Lahore Fort

Lahore Fort- The Royal Living Heritage

Fort Lahore

Evolve, Wrecked, Dismantled, demolished, rebuilt and revived quite a few times before being given its current form by Emperor Akbar in 1566, the Lahore Fort is the star attraction of the Old City. 

The fort was initially constructed in 1566 AD by the Mughal Emperor Akbar, on the ruins of a mud fort which existed as early as 1021 AD. The Fort is rectangular and is located in the north western corner of Lahore, adjacent to the Walled City. It has 13 gates. The main gates are located alongside the centre of the western and eastern walls. Located centrally in the city of Lahore, the Lahore Fort is a magnificent fortified palace complex. Its elaborate Mughal architecture is straight out of a storybook of the Mysterious East. The impressive twin-domed entrance leads into elaborately decorated courtyards and pavilions with water features, some with still intact sumptuous wall decorations of inlaid semiprecious stones and painted designs. It's large enough to allow several elephants carrying members of the royal family to enter at one time. There are a flight of stone steps specially built for ceremonial elephant processions

Alamgiri Gate

 Lahore Fort is located at an esteem in the northwest corner of the Walled City. It is spread over approximately 50 acres and is trapezoidal in form.  The fort's mud construction dates back to the early Hindu period. The fort is mentioned in connection with Muhammad Sam's invasions of Lahore in 1180, 1184, and 1186. It was ruined by the Mongols in 1241, and then rebuilt by Balban in 1267. It was again destroyed by Amir Taimur's army in 1398, to be rebuilt in mud by Sultan Mubarak Shah in 1421, then taken and repaired by Shaikh Ali. The present fort, in brick and solid masonry, was built during Akbar's reign between 1556 and 1605. Every succeeding Mughal emperor, as well as the Sikhs and the British, added a pavilion, palace, or wall to the Lahore Fort, making it the only monument in Pakistan which represents a complete history of Mughal architecture. 

There are two huge gates in the fortifications, one each in the middle of the east and the west sides. The western gate, known as Alamgiri Gate, is presently used as the main entrance; however, plans are afoot to open the eastern gate, the Fort's Masjidi Gate, to the general public as well. The Masjidi Gate, built in 1666 during Akbar's reign, was the original entrance to the fort and faces the historic Maryam Zamani Mosque. Alamgiri Gate, a magnificent double-storey gate, was built by Emperor Mohiuddin Aurangezeb Alamgir in 1673 and faces the grand Badshahi Mosque and opens into Hazuri Bagh. The imposing semicircular bastions flanking the gateway have lotus petals at their base and are highly fluted, crowned with small, graceful domed kiosks. The fortification wall is built of small burnt bricks strengthened with semicircular bastions at regular intervals.

 The citadel is divided into different sections, each creating its own world within its quadrangle, but they are all interconnected for ease of administration of the fort. In the various sections of the citadel you will be able to enjoy the contribution of successive Mughal emperors—at least three of the Great Mughals are represented within the confines of the citadel, namely Akbar, Jahangir and Shah Jahan. The fourth, Emperor Aurangzeb Alamgir, although he built outside the citadel, constructed the impressive Badshahi Mosque and, like the other three, left an indelible architectural mark on the cultural map of Lahore.

Deewan e Aam

 Diwan-e-Aam dominates the centre of the north periphery of the garden and carries the focus of all activity, with the marble Jharoka  or throne gallery projecting from its rear wall. The Diwan-e-Aam is constructed on a raised platform bounded by a stone katehra or railing. The hall measures 187 feet by 60 feet and rises to a height of 34 feet. On the second storey, there are beautiful cusped marble arches at the back of the building, looking down to Jahangir’s Quadrangle. 

During the reigns of Akbar and Jahangir, the Diwan-e-Aam consisted of a triple canopy of velvet to provide protection from the sun while the floor was covered with rich carpets. However, among the first orders given by Shah Jahan as emperor was the instruction to replace the velvet canopy by a wooden hall. Soon after, however, a sumptuous chihil stun (40-columned hall) was ordered both in Agra and Lahore. While Shah Jahan's Agra Diwan-e-Aam survives, only the Columns and footprint of the one at Lahore are original—the superstructure arches and roof being a British reconstruction. 

450years old original Pattern of mosaics

 In the Diwan-e-Aam, a portion of the original Mughal floor—brick flooring of 'old Lakhauri brick'—is distinguishable from the remaining floor. The original red stone poly-faceted column shafts and the multifoil arched bases that had supported the original roof have been re-used in the hypostyle. You will notice a great deal of similarity with those used in Akbari architecture when you visit Jahangir's Quadrangle. The comparatively simple faceted concave capitals that you see here were transformed into elaborate stalactite capitals beautifully rendered with inlay etc. when Shah Jahan's Shah Burj was later built.

 

Daulat khana

Daulat Khana-e-Khass-o-Aam is accessed by following the steps to takht-jharoka.  It is a building cleverly placed to provide transition from the highly public area of the Diwan-e-Aam to the private residential apartments of the imperial harem. The throne jharoka, overlooking the Diwan-e-Aam in the south, is set above the human height to ensure an elevated position for the emperor. 8'6" in length and projecting 4' from the wall, the elegant and regal jharoka, with its railing of delicate sang-i-murmur (white marble) is roofed over with an elegant sloping chajja and saddle-backed dome. The 4' wide galleries on the two sides of the jharoka, seem to have extended the whole length of the Daulat Khana, acting as a viewing gallery for court proceedings by the imperial female entourage, no doubt seated behind screens. The building dated to the Shahjahani period was much mutilated during later rules. Consisting of a core of vaulted chambers—the central one an elongated octagon opening into an open-fronted aiwan—the Daulat Khana is bordered by an arcaded verandah circumambulating its three sides. It is a largely arcuate structure sporting, from a simple coved roof, shallow domes on squinches in verandah bays to more complex vaults. From the first floor of the building you can enjoy the freshness of the quad on the north, a chahar bagh bounded by royal pavilions— the zenana of Emperor Akbar. Originally there may have been an access staircase to descend into the quad. However, it is no longer extant. Few of the original decorative elements in the building are now extant—indiscriminate Sikh over-painting and British 'military whitewash' having camouflaged most of the Mughal evidence. There is little doubt that at one time all surfaces were profusely ornamented. In spite of the loss of surface decoration, evidence of the sumptuous rendering of structure and surfaces can still be seen. On the north verandah, there are two sets of beautifully sculpted seh-dara (3-bay) ensembles consisting of a combination of white marble double-column shafts, and grey-black stone base and ornamental brackets. They are original Shahjahani elements, as are the marble dadoes (izara) with courtly inlay borders of double black lines and of multi-colored inlaid zigzag (chevron) design.

jahangir's sleeping chambers (back)

 Haveli of Mai Jindan dominates the eastern periphery of the Moti Mosque Quadrangle. Mai Jindan, (Chandan or Chand Kaur), was the mother of the infant Sikh ruler, Dulip Singh. This two-storey building may have originally been a Mughal structure, however, it is considered a Sikh structure due to large-scale additions by the Sikhs. The building now houses a collection known as the Princess Bamba Collection. This is the building where according to Fakir Qamruddin, during the Sikh War of succession the gruesome murder of Rani Jindan took place.

Hazoori Bagh

Hazoori Bagh  is an enclosure between the Alamgiri Gate of the Lahore Fort and eastern gate of the Badshahi Mosque. On 19 July 1932, the uppermost story collapsed and was never reconstructed. This garden was built by Ranjit Singh in 1813 to celebrate the capture of the famous Kohinoor diamond from Shah Shujah of Afghanistan. However, the fort was mercilessly plundered by the Sikhs when the gained control of Punjab in the 1800s. Ranjit Singh ruled Lahore for fifty years and stripped its monuments of practically all the ornaments and transferred them to Amritsar. The most badly hit was Sheesh Mahal, and most of its decorative mirrors were looted and later used for the beautification of the Golden Temple in Amritsar. The part of the wall of the elephant Steps towards the forts inner gate are scarred by bullet marks, bearing testimony to the Sikh Civil War of 1847 AD. A party of Sikhs had mounted their guns on one of the minarets of the mosque across the courtyard from where they fired on their opponents.

Jahangir's Quadrangle

Jahangir's Quadrangle was begun by Akbar and completed by Jahangir in 1618 and contains some of the earliest Mughal structures in the fort. The area is part of a belt of quadrangles and suites lining the northern periphery above the Mughal fortification wall, and was dedicated to strictly imperial usage. Jahangir's Quadrangle, a quad consisting of royal apartments and a harem sera, was placed in a secure corner of the citadel to ensure the safety and security of the zenana. Also, since the river Ravi once flowed at the foot of the north fortification, the view from the royal quads, overlooking the vast countryside beyond, would have been spectacular.

Jahangir's Quadrangle, 372' x 245' in size, is the largest of all quads, except the Maidan Diwan-e-Aam. In the rectangular quadrangle is set a chahar bagh (paradisiacal garden) with parterres and walkways, cooled by an enormous hauz (tank) and an array of fountains. The central chabutra (mahtabi) or platform, accessed by narrow causeways provides a delightful seat elevated above the water reservoir to enjoy the amiable surroundings. A wonderful fairy tale scene setting decorated with oil lamps (diyas) and candles, was witnessed as late as 1843 by the Prussian Von Orlich when he visited the Sikh durbar.

Haveli of Kharak Singh, the heir to Ranjit Singh, occupies the southeast corner of Jahangir's Quadrangle. No doubt it was due to its having been utilized by the heir to the Sikh throne that after the British occupation the first floor was considered suitable for the 'Commandant's Quarters', while the ground floor was used as 'godown and servants' house.

Wooden door to Jahangir's sleeping Chambers

Khawabgarh-i-Jehangir (Jehangir's Sleeping Quarters), a pavilion on the north side of his quadrangle, now houses a small museum of Mughal antiquities. One charming story about Jehangir is that he had a chain suspended outside the fort, which anyone unable to obtain justice through the usual channels could pull. A bell would ring in his private chambers and the petition would receive his personal attention.

Paein Bagh

 Paien Bagh and Khilwat Khana (Chamber of Seclusion) Quadrangle are in continuation with each other. Most of the structures are now lost, except the two major towers—Lal and Kala Burj—jutting out from the northern periphery wall—which define the eastern and western ends of the courtyard. The first area that you encounter is known as Paien Bagh or the Zenana Garden where remains of foundations indicate the footprints of now-lost structures.

Diwan-e-Khass, the marble pavilion of exquisite beauty, was in the past referred to as Chotti Khwabgah, also as Khwabgah-e-Khurd (Minor Sleeping Chamber)—the name khwabgah most probably being an appellation given by the Sikhs. The building also did duty as the garrison church during the British occupation of the fort, when the elegant fountain and the marble screens in the north were filled with concrete. At the time a baptismal font was placed in the central alcove, a place which 19th century archaeologist Henry Cole noted, "Shah Jahan would most likely have selected for his couch to catch the air through the marble lattice." The building was reconstructed during the British period restorations, utilizing the original elements, but it is likely that the roof structure was modified during reconstruction.

Most scholars agree that this is the sangi-i-murmur pavilion which Shah Jahan came to inspect in the fort in 1645, since this is the only extant building built entirely of marble (except for the Moti Mosque) which overlooks the river.

With an almost square footprint 52' x 52', there are an equal number of arched bays on all four facades. The north aspect sports massive wall-like piers which form vaulted alcoves, while the remaining portion of the building carries a coved roof supported on classical Mughal columns. Due to its hypostyle character the pavilion has an elegant transparent air.

When the Ravi flowed along the north fortification wall, the cusped arched openings on the north, carrying marble geometric fretwork screens incorporating viewing windows would have provided a delightful prospect.

Also worth examining are the poly faceted columns and stalactite capitals. Also of note is the beautifully crafted scalloped white marble fountain—a neat device to cool the air wafting in through the open pavilion. Its basin hollowed out in the floor of the central bay, though ravaged, still contains vestiges of courtly pietra dura. The flooring is also neatly executed, and the fine black inlay pattern in white marble in the flooring of the two alcoves is a treat. You might also like to notice the fine pietra dura work in the parapet encircling the building.

If it is Shah Jahan's Diwan-e-Khass, this is where the emperor would review the petitions of subehdars (governors) through wakil (an advocate) or wazir (a minister) once they had been processed by the royal prince in charge of correspondence, and before sending them to be stamped by the royal seal. The seal would be in the custody of the emperor's first born Begam Sahib Jahan Ara Begam, his wife Mumtaz Mahal having passed away before this was built.

As you look down from the viewing windows of the Diwan-e-Khass, immediately below you will notice a dilapidated structure, used as a stable during the British Period. This is labeled Arzgah on Sikh period maps, referring to it as a platform from where petitions and complaints were heard in public by the ruler. Although it is likely to be a Mughal Period structure its date is uncertain—its walls having no bond with the fortification wall against which it is constructed, indicating its construction at a later date than the north fortification wall.

It is conjectured that this is the place where the grandees would assemble in the morning to receive the emperor's commands. It is likely that it was constructed as a complementary structure to the Diwan-e-Khass, since it is located immediately below and at the same axis as the former building.

Shish Mahal was the palace where after the annexation of the Punjab by the British, the sovereignty of the Punjab, along with the fabulous Kohinoor diamond, was passed into the hands of the British. As you turn right at the entrance, you are overawed by the spectacular Shish Mahal commanding the north aspect. This is the famed 'Palace of Mirrors', a comparatively recent name given to the building because of the use of "a mosaic of glass inlaid with gypsum" for its decoration. The Shish Mahal is composed of several chambers and projects out in the form of a semi-octagon from the general alignment of the fortification called the Pictured Wall.

The most impressive part of this structure is the central aiwan (hall) which is of handsome proportions rising to two-storey height. Its white marble arcade composed of sculpted shash-hilali (6-crescent) arches, and the cusped profile of engrailed spandrels is outlined with a delicate line of incised marble inlay.

The Shahjahani historian Lahauri refers to its "twelve pillars of marble" each in fact consisting of four sets of double columns and two sets of respond engaged (attached) double columns, employing classical Shahjahani order. The profiled column bases are worth examining, as is their elegant detailing—they represent the best of Shahjahani pietra dura. The aiwan's interior is eulogized by the historian Lahauri in extravagant terms: "From the intermingling of colours in this sky-reaching structure and lofty mansion, spring adorns the cheeks of tulip and the face of the jasmine."
 

Shish Mahal

Unfortunately, tawdry dabbling by later rulers and custodians has resulted in the addition of 19th century porcelain blue and pottery shards, the whole overwrought with mirrors and discordant Hindu-mythological frescoes. Ph. Vogel relates how the young Dulip Singh proudly pointed out his own handiwork in the fresco painting. Today it is difficult to distinguish the original Mughal portions of the ceiling in view of the various structural problems and subsequent repairs.

Flanking the white marble aiwan are the 2-storey west and east 'Paradise Halls' constructed in red stone. Although today shorn of plaster, keeping Shah Jahan's preference in mind, it is more than likely that the red stone was covered with the finely rubbed patyali plaster, which would have made the whole facade white. The seh-dara unit (first noticed in Akbar's suites in Jahangir's Quadrangle) defines the frontage, but is executed in an exceedingly refined ensemble by the Shahjahani architect compared to the earlier structure built by Akbar. The internal walls of the ground floor structures were so elaborately treated that Mughal chronicler Lahauri gifted them with the name 'paradise-like halls'.

Shish Mahal

Today, you will find amateurish fresco decoration on the ground floor walls of the east dalan. The west dalan, is in a better state of preservation and carries gilt markings. In both cases the flat ceilings decorated with wood fretwork in a geometric pattern are well executed. A similar treatment and more elaborate fresco work is noticeable on the first floor of the paradise halls, but they are not open to the general public.

Walking through the lofty cusped archway of the Shish Mahal aiwan you enter the Shish Mahal Tambi Khana in the rear (north)—a belvedere which once provided a spectacular view of the river Ravi. The north aspect of this 'open-fronted summerhouse' sports an echo of the cusped arch framing within its deep alcove an elegant white marble fretwork screen, within which are set three viewing windows, suitably decorated for the viewing pleasure of the imperial entourage. From here could be surveyed the river scenery and gardens beyond, along with animal fights which were a great source of entertainment. You will find the ceiling of the Tambi Khana as decorative as that of the Shish Mahal aiwan.

The two sides of the Tambi Khana to the north are bordered with east and west 'octagonal chambers' each sporting a domed ceiling. It is interesting to note the construction of corner squinches with muqarnas (stalactite) hoods which are also decorated with mirrorwork.

shish mahal

The octagonal chambers on either side provide access to a 'fine hall', each with splayed frontages facing northwest and northeast. These halls, which appear in the form of deep-set alcoves when seen from the north, have finely crafted marble fretwork railings. No doubt these balcony-like halls provided the possibility of enjoying the entertainment below by the nobles accompanying the emperor, who could stand in full view of the general public gathered to watch the elephant fights in the river promenade, directly below the fortification wall of the Shah Burj.

The internal walls as well as ceilings carry florid mirror work and fresco of uncertain origin. The Mughal partiality for water as a cooling device and for controlling the environment is evident from the presence of three shallow basins extant in the central arched bay of the west balcony. These consist of two circles with a central oval hollowed into the floor adjoining the marble handrail.

Shah Burj gate

 Shah Burj (Royal Tower) Quadrangle is accessed by climbing up an undistinguished ramp located on the west next to the Athdara.  Walking up the ramp, you arrive in Shah Jahan's sumptuous Shah Burj, more than 6' above the forecourt floor level. As you step into the paved chahar bagh—in contrast to the usual landscaped paradise garden—you have arrived in the midst of the most famous of structures in the Mughal Fort.

From the chronicles it is evident that the original semi-octagonal footprint of the royal tower, jutting out from the face of the north fortification wall, was devised by Jahangir (its octagonal shape leading to the Sikh appellation Mussaman Burj). The foundations and lower portions of the subterranean chambers were constructed in the 19th year of Jahnagir's rule (1624). However, when Shah Jahan became emperor and reviewed the designs—and we know how deeply attached Shah Jahan was to Lahore, having been born and brought up there during the early years of his life—he ordered the raising of the floor level, and this is the reason for its higher floor level compared to that of the adjacent forecourt. It was Yamin-ud-dawla, the trusted noble of Shah Jahan (also his father-in-law) who then laid before the emperor "several plans which the masters like Sinmar had made in consultation with him [Yamin-ud-dawla]."

It was Mamur Khan's designs (the architect who was much favoured by Jahangir), that were selected. This was fortuitous, since Mamur Khan had worked extensively on the Lahore Fort and is likely to have been instrumental in the design and execution of the Pictured Wall. Thus he was able to bring a measure of uniformity and compatibility to the whole complex along with the continuity of the spectacular Pictured Wall—the tile mosaic mural on the fortification wall encircling the northern and western aspect.

While the other quadrangles are designed with the parterres of the chahar bagh, you will find the Shah Burj Quad fully paved. The pattern on the floor of black marble and a variegated marble known as sang-i-Maryam, also referred to as sang-i-abri, is particularly interesting. The paradisiacal imagery is embodied in a perfectly square 131'x131' courtyard, its subdivision attained by the four narrow watercourses. A large water reservoir—an outer square of 54'x54' with an inner circle dominates the centre.

Instead of the natural vegetation found in usual chahar bagh (four-garden style), imagery based on floral themes—guldastas (bouquets), bunches of flowers, flowers in vases—embellishes the facades of surrounding buildings, recreating the imagery of the paradisiacal chahar bagh.

A causeway leads to the central mahtabi or platform which could accommodate only 'two royal seats'—a much scaled down version of the one that is seen in Jahangir's Quadrangle.

The Shah Burj was always considered the most exclusive of the areas due to its importance in conducting business of state and the fact that only a select few were allowed access to it. The Shah Burj was the exclusive preserve of the Mughal emperor and princes of the blood, and even those holding the exalted office of prime minister were allowed entry only on rare occasions.

The Shah Burj was the "favourite abode" of Ranjit Singh, and suffered the greatest impact of the Sikh rule, when the Royal Tower's skyline was "encumbered with a curious medley of structures." Ranjit Singh called it "the palace" and used it to impress his foreign visitors. It is in the Shish Mahal that he constantly displayed his prize possession, the Kohinoor diamond, and arranged "grand entertainments" for his foreign visitors—Alexander Burnes and Sir Henry Fane being among them—when "nautching, drinking and fireworks in the room fitted with small mirrors" would be arranged.

Naulakha Pavilion

The Nau-Lakha Pavilion  is a marble building located at the Shish Mahal courtyard. Its western face provides a panoramic view of the ancient city of Lahore. It was also built by the Shah Jahan  in 1631 A.D. at a cost of Rs.900,000, an exorbitant amount at the time. It is therefore called Nau - Lakha as it in Urdu means 'worth 9 lakhs' (one lakh equals 100,000). The brilliance of its precious stone outshone the natural setting of flowers and tree leaves that decorate the walls. Ranjit Singh during his occupation of Punjab had his rest rooms built over the present building of Shish Mahal. However, the original building could not bear the additional weight and over a period of time, cracks start to appear in the main building of the Shish Mahal. In order to preserve the this magnificent building, recently the upper chambers have been demolished and presently, a major renovation work is in progress to restore the grandeur of the mahal.

 This structure is placed at the central axis of the hauz (water reservoir) and is notable for its drooping bangladar roof, and distinctive pietra dura. Although much ravaged and largely robbed of its semi-precious stones in later periods, it is the same pavilion (bangla) of marble that Lahauri describes, "whose mosaics of cornelian coral, and other precious stones," he enthused "excite the emulation of the workshop of Mani" (the Persian artist credited with miraculous power while painting).

Particularly noticeable is the courtly pietra dura in muqarnas capitals (stalactite capitals), abacus and the space between twin-column polyfaceted shafts. The guldasta (bouquet) and other floral compositions carried in the marble pietra dura dadoes and floral-interlacement borders, both externally and internally, reinforce the paradisiacal chahar bagh theme of the courtyard. The central white marble pierced screen on the west aspect, incorporating delicate floral tracery, is an almost exact replica of the one in the Shish Mahal Tambi Khana. Just as the tambi khana was for select royal use, surely the arrangement of similar three viewing windows placed in this fretwork screen points towards similar usage on the west. It is likely that the roof of this bangla was similar to the dazzling 'gilt copper plates' of Agra's Bangla-e-Darshan, a similarly constructed building with bangladar roof.

Although sometimes the Naulakha Pavilion is thought to be the work of Aurangzeb, in view of Moulvi Nur Bakhsh's translation of Lahauri's text it is clear that the pavilion was part of the original Shahjahani ensemble, and in fact the piece de resistance of the Shah Burj.

Ath Dara

Ranjit Singh's Athdara is located on the western periphery of the reception court, beyond which is situated the Shah Burj, that today dominates the forecourt. This Athdara—eight doorways as the name implies—was constructed by Ranjit Singh, and used by him as kachahri or court of justice. It is an interesting structure, very much in the Mughal architectural tradition, that was built by the Sikh ruler. Research shows that most elements of the Athdara in fact belonged to the Shah Burj structures which were removed and reused to erect this sumptuous pavilion—an object of interest to 19th century European artists.

seh darra

East and West Dalans, which are placed at right angles to the 'paradise halls' are on the east and west sides of the quadrangle, and are distinguished by the use of seh-dara units similar to those encountered in the paradise halls, and provide an architectural frame to the central Shish Mahal ensemble.

The east dalan is greatly altered with extensive Sikh Period decoration—not surprising since it served as the Sikh ruler Sher Singh's bathing room or hammam.

The internal walls and coved fretwork ceiling of the west dalan located in the north of the quad is profusely decorated with fresco and gilding. The walls camouflaging the seh-dara unit on the west side are a later addition.

Another dalan on the west side is situated to the south of Naulakha Pavilion. It is similarly constructed, though it has gone through some unfortunate and amateur restoration work which has resulted in loss of original evidence. The recent restoration work, done in a hurry to impress the visiting Queen Elizabeth II, is also crude in its handling of decorative features.

Hathi Paeir (Elephant Path)

 South Dalans are comparatively simple chambers bordering the southern periphery of the quadrangle. They present a disparate facade compared to the transparent arcaded outlook found in its other structures.

This is not surprising since, even though most of the Shah Burj structures were not greatly affected, the south dalans were put to various functions by the Sikhs and later by the British, along with robbing them of their architectural elements for re-use in the Athdara. The chambers in the central portion were greatly altered in order to house a collection of ancient, mostly Sikh Period weapons.

The only original elements in two corner dalans that can be identified are the seh-daras found in other dalans as well. The central sitting room mentioned by Lahauri is identifiable due to the extant waterfall (chaddar) discharging into a scalloped pond set within the floor, amplifying the quad's chahar bagh paradisiacal image. This particular sitting place provided a wonderful view not only of the hauz, and its mahtabi (its central platform) but from here the impressive facade of the Shish Mahal could also be viewed in its full glory. Although most of the original features are no longer evident, the waterfall's coloured marble inlay in a chevron pattern is a reminder of the imagery and enhancement of play of water that the Mughal builders excelled in.

According to Lahauri there was a 'blessed khwabgah' along with the south dalans, which was so well decorated as to be "a model of the world-exhibiting cup" (the cup made by Kai Khusrau, the King of Persia and which he used to predict future events). That chamber is no longer traceable, but the fact that a royal bedchamber was part of the Shah Burj reinforces its place as among the most significant of all fort structures.

Moti Masjid

Moti Masjid is Located near the Alamgiri Gate, the main entrance to the Lahore fort on the western side  and  very close to the other splendid structures of Lahore fort, such as the Shish Mahal and Naulakha Pavilion.


Moti in Urdu means pearl. It was customary among the Mughals to use generic names of gemstones to name mosques. Other such examples are Mina Masjid (Gem Mosque) and Nagina Masjid (Jewel Mosque) in Agra fort. This mosque was built in the reign of emperor Nur-ud-Din Jahangir. The evidence for this comes from the following Persian inscription inscribed over the arched entrance leading to the outer courtyard.

“In the twelfth year of the fortunate reign of His Imperial Majesty the shadow of God, like Solomon in dignity, Kyamurs in pomp, victorious in arms like Alexander, the Defender of the Faith, Shah Nur-ud-din Jahangir, son of Jalal-ud-din Akbar, the King, the Conqueror of the infidels, this noble edifice was completed in 1007 A.H (1598 A.D.) by the efforts of the humblest of disciples and the least of slaves, his devoted servant, Ma’amur Khan.”


This mosque served as a praying area for the Imperial harem. The court for worshippers measures fifty feet from north to south, and thirty three feet from east to west. The structure is simple, austere, and chaste with a touch of majesty. It is made of white marble brought from Makrana. The front of the mosque constitutes cusped arches supported by baluster columns with their smooth and fine contours. The mosque has three finely swollen domes, two aisles of five bays, and a slightly raised portal with a rectangular frame.

Interior of Moti Masjid

 The interior of the mosque is simple with the exception of the ceiling that is decorated and designed in four different orders, two curved and two trabeated. The floor of the mosque is of pure marble – the lustre of this white marbled structure proves a match for the lustre of the pearl.

When the Mughal power diminished in the eighteenth century, the foreign invaders like Nadir Shah and Ahmad Shah Abdali attacked Punjab frequently and undermined the local government. This resulted in the rise of Sikh power in Punjab. During the days of Sikh confederacy (1716-1799), the mosque was converted into a Sikh temple. The pinnacles and turrets were divested of their precious inlaid stones by the Sikhs. Later, in the reign of Maharaja Ranjit Singh (1799-1839), it was used as the Government treasury. When the British took over Punjab in 1848, they found diamonds and other precious stones in rolled up bits of rags which were placed in velvet purses and scattered all over the mosque. The British like Sikhs first used the mosque as Government Treasury, but later, restored it to its original status as the mosque.

In 1846 the fort was occupied by the British and was closed for general public in 1853. In 1927 the British handed over to the Department of Archaeology after demolishing a portion of the fortification wall on the south and converting it into a stepped form thus de-fortifying the fort. After the creation of Pakistan in 1947, when the Colonial Rule came to an end in the Indian subcontinent, the fort was reopened to general public on  11 November 1949 - 96 years after its closure by the British.

  

The fort has become a very active place for the picnickers who spend the day on the lawns of the fort and admire those who build this massive structure. The Lahore Fort is also listed with the UNESCO's World Heritage Foundation and presently massive efforts are at hand to restore its to its once original might and beauty - though the plundering and looting by the Sikhs and the British would never be able to be compensated.