History and significant features of Alamgiri gate, Lahore Fort

Rahat Afza Ahmed Muiz

Ἁlamgiri gate is of great importance in the historical gates of

Lahore. The Ἁlamgiri gate played an important role in the

struggle of the Sikhs for the ‘throne’ of Lahore. Its image is

notable on fifty rupee note of Pakistani currency. Currently,

Ἁlamgiri gate is closed and Shāh Burj gate is being used for the

entrance to the fort while Masti gate is permanently closed.

Ἁlamgiri gate was bricked up during the British period and

remained close for security. In 1949 it was reopened by the

Governor of the Punjab, Sardar Abdul Rab Nishtar and began a

new historical epoch.1 It symbolizes a beautiful and historic gate

way to Lahore’s past.2

Key Words: Ἁlamgīrī gate, Mughal, multifoil

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Introduction and Historical Background

Ἁlamgīrī gateis one of the main gates of Lahore Fort, built in the

sixteenth century by the Mughal Emperor Aurangzeb Ἁlamgīr(1658-1707) (plate

1).The existing gateway was the chief foyer to Lahore Fort and was imposed in the

western high crenellated wall of the fort, opening to the Ḥaḍūrī Bāgh (1813), a

small enclosure between the Ἁlamgīrī gate and Bādshāhī Mosque.The gate was

built by the Emperor Akbar and so called Akbarī gate, which however is a

“misnomer.”3Ἁlamgīrī gate facing to the west opens towards Bādsẖāhī Mosque to

create harmony for its massive and masculine construction, while the Mastī gate

lies in the east and ShāhBurj gate is located behind the British Period

Postern.4These gates have been named keeping in view the old age traditions to

commemorate the memory of certain or important personalities. Sometimes the

gates were named to indicate the direction of the city or a place.This particular

gate was referred to Ἁlamgīr and named after him as Ἁlamgīrī Darwāzā.

Plate 1.Ἁlamgīrī gate (Source: Picture by author).

Such a massive gateway had been used for defense purposes and to give a

frightening impact on the enemy.5 The required material that was used for this

gate was timber which was plated with thick T. iron sheet. According to Sẖeiḵẖ

ḵẖursẖīd Ḥasan the gates were heavily spiked so that the intoxicated elephants

could not strike their head to open it. When the door was closed the heavy bars

made of timbers got fixed into the socket and an iron chain was attached across the

door.6

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Architectural Salient Features of Ᾰlamgῑrῑ gate

[Kiosk, Oriel Windows, Arches, Columns, Bastions, Merlons and Ramparts] The architectural salient features to embellish the buildings of Mughal

period were unique in their character and were used commonly in Hindu and

Muslim architecture. These features included: half fluted dome, multifoil arch,

balconies, columns, oriel windows and kiosk (cẖattrī). The use of kiosk“indigenous in its origin”7was the prominent feature in the Mughal architecture to break the skyline and decorate the parapet and projections of

historical monuments significantly. The mosque of Wazīr Kẖan and Bādshāhī Mosque are the best example of the octagonal kiosk represented with trefoil arched

opening. It can also be observed in the Sikh buildings. Architectural salient

features are as follows.

Oriel Windows

The use of oriel windows or the small openings is the characteristic of the

Islamic architecture of Indian Subcontinent and it is the derivative of the Indian

indigenous architectures of the Hindus and Jains.8Oriel windows are a set of

windows joint together projecting outwards of a building. Basically oriel windows were built on the upper floor for the passing of air and sunlight. These were designed and ornamented aesthetically.The traces of oriel windows can be found in the Tomb of Sher Shāh Sūriand Baŕe-Khᾱn-ka Gumbad(early16

th century) in the

time span of Sikandar Lodhῑ.

Arch

The arch is a significant feature of Mughal construction and had been used

aesthetically and structurally. It has many various forms and styles; simple, curved,

semicircular, broader, cusped arch, multifoil, horse shoe and ogee arch etc.

Multifoil arch is most commonly seen at the facade of historical mansions in

Northern India.According to an art historian, the cusped arch has been the hall mark of the Mughal style, and its appearance in Rajput architecture indicates a Mughal influence.

9 The semicircular arch combined with cusps or trefoil is known as the Sẖahjahāni arch.

Columns

This architectural element enhances the beauty of the outer. It also varies in its size

and most often its base is decorated with floral motifs arranged in a pot

symbolizing kālāsā. It can be seen in the Jahāngīrī Maḥal (1617-20) at Lahore Fort

and later this feature was followed by the emperor Shāhjahān and was practiced in the Ᾰlamgῑrῑ gate by the emperor Aurangzeb Ᾰlamgῑr.

Bastions / Turrets

The bastions / turretsare of various shapes e.g. rectangular, semi-circular

and polygonalwith loop holes or slits for arrows or musketry were built to impose

strength. They had also battlemented parapets, with merlons of several shapes.

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From the top of the bastions, the besiegers cannot arrow or fire from this side,

thereby defending the approaches to the fortification walls. Its aim was to keep the

enemy soldiers under the fire as far as possible.10

Merlons / Crenellations The different shapes of merlons such as the arched shape, peered shape,

pointed form and some like inverted arches are also human type as are on the Ibn

Tulun mosque at Cairo. Not only used for decorative purpose, but also meant to

provide a safe base for the archers and musketeers to fire at the enemy through the

loopholes provided therein.11

Ramparts

The ramparts had a battlemented parapet, the merlons of which were

oblong in form and slightly slanted frontward to make the scaling impossible by

the besiegers and were interchanged by embrasures; machicolations which were

regularly inclined below them along with the string course i.e. a horizontal band or

molding.

Location and Plan

The Lahore fort (16th century) is located in the north-western corner of

Lahore and is nearby to the Walled City of Lahore which has thirteen gates. The

main gates are positioned alongside the center of the western and eastern walls of the fort. The Lahore fortis a magnificent fortified palace complex and survives the impressive samples of Mughal architecture. The fort was restored, extended and upgraded by the Mughal emperors. Aurangzeb also made additions to it. Several

pavilions on the higher ramparts were added by the Ranjīt Singh. The Ālamgīrī gate, situated on the eastern edge of the Lahore Fort is lead by a way of asharply

angled passage(figure drawing 1).

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151

Figure Drawing 1. Lahore Fort, Location map (Source: Asian Historical

Architecture, http://www.absoluteastronomy.com/topics/Ἁlamgīrī gate).

Exterior View

This monumental gateway is vestibule architecture. Theaccess to the

double storey huge gate is by a ramp or a sloping path The gateway is composed

on a fifteen feet high platform from ground level(plate 2).

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Plate 2.Ἁlamgīrī gate built on a ramp (Picture by author).

Figure Drawing 2. The front elevation of the Ἁlamgīrī gate(Source: Maqsood

Ahmad, Deputy Director Department of Archeology and Museums, Government

of Pakistan).

The height ofthe entrance gateway measures19ft-11’’, the main arch 3ft1-1’’ and

the corner bastions are 53ft- 4’’high.The total gateway height including domlets is

77ft- 7’’(figure drawing 2).Various architectural embellishments relieve the

monotony of the sandstone of the exterior and the painted surface of the interior of

the gateway.The ogee arched gateway is located in a rectangular frame. The

gateway has a wooden double door opening towards the inside. The carved floral

heads on the door have been fixed with brass nails (plate 3).The massive wooden

members of the doors were often incorporated by the row of knobs covered by the

heads of bolts folded together.12

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Plate 3.Ἁlamgīrī gate ornamented with recessed flower and brass nails

(Picture by author).

The great entrance in red sandstone is flanked by plastered seats on both

sides (plate 4). There are fifteen recessed panels horizontally and vertically on

either side which gives a hasty conversion from the wall to the ceiling.The three

squares and two rectangular openings are housed over therecessed area of the wall

on both sides (plate 5) which is a characteristic of the sixteenth and seventeenth century architectural Mughal edifices.

Plate 4. Red sand stone plastered seat of Ἁlamgīrī gate (Picture by author).

Plate 5. Rectangular openings of Ἁlamgīrī gate (Picture by author).

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The significant feature of the Ālamgīrī gate way is the engaged columns

on its nooks enhancing the charm of the gate (plate 6). The base of the massive

and heavy engaged columns has been decorated with acanthus petals. Its bulb like

form resembles ‘water pot’ called kalasa, symbolizing prosperity and good-will in

Hinduism.13

They used floral and vegetal motifs in the water pot to make it more

attractive. Above the bulbous base, the attached, rectangular shaft has been

outlined. To create uniformity in the style the same acanthus petal has been

repeated on the capital of the engaged column which is called the Sẖahjahānī column. In the Sẖahjahān’s reign, the vegetal or the naturalistic plant motifs were

used to adorn the capital. This plant motif is known as “ghātā-palāvā”.The

decorated column, bulbous in its form and looking like a pot was a feature of Buddhist and Hindu architecture and it was adopted by the Mughal emperors and

Akbar also followed it in the architecture.14

This characteristic can be exemplified

in the verandah at eastern side of Jahāngīrī Maḥalin the Agra Fort.

Plate 6. Engaged columns of Ἁlamgīrī gate (Picture by author).

Plate 7.Semi circular bastions with lotus petal base of Ἁlamgīrī gate (Picture by

author).

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The small arched rectangular recessed panels cover the enduring area

which has no ornamentation that could break the consistency of the façade. There

are two semicircular bastionson both ends of the facade having boldly fluted shafts

with smaller loopholes and lotus petal bases and crowned with domed pavilions

and the corners by ‘guldastās’(plate 7). In Buddhist art, the lotus flower is very

important and considered as a holy flower which is a symbol of purity, supremacy

and fertility.15

In Hindu mythology, lotus is known as padmā, a motif used in

Indian art in its earliest phases. The lotus is also referred to purity and water which

represents the goddess Lotus that symbolizes fertility of the bottom, eternally

contained within the god’s enormous body.16

Exterior surface of the bastions is divided into vertical blocks, arched and

paneled areas.The parapet and top of the bastions contain battlements having

loopholes for defense. The two guard towers of the portal of the Ālamgīrī gatearefolded and “go out” like the flowering buds of the lotus.

17 It is simple in

shape and design. The present status of the gate is functional.A symmetrical

scheme has been repeatedin the architectural elements of the Ālamgīrī gate. In the later period of the Mughals, the typical style of “softening”18

has been applied here

in the gate, that’s why it looks so splendid

Interior View The inside of the Ālamgīrī gate, one steps into a large central square hall

(figure drawing 3) which has a series of deep arched recesses on the east and north.

A staircase has been built to direct to the upper storey buildings (plate 8). A huge

entrance, which was specially designed so that the elephant caravan of the

emperor, would be able to pass through. The elaborated squinches and cross vaults

are a most important feature of martial architecture, for which vigor and prevention

of fire were chief objectives.19

Figure Drawing 3. Ground floor plan of Ālamgīrī gate (Source: Maqsood Ahmad,

Deputy Director Department).

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Plate 8.Stair case leading to upper storey building inside the Ἁlamgīrī gate

(Picture by author).

Plate 9.Entrance to the main courtyard at the right side (Picture by author).

The architects and the patron of that time decorated the interiors of both

religious and secular buildings with the fresco paintings or so called the mural

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157

painting aesthetically. This form of art with stucco moldings was applied by the trained and skillful craftsmen and was preferred by the Mughals and the Sikhs.

In terms of architecture, it is distinguished by “splendor and beauty,”20The

entrance to the main courtyard has been surrounded by the rooms and balconies on

each side (plate 9). A large surface of the interior of the vestibule is decorated with

fresco painting. The inside or concave element of the high domed ceiling has the

medallion centrally composed not only on the roof but also soffits of all the arched

entrances (plate 10) are painted with floral petals in rhythmic connection. Very

delicate fresco painting that enhances the beauty and charm of the vestibule on the

whole. Leaf motif with the pointed inverted tip is applied on the outer border of the

arched entrances of the hall (plate 11).

Plate 10. Medallions on the soffit of the arches inside the Ἁlamgīrī gate

(Picture by author).

Plate 11.Painted leaf motif in borders (Picture by author).

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In Mughal architectural decoration, the coming out floral patterns has been

combined with theEuropean botanical drawings and floral scrolls of later

renaissance. The locally use of acanthus leaves and traditional flora of Persian was also adapted in Mughal architecture.

21The natural reproduction of each plant is in

symmetrical and repetitive schemes painted in squinches (plate 12 and 13). “The

stylized curve in the leaves gives an impression of three-dimensionality that

aesthetically looks graceful. This three-dimensional effect in flowers has been

traced out in ShāhJāhān’s period”22.

Plate 12. Painted floral motifs in squinches (Picture by author).

Plate 13. A close view of painted floral motifs in squinches (Picture by

author)

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159

The arabesque pattern applied at the squinches hasrhythmic denaturalized

vegetal pattern. The reciprocal repetitions and insertions have been added to whole

of the surface with the shape of the split leaf which is distinctive feature ofIslamic

architecture. The split leaf in a large range was used byAkbar on the soffits and

arched niches of a building. TheTomb of Akbar and the tomb of Itimad-ud-

Daula,the architecture of Agra fort, Fatehpur Sikri (1511-1572) and Jodhbāī’s

palace are the best example of split leaf and vine motif.

Plate 15.Miḥrābshaped panels on the interior of the hall (Picture by

author).

Plate 16. A close view of decorative motif on the miḥrāb shaped

panel(Picture by author).

The walls are intricately decorated with the miḥrāb shape rectangular

panel on each side (plate 15).The miḥrāb shape of the rectangular panel on the wall

is creating an impression of a half of a cartouche which was originated in Safavid and Timūrid dynasties.Mughals also got inspired by these decorative motifs (plate

16) but by theEuropean influence a large variety of floral petals with a little

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addition pleases the eye and enhances the beauty of the historical monuments.

They used leaf motif aesthetically on their contours. 23

The flowering plants and

symmetrically arranged sprays of flowers create an ovoid (egg shaped) outline.24

Conclusion

The Ἁlamgīrī gate, signifies its picturesque appearance andfinearchitectural

ornamentation on the exterior, is a beautiful example of building art.The whole

concept of a gate and its expression reflect the radiance and beauty of the patron.

The historical gate has its own glamorous beauty and still survives with its glory

and grandeur that attracts the viewer at first glance. Over all the huge impression

of the gate is not only pleasing but also impressive and important in the history of

art.

History and significant features of A lamgi ri gate, Lahore Fort

161

End Notes and Bibliography 1Ihsan H. Nadiem, Lahore: A Glorious Heritage (Lahore: Sang-e-Meel

Publications, 2016), 104.

2“Anne W. Patterson US Ambassador visits Ἁlamgīrī gateto mark conservation

project’s completion,” Under the Associated Press of Pakistan, http://www.app.com.pk/en_/index.php?option=com_content&task=archivecategor

y&id=0&year=2009&month=5&module=1&limit=9&limitstart=945(accessed

December 6, 2014).

3Nadiem,Lahore: A Glorious Heritage, 104.

4Ibid.,

5Sheikh KhurshidHasan, “HistoricalFortsinPakistan” (Islamabad: National Institute of Historical & Cultural Research Centre of Excellence, Quid-i- Azam

University, 2005), 11.

6Ibid,12.

7 R. Nath, Indigenous Characteristics of Mugẖal Architecture (Delhi: India History

and Culture Society, 2004), 59.

8ZainZulfiqar, Tracing the Origin of Jharoka Window used in Indian Sub-

Continent in Journal of Islamic Architecture,http://ejournal.uin-malang.ac.

Id/index.php/JIA/article/view/4763/pdf, Retrieved on 5 December,2018.

9Rana M. Sarwar Khan, TheRajputs: History, Clans, Culture and Nobility, Vol. II

(Lahore: Rana M. Sarwar Khan, 2005), 633.

10Sheikh KhurshidHasan, “HistoricalFortsinPakistan” (Islamabad: National Institute of Historical & Cultural Research Centre of Excellence, Quid-i- Azam

University, 2005), 13.

11Hasan, “HistoricalFortsinPakistan”,14. 12

Ernst. J, Grube, James dikkieoleg, Architecture of the Islamic world: its history

and social meaning, (London:Thames and Hudson, 1996), 120.

13Ebba Koch, Mugẖal Architecture: An Outline of its History and Development

1526-1858 (Germany: Prestal, 1991), 93.

14Ebba Koch, MugẖalArchitecture: An Outline of its History and Development

1526-1858 (Germany: Prestal, 1991), 93.

15E. GansRuedin, Indian Carpets (Switzerland: Thames and Hudson, 1984), 304.

16R. Nath, History of Decorative Art in Mugẖal Architecture

(Delhi:MotilalBanarsidass, 1976), 10.

17“Ālamgīrī gate” Under Travlions, http://travelinos.com/sightseeing/n27-19640-

Ἁlamgīr ī _ gate_in_Lahore (accessed December 12, 2014).

Pakistan Vision Vol. 22 No. 1

162

18

Ibid.

19Ernst, Architecture of the Islamic world: its history and social meaning,

(London:Thames and Hudson, 1996 ),67.

20“Ālamgīrī gate” Under Travlions, http://travelinos.com/sightseeing/n27-

19640Ālamgīrī _ gate_in_Lahore (accessed December 12, 2014).

21Ibid, 170.

22Discussed with Dr. NaseemAkhtar, Professor at UCAD Lahore on 25 July, 2012.

23Discussed withDr.Masooma Abbas, Assistant Professor at Lahore College for

Women University Lahore on 20 July, 2012.

24Daniel Walker, Flowers Underfoot: Indian Carpets of the Mugẖal Era (London:

Thames and Hudson, 1997), 100.

24R. Nath, Jharokᾱ: An Illustrated Glossary of Indo-Muslim Architecture (India:

The Historical Research Documentation Program, 1986), 57.

Aijazuddin, F.S. Lahore Recollected: An Album. Lahore: Sang-e Meel

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The difference between ‘oriel’window is that the former is open though it may have a jalied balustrade while the latter is fully or partially closed by jᾱlis.

24 In

Islamic architecture of Indian Subcontinent oriel windows were first seenon the

sides of the walls in Tomb of Sher Shah Suri, Panchmukhi mosque and Bare-

Khan-kaGumbad of early sixteenth century in Sikandar Lodi Period which at its

origin in Indian indigenous architectures of the Hindus and Jains. Akbar was

inspired by the oriel window or jharokᾱ for the purpose of imperial ideology and

used this feature in JodhaBai’s Palace. 24

R. Nath, Jharokᾱ: An Illustrated Glossary of Indo-Muslim Architecture

(India: The Historical Research Documentation Program, 1986), 57.