
should be less noticeable than original material while at the same time identifiable.
6. Not to be undertaken by a conservator who is insufficiently trained unless they obtain a
competent device.

However, it must be recognized that some problems are unique and have to be solved from first
principles of trial and error.
Preparatory procedures for conservation

Inventories: at the national level, conservation procedure consists initially of making an

inventory of cultural property in the country. This is a major administrative task for the
8

government and it involves establishing appropriate categories of cultural property and

recording them as thoroughly, both graphically and descriptively, as possible. Legislation
protects from demolition of these historic buildings listed in inventories. The inventories
also serve the basis for allocating grants or providing special tax relief for those who
maintain historic buildings.
Initial inspection: a preliminary visual inspection and study of these buildings is
necessary in order to know and define it as a whole. The present condition of the building
must be recorded methodically and whatever further studies are required can be
recorded. Documentation of these studies must be full and conscientious, which means a
diligent search and record and archives in some countries, oral traditions may have to be
taken into account, which should be recorded verbatim and included in the dossier
created each building.

All historic buildings should be inspected regularly at five year interval, in order to establish
maintenance plans. Such preventive maintenance should, in most cases, forestall the need of
major intervention, and it has been proved that it reduced the cost of conservation of nation
stock of historic building.

Continuing documentation: complete recording is essential before, during, and after any
intervention. In all works of preservation, repair of cultural property, there must always
be precise documentation in the form of analytical and critical report, illustrated with
photographs and drawings. Every stage of work of cleaning, consolidation, reassembly
and integration including all materials and techniques used must be recorded. Finally, if
the intervention can, in any way, serve to broaden general knowledge, a report must be
published.

To ensure the maximum survival of cultural property, future conservators must know and
understand what has occurred in the past. Consequently, documentation is essential because it
must be remembered that the building will outlive the individuals who are the cause of
intervention. Full documentation, including the photographs before and after intervention is also
useful for the conservation architect who has to refute unjustified criticism.

Chapter 3

Current state of Delhis cultural heritage

"Dehli
Refuge of religion! Refuge and paradise of justice!
Long may it endure!
Since it is a heavenly paradise in every essential quality,
may God keep it from calamity!"
Amir Khusro, "Qiran al-sa'dain", 14th century
Most of the heritage of the national capital is left unprotected and neglected among the
residences and local markets. Majority of them serve as a workshop or warehouse or a storage
spaces, their historic significance and grandeur only remembered by the old and local whose
family has belonged to that area for a century or more. These forts, mosques, temples etc is a
proof of the extensive architectural and material knowledge of our ancestors during the peak of
the Indian civilization.
It is very disappointing to know that most of these structures, which were once beautiful and
grand, now serve as a garbage dump in most neighborhoods and the main reason for this to
happen is because the community unaware of the historic and architectural value of the
structure. It is also a bit difficult to make the educated members of the community aware about
the current situation since the practice has been going on for a long time. Even if they
understand, theres nothing much they can do by themselves when the majority of the
community does not have much care for the national heritage. For them is just old and a
convenient space for the kids to play or to open vegetable markets.
Our society has an ambivalent attitude towards the protection of the architectural heritage of our
nation. On the one hand they are justifiably proud of the diverse and abundant evidence of our
ancient civilization. But thats where their responsibility towards these monuments ends for
them. They do not want to get their hands dirty being involved in protecting them.
There are major insidious politics and cultural ideologies that determine which buildings should
be protected and which shouldnt be.

10

These are some case studies:

1. Tomb of Darya Khan:

Constructed in a three-tiered setting, one of the most unusual, although grievously neglected,
tombs in the city belongs to Darya Khan Lohani, the "Mir Adil" during the reigns of Sultan
Bahlol Lodi (ruled AD 1451-89) and Sikandar Nizam Khan Lodi (ruled AD 1489-1517).
Darya Khan Lohani's tomb is dated to early 16th century. He was the Chief Justice during the
reign of Bahlol Lodi and vakil (advocate) during Sikander Lodi's rule.
The tomb of Darya Khan Lohani is a part of the Kotla Mubarakpur Complex which is also the
final resting place of various other luminaries of the Lodhi dynasty, such as Mubarak Shah, Kale
Khan, Bade Khan, Chhote Khan and Bhuiyan Khan.

About Darya Khan

He was one of the most crucial ministers during the reign of at least two kings of the Lodhi
dynasty. He was the Chief Justice under Bahlol Lodi and the Waqueel under Sikander Lodhi.
It is not known if the suffix Lohani to his name was a familial title or it was bestowed by the
ruler. Some believed that the title stuck to him because of his ruthless ways of dispensing justice.
No one was spared the gallows, if he deserved it. Softening his heart was as difficult as biting
into iron. Hence the title Lohani- one ruling with an iron hand.

Historical significance
According to the locals, the tomb is of Shahid Darya Khan. He came with Mahmud of Ghazni
and fought for his religion.
But historically, it is incorrect. Mahmud, who launched 17 expeditions into the Indian
subcontinent from his kingdom in present-day Afghanistan, died in 1030; Delhis Lodhi era
began more than 400 years later. Darya Khan was chief justice in the reign of Bahlol Khan
Lodhi, the founder of the Lodhi dynasty (1451 to 1526).

11

Architecturally, the tomb is raised from the surroundings by an immensely high square platform
which posses the remains of circular bastions along the corners. The platform is hinged to the
ground on all sides by rubble slopes. It is, however, deduced that along one of the sides
originally existed a regal gateway which has since been reduced to rubble by natures fury.
Upon this pedestal and exactly symmetrical with it is another comparatively smaller pedestal,
accessible via staircases on three sides and crowned on each corner by a domed twelve-pillared
stone pavilion (chattri/barakhamba). In the center of the second pedestal, lies a moderately high
circular edifice on which an excessively simplistic grave is enclosed in white marble where
Darya Khan sleeps in eternal slumber. The tomb has domed pavilions on all four corners of the
platform. Each pavilion is supported on thick columns. The only intact pavilion has 11 of them.
The pillars are thick, perfectly carved and thoroughly unblemished, the use of squinches to
successively convert the square configuration to circular is immediately notable, kanguras
(battlement-like ornamentation) decorate the proportionately high octagonal bases of the domes.
The interior surfaces of the domes are inscribed with floral medallions and handsome bands of
calligraphy, possibly Quranic.
The park around the tomb rises to a gentle slope.
The Tomb As of Today
Time has reduced Darya Khan Lohanis tomb in Kidwai Nagar East, south Delhi, to broken
edifices of stone and rubble masonry. Lying next to the residential blocks of Delhi Development
Authority apartments, this Lodhi-era monument stands on a grass-covered platform, which was
built on a larger stone platform, which is now in ruins.
It today functions as a forgotten and ignored traffic roundabout in Kidwai Nagar where it
delineates the urban village setting of Kotla Mubarakpur from the exceedingly posh South
Extension I.
The revered Waqueel, who spent his entire life bringing order to the kingdom, is now exposed to
the inevitable injustices of time, modernity, lying amid ruined stone edifices. The compound is
sprawling and is covered with overgrown, insect-infested grass. The fragile monument was
subjected to enormous amounts of heat, noises and material pressure by the annual Dussehra
festivities that saw effigies of the demon lord Ravana being burnt in its immediate vicinity till a
few years back.
Three of the four pavilions, on the platform, are no longer intact. Most columns are disfigured
with bleeding heart sketches, I-Love-You scrawls. One pavilion has half of its dome missing.
Remnants of Arabic inscriptions can be seen on the surviving portion.

12

Painted in white, the tomb lies on a raised circular platform of plain cement, which is mounted
on another high platform made of stone. On the main platform lies another grave, completely
covered by grass and bird droppings. Both the tombs are unmarked. Therefore the real tomb of
Darya Khan cannot be identified.
Pigeons find resting space upon the large domes and underneath meet doting couples looking for
a quiet cozy corner, laymen looking for some space to doze around or play cards and locals
congregating to gossip.
The pavilion life is calmer: squirrels climb the columns, while students from nearby institutes sit
cross-legged on the floor with their lecture notes. A depressed loner might withdraw to a corner
where he couldnt be seen. The ande-waalas and kele-waalas often encroach upon the
compound, selling their wares from under the shade of a tree while the caretaker disappears for
an afternoon siesta while the old men sleep and boys play cricket.
There have been attempts to landscape the upper platform with rows of palm trees extending
alongside the shrouds of grass carpeting the entire area.

2. Bagh-I-Alam Ka Gumbad And The Wall Mosque, Deer Park

Tucked in south Delhis Deer Park, it is one of the Capitals most beautiful Lodhi-era buildings.
Instead of being a lonely spinster, like the citys other Lodhi tombs, it is full of life. Grass grows
out of its battered stone slabs. Squirrels clamber over its arched niches. Pigeons perch at its
Kangura battlements
Description
The faade is built of dressed local stone with touches of red sandstone and blue ceramic tiles.
The surrounding slanting trees tone down the ruins masculine touch. It is the largest of the three
tombs in Deer Park . Local dressed stone in a myriad shades of grey, gold, and brown make up
the building, giving it a pleasing patchwork effect.
Externally, the single chamber gives a semblance of being divided into floors through the use of
arched niches set on three levels only the niches on the ground level and adjacent to the
entrance act as windows, the rest are filled in with the same dressed stone that faces the rest of
the structure.

13

The entrances are trabeated. Arched windows exist above the entrances and these display
remnants of vivid blue tiles which were used to break the monotony of the grey and red
stonework .
Both the entrance and the window are set within a larger arched niche which is further housed in
a rectangular frame projecting outwards through the wall face. The roof and the drum (base) of
the hemispherical dome are decorated with a line of kanguras (battlement-like ornamentation).
Inside, there are three unknown tombs. The western wall has a mihrab recess. The eastern wall
has stairs to the roof. The ceiling has delicate artwork etched within red bands
Peering in through the grilles, one can make out the design of the simplistic mihrab within as
well as the intricate patterns in blue, red and white incised plasterwork that adorn the dome
interiors a huge central medallion depicts beautifully-executed floral patterns set within
concentric circles of calligraphy and geometrical motifs. The medallion is further enclosed
within two concentric stars done with bands of red paint each vertex of the star is bound on
both sides by vertices of the other star and a small teardrop shape medallion graces each of the
vertices. The teardrop medallions also follow the scheme of the larger medallion floral designs
set within a band of calligraphy and geometrical motifs
The mihrab bears an inscription referring to the construction of the tomb it was commissioned
by one Abu Saiyyid in AD 1501 to house the mortal remains of a mendicant Sheikh Shihab-uddin Taj Khan. Sultan Sikandar Lodi reigned over Delhi at that time and his rule saw many
mendicants and saints arriving from Afghanistan, Persia and beyond settling in Delhi.
Just outside the tomb to the west is the attached wall mosque, a pretty wall of arched mihrabs
and incised plaster niches, a typical example of the Lodi wall mosque.
The Qibla has five arched niches set within larger rectangular indentations the central of these
niches is the largest both in terms of height and width. The wall extends and folds along the
edges so that an additional niche also flanks the two sides of the courtyard adjacent to the Qibla.
The entire length of the wall is topped by pretty neat leaf-motifs; smaller niches line the wall and
would have perhaps once also provided holds for keeping small lamps; two neat rows of graves
line the prayer space. Octagonal domed towers guard the two ends of the wall, which faces west
towards Mecca. Modestly sized minarets flank the central mihrab. The battlements are
decorative.
The Monument as of today
Though Bagh-i-Alam ka Gumbad literally translates to the tomb within the garden of the
world, there is nothing grand or striking about Deer Park in which this imposing tomb stands to
consider it a garden of worldly beauty in fact, it isnt even a garden, the unruly tracts of
14

vegetation, the massive trees with their twisted branches and gnarled trunks, the all-invading
thorny shrubbery and the dense foliage give it the appearance of a forest
The building measures 9.5x5.2 meters, and while most of it has survived the past few centuries,
the original roof that covered the three tombs has collapsed. To protect the integrity of the tomb
and the wall mosque, Bagh-e-Aalam ka Gumbad has been declared a protected monument by the
Archaeological Survey of India (ASI), and any sort of destruction is a punishable offence.
The Bagh-e-Aalam ka Gumbad is far from deserted, with birds chirping around it, children
playing badminton right opposite and many just sitting on the benches that surround this majestic
tomb admiring its little celebrated grandeur and basking in its peace.
It is actually a pity that such splendid structures are hidden from general public and allowed to
become the haunts of vandals and anti-social elements; had these been located elsewhere in the
kind of garden settings that these were envisaged with, they would have been the treat of the
place and a joy to behold.
Even today, the structures would prove to be magnetic towards visitors, but if only the park is
well maintained and the portions of it that have become overly vegetated cropped and landscaped
along with the provision of visitor facilities like clean drinking water and toilets

3. Khirki Mosque
During the period of the Delhi Sultanate, Delhi witnessed the development of the Indo-Islamic
architecture in all its forms, be it mosques, palaces, forts, etc. The different dynasties of the Delhi
Sultanate-the Slave dynasty (AD 1191-1290), the Khilji dynasty (AD 1290-1316), the Tughlaq
dynasty (AD 1316-1414), the Sayyid dynasty (AD 1414-1451) and the Lodhi dynasty (AD 14511526)-all made contributions in their own distinct way to the architectural repertoire of Delhi.
Khirki Masjid was built by Khan-I-Jahan Junan Shah, the Prime Minister of Ferozshah Tughlaq
(AD 1351-1388). The mosque may have served as a private place of worship of Khan-I-Jahan
Junan Shah. Ferozshah Tughlaq was himself a great patron of architecture. He built the
Ferozshah Kotla, which was the fifth city of Delhi. The remnants of a number of important
buildings within the precincts of this fort city speak highly of this great builder. The architectural
importance of the Khirki Masjid is immense. It can be seen as a logical link and predecessor to
the architecture that followed-the architecture of the Lodhi rulers (the last dynasty of the Delhi
Sultanate period) and, later on, the highly ornate Mughal architecture. The masjid or the mosque
formed an important part of the Muslim society in medieval India; it not only served the spiritual
needs of the devout Muslims but was also a place for public gatherings. Mosques were also built
by Muslim rulers of India to show off the power of Islam to the native inhabitants
15

The Indo-Islamic style of architecture is a distinctive blend of Islamic as well as traditional

Hindu style of architecture. This amalgamation of exotic and indigenous architectural styles was
possible due to a variety of factors. The Muslim rulers had to use, in most cases, Indian artisans
and sculptors who were schooled in their own art traditions. Another factor that inadvertently
contributed to this fusion of style was that during the early Muslim invasions, mosques were
often built out of materials from Hindu and Jain temples and, sometimes, temples themselves
were modified into mosques. Though both the Indian and Islamic styles have their own
distinctive features, there are some common characteristics, which made fusion and adaptation
easy
Description
The Khirki, named for the perforated windows, or khirkis, that decorate the upper floors, has
four open courtyards that provide light and ventilation to the internal prayer spaces. Built on a
cross-axial platform, it represents a unique amalgamation of Hindu and Islamic architecture
following compact geometrical patterns. Occupying an area of 87 square meters, the mosque is
built on a raised platform with arched recessed openings (taikhana) that is 3 meters in height.
Unlike an open courtyard (hypostyle) congregational mosque, the Khirki Masjid is square in
plan, subdivided into quarters; each quarter has its own inner courtyard. Internally, arcades
running north-south divide the mosque space into aisles. These arcades are formed by 180 square
structural columns and 60 pilasters. The main entrance to the prayer hall is through the southern
entrance: one climbs a flight of stairs to a gateway flanked by tapering turrets. This gateway
fronts a small vestibule, square in plan, which extends out from the main southern exterior wall.
Larger round tapering bastions appear at each of the four corners of mosque's exterior walls. The
southern entrance doorway shows a mixture of arch and trabeated construction: within a
decorative rectilinear frame, a blind ogee arch contains the door opening (itself a lintel frame
with a corbel infill). In the interior, bays of arcades signify non-hierarchical space, and an
outwardly projecting mihrab is found on the western qibla wall. The square courtyards, which
are enclosed by these arcades, measure 9.14 meters on each side. The first floor windows, from
which the monuments derived its name, are carved out of stone, having perforated screen or jaali.
The Monument As of Today
It is no easy task to find the Masjid. It lies concealed behind multiple layers of multi-storied
buildings, narrow congested streets and grating sounds of new construction work. The way to
the symmetrical monument is through a narrow uninviting alleyway between two large grey
buildings, where it opens up out into bright sunlight at the end.
At first glance, it may seen deserted but after passing tall grass, skipping over the litter strewn
over, to the front entrance an uninformed guard can be found on the front step, who will offer an
impromptu tour of the mosque.
16

Some restoration work has been done along a corridor, whose restored pillars and domes wears a
somewhat uncomfortable pink colour due to the incorrect proportions of lime and mortar used
by ASI workers engaged in the restoration of the mosque interiors. Further damaged has been
averted by complaints by expert observers and the restoration work has been halted indefinitely.
However, it is heartbreaking to observe the neglect suffered by this architectural marvel of the
Delhi Sultanate. A part of the roof has caved in, and there are gaping holes in many of the domes.
Tiles are broken and chipped in several places. Names and shapes have been ruthlessly etched
on to the stones of several parts of the turrets and walls.

4. Tomb of Adham Khan, New Delhi

On a hilly mound, this structure is more than just the ruined tomb of Adam Khan, a scheming
foster-brother of Akbar whom the Mughal Emperor punished by having him hurled repeatedly
from a parapet until he died. The tomb of Adam Khan is Normally known as a Bhool Bhulaiya
and is located just in the back of the well known structure, Qutub Minar which in turn faces the
bus stand in Mehrauli, Delhi.
Bhool Bhulaiya basically means labyrinth or even maze. Adam Khan served as being a General
in the Mughal army throughout the reign of Akbar, the eminent Mughal Emperor. The spot or
somewhat the structure is offered imperative significance since it is believed that once a
complete lot of wedding guests taking shelter in the Bhool Bhulaiya went missing in it. The
structure is surrounded with thick woodlands of Qila Rai Pithora or Lal Kot, like another
historical fort.
Bhool Bhullaya, made of grey sandstone and rubble masonry, is one of the few Akbar-era
monuments in Delhi. The dome is crowned by a red sandstone finial. The circular verandah has
three arches on each of its eight sides, and eight arched entrances opens into the dark chamber.
Adam Khan lies in the centre, his grave absurdly narrow. It is said that his mother was also
buried here, but her tomb is missing.
Traditional Significance
The tomb was constructed in the year 1561 AD and is on the northern side with the Qutub Minar
in Mehrauli, Delhi. The structure is thought to be a monument of great historic significance and
is thus, presently guarded from the Archaeological Customer survey of Indian (ASI). Adam Khan
was the son of Akbar's engender mother, Maham Anga as well as was the traitor as he designed
the delivery of Ataga Khan, another General who was simply Akbar's recommended. Akbar, on
knowing in regards to the grave conspiracy, ordered the execution of Adam Khan as well as he
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was twice pushed through the summit with the Agra Fort and Which generated leaving their
mother mentally instable.
Maham Anga furthermore died due to her boy's grief barely within a month of their death. Akbar
then had this kind of structure erected in the remembrance of Maham Anga as well as Adam
Khan. During the period of 1830, the British public named Blake migrated away the graves of
Adam Khan as well as Maham Anga though transforming the mausoleum into his residence. The
tombs of Adam Khan & his mother also got destroyed when the monument was converted into
the residence of a Britisher named Blake under the British rule in India. Blake was a member of
the Bengal Civil Service. Later it was also converted into a police station, post office and even a
rest house. Finally, Lord Curzon got the tomb vacated & restored.
The actual restoration of Adam Khan's tomb was completed successfully nonetheless, the same
has not been possible pertaining to Maham Anga's grave.
Architectural Importance
Bhool Bhulaiya is regarded as an amazing monument and is thought to be among the few
structures which presently survive from the age of Akbar. Bhool Bhulaiya is usually identified as
a monument with amazing design of architecture.
The mausoleum is usually huge as well as octagonal in design and incorporates a sole, vast
dome. The monument is usually 5 meters high with small minarets designed into all the eight
facets. The tomb uses grey and red shaded sandstone. A gallery goes on each one of the sides
permeated by about three apertures. There are many passages or even rather corridors which
become a maze. The major hall sections of the mausoleum holds the reinstated grave of Adam
Khan because original grave was destroyed. The tomb additionally includes the grave of Adam
Khan's mother but the exact location is presently missing.
An important feature with the monument which is worth noting is the design with the
mausoleum. The visible octagonal routine was really unlikely in comparison with the Mughal
structure of buildings during that era.
5. Jahaz Mahal
Located at one edge of the historically rich Mehrauli area, next to Hauz-i-Shamsi, Jahaz Mahal is
also the starting point of the famous Phoolwalon ki Sair, an annual procession of florists to mark
the seers of the yore, and is one of the rare festivals explicitly combining Hindu & Muslim
elements. Literally translating to ship palace, the name is derived from the reflection of the
palace on the reservoir, which lends it the appearance of a ship.

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Built in the Lodi era between 1451-1526 AD, the exact nature & purpose of the monument is
unclear. While some say it was a Sarai(inn) meant for travellers from the Middle & Far East,
others believe it to be a pleasure retreat of the Mughals. In either case, the construction, despite
portions being encroached upon or having succumbed to the pressures of civilization, retains a
lot of beautiful elements of the era.
The southern wall of the palace has collapsed, giving it a U-shaped structure, which otherwise
wouldve been a rectangular courtyard. Red sandstone is the chief material used. The palace
houses impressive Chattris (cenotaphs), the blue tiles standing out amidst the ruins instantly,
especially on the centre dome. Mostly adorning the roof, these cenotaphs are intricately carved
with the supporting pillars ranging from 6-12.
A Mihrab (niche) on the west wall of the ground floor denotes the presence of a small mosque,
flanked by small chambers on either side. The alleys and the staircase have a narrow profile
which lead up to the roof, giving a birds eye view of the congested treasure trove of the ancient
architectural heritage that is Mehrauli.

As of Today
Encroachment all around the monument has completely destroyed the faade of the main entry
on the East, though there is an entry from the West and South as well. The palace overlooks a
big park in the south, thronged with kids and elders looking for some fresh air.
It is surprising that the monument is in a poor state despite its popularity amongst the locals, as
well as the present day relevance to art and culture. Major restoration work is being carried out,
although it looks hard to replicate the intricate masonry of that era.

The gumbads (domes) of Delhi are also repositories of history which, however, are not given
the attention they deserve. Domes came into prominence during the Muslim period, though
there certainly were domed buildings before that time, but Hindu temples and other edifices,
by and large, lacked the finesse and excellence of the domes that came up later."
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- R.V. Smith, chronicler of Delhi's history and monuments

Our national heritage needs protection so that are it does not vanish, or worse, gets vandalized.

Measures taken for the protection of the cultural heritage: Community

Community participation is needed and should be encouraged to maintain the protected sites so
that the locals can be sensitized on the heritage value of the monuments.
Measures are taken to attract youngsters to our heritage. INTACH is trying to reach out to school
kids as they would be finally taking over. Children are taken to the sites and the relevance and
the history of the monuments are explained to them by the experts. Competitions are held on
themes such as conservation so that they might get in tune with the history of the site.
Measures taken for the protection of the cultural heritage: Govt and Corporations
The monuments of the Delhi are under the protection of the Delhi Archaeological Department,
The Indian National Trust for Art and Cultural Heritage(INTACH) and the Archaeological
Survey of India (ASI). Under these departments, the monuments are protected and cannot be
demolished or renovated unless the government sanctions it.
In 2010, INTACH along with DAD and ASI decided that 250 sites in Delhi have to be
documented, out of which 150 have been declared to have some historical or architectural value
and will be protected.
After the process of documentation, it will be decided which among the 250 will be protected in
addition to the 150. These protected / documented monuments are considered public assets. The
documentation process is a lengthy process which is done in phases and it consumes times.-Time
during which these monuments are still exposed to the public.
A good communication is needed between the police and the corporations in the protection. ASI
having no magisterial power cannot act as an enforcement agency. The South Delhi Municipal
Corporation does not get enough police support to clear out thickly populated areas.
Under the protection of the Archaeological Survey of India, there are 174 nationwide and 33
monuments in Delhi. But according to the officials of ASI the 174 monuments listed for
protection were put on the list by the British government and only a few have been added to the
list after independence. Due to the lack of funds , they are not keen to take up more monuments

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under their wing and prefer to keep them locked which then become the breeding grounds for
illegal activities and the unauthorized usage of the structure.
In may 2015 the new central government withdrew the application submitted to nominate Delhi
to the list of UNESCO World Heritage cities, without consulting the state government or the
project proponents.
They had pitched this nomination as a strategy to boost the tourism and strengthen the economic
base of Delhi while also simultaneously hoping to enhance the iconic image of the capital of
India.
The newly elected central government, however, viewed it naively, as anti-development. It can
be seen as a display of their political power to provocate the state government and while
appeasing its electoral constituency by opposing the significance of two particular sites that were
identified for nomination- the Mughal city of Shahjahanbad and the Colonial Imperial city of
New Delhi.
Every country has its own legacy. When our nation develops, one would regret not saving our
heritage. Our heritage can be developed such that the tourism in the area develops and the same
funds can be used in maintaining the sites.

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