Shatkarma procedure for cleansing of nasal passages is –
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Not unlike Michael Brand’s observations at Lahore, I find that this Allahabad site offers a unique perspective on the function, spatial organization, and the meaning of landscape in Mughal garden and funerary architecture. Khusro Bagh presents an interesting and timely opportunity to study the various transformations in Mughal architecture and urban landscapes during the reign of Emperor Jahangir. The planning, organization, and construction of Khurso Bagh is a precursor to the transformation of the garden into a funerary complex of imperial proportions. This transformation began during the reign of Jahangir culminating in his burial at Lahore, as has been noted by Ebba Koch, Michael Brand, and most recently Mehreen Chida-Razvi. This initial thrust at altering the landscape of the imperial garden allowed Shah Jehan to effectively make it a zone of commemoration.
As the history of the Mughal garden is very closely tied to the development of funerary architecture, Khusro Bagh clearly reveals an important stage in the complex evolution of Mughal landscape architecture. It’s importance spreads well beyond the seventeenth century (as Maulvi Liaqat Ali Khan used it as the headquarters of the Indian troops stationed in Allahabad during the Indian Mutiny) and the domain of art history. Given the tombs’ grandeur, complex iconography, and obvious cost, it is clear that a powerful patron was behind the construction of Khusro Bagh. Simultaneously, these characteristics of commemoration raise a series of other pertinent questions: Why was Shah Begum, a Hindu Rajput, accorded an Islamic burial of stately proportions? Why was the tomb of Khusrau Mirza built next to his mother’s final resting place? What were the inspirations for the design and its complexity? How do these tombs relate to other seventeenth century Islamic monuments in India (generally) and Mughal monuments (specifically)? Who was/were the patrons?
The principal tomb belongs to Shah Begum, as it is located in the centre of the garden, with four major walkways emanating from her tomb, which lead to arterial points in the fortified wall. There are two points of entry and exit on the north and south side of the complex. Shah Begum’s tomb is a three-tiered structure made entirely of sandstone. The grave is located on the main level whereas a false cenotaph is visible at the top. This false cenotaph, a common feature in Islamic tombs, has arabesque inscriptions carved on it by Mir Abdullah Mushkin Qalam, Jahangir’s court calligrapher, and is built from white marble and enclosed by a sandstone chattri surmounted by a elaborate finial. Shah Begum’s tomb has elicited many a comparison with the Panch Mahal at Fatehpur Sikri and Akbar’s Tomb (c. 1605-1613) at Sikandra (Catherine Asher points to this tomb as a source for Akbar’s mausoleum). Given the presence of Aqa Reza and Mir Abdullah Mushkin Qalam, it is clear that this was an important building for Jahangir in terms of legitimacy and architectural patronage.
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