Red Fort or Lal Quila represents the pinnacle of Mughal architecture, a process initiated by Babur, the first Mughal emperor, and brought to a stunning refinement by Shah Jahan with splendid fusions Islamic, Persian, Timurid, and Hindu architecture. The fusion of different forms of architecture that was brought about by Shah Jahan is particularly visible in the way the nuances of architectural intricacies were kept in mind while designing the fortress-palace. The personalization of the fort for the emperor is pretty much evident by the mosque constructed by Fatehpuri Begum, at the western corner of the Chandni-chowk which was aligned with the emperor’s seat in the Diwan-i-am at the Red Fort. The mosque which is two kilometers away from the fort could easily be seen from Diwan-i-Am itself. The famous architecture James Fergusson marveling at the grandiosity of the Red Fort said :
“The palace at Delhi is, or rather was, the most magnificent palace in the East- perhaps in the world.”
Every building in the fort is constructed in a way so that it leaves an impression that sets the background for the type of purpose that the place was meant to serve, for example, the Diwan-i-Am is a hall that was meant for the king to meet the general public. The purpose of Diwan-i-Am is brilliantly explained by the French traveler François Bernier in great detail:
“elephants…covered in embroidered cloth…grey oxen…rhinoceroses…tame leopards, and other animals, followed by the review of ‘more serious matters’…all the petitions held up in the crowd assembled in the Am-Kas(the Diwan-i-Am) are brought to the king…who often redresses on the spot the wrongs of the aggrieved party”3
For this very purpose as stated above the hall was created by the king and further decorated such that it represents the prowess and authority of the emperor.The picture of the greatest Greek musician of poetry and myth Orpheus, shown fiddling under a tree, surrounded by listening animals is synonymous to the emperor addressing his subjects and lucidly expresses the image of an emperor as being a ruler of all.
Another significant aspect of this particular decoration is put forth by historian Ebba Koch:
“The decontextualized Florentine image was meant to symbolize the ideal rule of Shah Jahan, whose justice would make the lion lie down with the lamb and, in the human world, free the oppressed from their oppressors.”4
The affection and inclination that the Mughal rulers had towards the architecture of the Red Fort is aptly reflected by Shah Jahan’s court chronicler who in his account of inaugural ceremony of red fort wrote: “ Shah Jahan arrived at the fort with a gorgeous retinue, Prince Dara shikoh scattering gold and silver over his father’s head till he reached the gates. The palace buildings had already been decorated, and the courtyards covered with gorgeous carpets and hangings, while deep red Kashmiri shawls covered each seat”5
The importance that the architecture carried for the Mughal rulers is well reflected through the different uses that the red fort was put to by the rulers who sat on the peacock throne of the Red Fort. The work by Talbot and Asher goes on to further prove how the architecture and the splendor that the Red Fort exhibited was very dear to the Mughal rulers. This is made evident when Aurangzeb sat on the throne by imprisoning his own father and to reflect his character as a deeply religious-orthodox, once asked his courtiers to dress simply and stripped of other members of the court of any of those articles that were the reflectors of extravagance, but kept the whole fort’s glory as it was with its glittering chandeliers. After all this at the end of the day, Aurangzeb was still willing to sit on his father’s elaborate peacock throne since it reinforced his image as an absolute ruler.6
The arrangement of buildings illustrates the mixed domestic-official character of patrimonial bureaucratic rule. For Shah Jahan and his successors, the palace-fortress was both house and the office. The fort has been built in a sense that one area of life of the king i.e. office life and domestic life flow into one another. The southern half of the Red Fort contained the mansions of the wives, sisters, widows, and concubines of the imperial household. This was the Harem and no men other than the emperor, his sons, and the household servants could enter. The largest building in the area and the main center of communal activity was the Imtiaz Mahal or Mumtaz Mahal. Small domes with golden knobs topped the four corners of the roof and in front of the building was a large garden with a pool and the marble basin. A stairway led from the back of Shahjahan’s throne to the Hall of Ordinary Audience to the western gate of this garden. Following his daily audience, Shahjahan made his way through the garden to the comfort of the Imtiaz Mahal. There he listened to music, played with his children, watched dancing girls, and enjoyed the offering of the poets and storytellers.7
The architecture does not fail to reflect the culture that was prevalent in the Mughal dynasty. An example of this is the practice of king each morning from his balcony to receive the petitions and hear the complaints of any of his subjects who approached. For this very purpose protruding from the eastern wall and hanging over the beach was an octagonal marble balcony in the Khawabgah(Place of Rest or Sleep). Similar balconies can be found in the forts at Agra and Lahore.8
The coming of the Red Fort into existence not only gave the architecture the privilege to be appreciated by the kings and be adorned by the beauty that the kings bestowed upon it, but there were also many other things that came into play due to the coming of the red fort into existence. The economy across the country experienced huge profits as the king bought the articles to ornamentalise his fort from across the land. The cultural significance too finds a way through this grandeur. A certain set of court ethics came into being with the coming of Red Fort into the picture. The fort not only established the new cultural set of beliefs but also polished the older ones, for instance, the Muslim culture of keeping the ladies behind the “purdah” was reiterated by the secrecy that was maintained towards the side of the women quarters in the fort complex.
The fort became a syncretism of cultures from around the world, artists from all around the continent turned up to put up their performances at the complex of the Red Fort. This made the Red Fort not only the seat of power but also a place that not only patronized the older forms of the culture when it came to art but also helped in the evolution of the new art forms. The seat at Red Fort was not just patronizing the cultural forms and being a big pusher when it came to the economy but it also highly identified with being the seat of power from the whole country was being ruled upon by the ruler. The fortress-palaces iconic historical political significance makes it a sure destination every year in contemporary India, where the Prime Minister of the country hoists the national flag on the Independence day of the country.
All the above-made claims are well proven by the narrative given below:
“When the palace-fortress was finished Shah Jahan was notified. The household astrologer declared 19th April 1648 auspicious and on that day Shah Jahan entered the Daulat Khanah-i Khas (Hall of Special Audience) by the gate fronting the river. To commemorate the occasion and to inaugurate the new capital, Shahjahan ordered a great celebration. Singers from Iran, Turan, Kashmir, and Hindustan performed, and dancers and clowns cavorted here and there.”9
The Palace-fortress has been the site of the performances and the creative activities since its construction and adoption as a home and office complex by the king till today. Shahjahanabad in the early eighteenth century boasted a number of talented dancers. The mistress of Abu al-Hasan khan chanted prose and poetry and danced with perfect grace. She was well known but she would not repeat one of her performances no matter how much money she was offered.12 A crowd gathered every day to watch the dark-complexioned eunuch Miyan Hagia’s dance in the square of the Urdu Bazaar in front of the palace-fortress. The present-day alter ego of these popular culture activities that were related to the court that attracted the huge crowds to the palace complex is the “Light- Sound” show that happens at the Red Fort complex.
Although the whole glory of the architecture of The Red Fort has been circumvented by the extravagant perpetual glorification post-colonial era since its last dwellers left it. But it’s amazing how even in today’s time the beauty of this massive fort is capable to make folks fall in love with it and experience massive footfall on its premises. The significance of the Red Fort can be well reflected even from the contemporary happenings within the country. The newly issued five hundred rupee currency note carries a picture of the Fort’s outer view which again reflects very powerfully the symbol of power that the fort is even in today’s time. This step of the Indian government adds another aspect to the picture that the Mughals and their fine architecture never fail to dazzle with their glory. The best evidence that can be given to prove this is the Indian case where the Prime Minister with leanings, at the end of it all, had to put the Red Fort i.e. a Mughal-made monument on the currency notes over the other choices like the Ashokan pillars or otherwise. So wrapping up the subject the question that brain-storms is can Mughals be said to bear a still continuing “Hegemonic” power?
BIBLIOGRAPHY:
1 James Fergusson, 1876.
2 Historic Delhi,p.256.
3 Delhi Fort:A Guide to the Buildings and Gardens, by Gordon Sanderson and Maulvi Shuaib.
4 Mughal Architecture,1991.
5 Ibid, citation no.3.
6 Catherine B. Asher and Cynthia Talbot (2006), India Before Europe, Cambridge Univ Press.
7 Muhamad Salih,’ Amal-i-Salih, 3p.41; Muhammad Waris, “Padshah Namah,” fol. 405-5a.
8 Muhammad Salih, ‘Amal-i-Salih, 3pp.41-2; Muhammad Waris, “Padshah Namah,” fols. 404a-5.
9 Muhammad Waris, “Padshah Namah,” fol. 156b.
10 Ibid., fol. 404a.
11 Muhammad Salih, ‘Amal-i Salih, 3pp. 56-7; Muhammad Waris, “Padshah Namah,” fols. 406a-7.
12 “Risala-i Salar Jung,” fols. 78a-9a.