One of my most vivid memories from a previous visit to Mandu was the tomb of Hoshang Shah, the second sultan of Malwa. He was primarily responsible for building up the citadel of Mandu, where his father, Dilawar Khan, had moved the capital from Dhar. He ruled from 1406 CE to 1435 CE. I’d seen his tomb in a dense fog. Now, when I reached Mandu again, I was impatient to get to this tomb. Again, a dense fog had descended on the citadel. We entered the main gateway and saw before us the north face of the luminous structure which deserves to be much better known than it is.
In the last few years a few more signboards have sprouted in the small lawn in front of it; a garbage bin is strategically placed to appear in every photo you take. But the white marble tomb remains as well maintained as the version in my memory. The grounds around the tomb are not very extensive, so every photo you take of the structure distorts it a little. Finished in 1440 CE by Hoshang Shah’s successor, Mahmud Khilji, the tomb is the first marble structure built in India. The structure stands on a pedestal which came up to my head, a little less than 2 meters. The mausoleum has a square plan, with the walls rising 9.6 meters high. The main dome is surrounded by four minarets.
A photo taken in 1882 by Raja Deen Dayal seems to have been taken from further away, so that the distortions of modern photographs are gone. The harmonious proportions of the building can be more easily seen in this old photo. Remembering this photo, I turned and took a photo of the gate from inside. As you can see in the photo above, the gate and wall could be a structure erected in the hundred and forty years since Raja Deen Dayal brought his camera here.
The only entrance to the tomb is from the south. To the west is a pillared gallery, which we walked through. This has doors leading off to the side, as you can see in the photo here. I ducked through a door into a room, and saw a further door which opened out to a field on the other side. Was the gallery also built recently? An ASI board tells us that this is called the dharamshala. Until the 19th century, there was an annual pilgrimage (urs) here on the anniversary of Hoshang Shah’s death, so a dharamshala would be natural. But Raja Deen Dayal’s photo is taken from a distance to the north-west. So I guess this gallery was built after the photo was taken. It must have been built before the Archaeological Survey was given custody of this site, because the ASI does not do large scale constructions. I wonder who built it, and where these pillars and stones were scavenged from.
Above is a photo of the eastern boundary of the plot. The wall is the western wall of the Jama Masjid, and the domes which are faintly visible in the fog belong to the masjid. These structures are seen in Raja Deen Dayal’s photo. The ASI constantly carries out repairs and restoration. Work was in progress this time around. A framework of steel tubes was being dismantled inside the tomb, and nets were strung out to prevent accidental damage to the structure. I talked to one of the workers, and he said that a leak in the dome had to be repaired.
So I switched to using photos of the interior which I took eight years ago. There are three graves within the mausoleum. The central one belongs to Hoshang Shah. I could not find who are the others buried here. The door lets in little light, but the three screens in the northern wall admit enough light to see the interior clearly. We paced around the interior, and thought that not only is the ground plan a square, but each of the walls is a square. So each side of the chamber must arout nine meters long.
As a result, the shape of the building is like a cube with a hemisphere resting on top of it. When you look from outside, the sphere seems to have has a diameter smaller than a side of the square over which is stands. However, when you look at it from inside (photo above) it seems that the hemispherical dome sits atop a square whose side is equal to its diameter. The difference between the outside and the inside views must be the thickness of the wall. That is quite a bit, as it must be to support not only the dome but the minarets above it.
I come here to look at the little details. Take the two wonderful screens above. One has alternating panels of hexagonal and octagonal symmetry as you go from top to bottom. The other contains a surprise: between the hexagonal and octagonal panels is one which shows seven-fold symmetry. The construction of the heptagon by distortions of hexagons is quite amazing. These artists were not interested in more modern concerns like tiling an infinite plane with repeating motifs. Within the limited scope of a design contained within a finite panel, they solve these problems very elegantly.
It has long been claimed that this tomb was one of the sources of inspiration for the Taj Mahal. The claim is based on an inscription carved into the right hand lintel of the entrance. I cannot read the script, but if you want to try, the photo is given above. In reality it is very faint, and you might have to take a rubbing to see it clearly. I’ve tweaked the contrast to make it more legible. Fergus Nicoll, in his book Shah Jahan writes “The influence of this simple monument, much smaller and absolutely plain, on the core design of what would become the illumined tomb of Mumtaz Mahal was later clearly stated by a small group of Shah Jahan’s architects. Passing through Mandu on their way in 1659, not long after the completion of the [Taj Mahal], they had a simple tribute carved into the right hand lintel of the tomb’s only entrance.”
Ustad Hamid had this tribute carved a little more than 200 years after the tomb was finished. Another 200 years, and a little more, would pass before Raja Deen Dayal brought his bulky cameras and plates here and took his photo. Somewhat less than 200 years later, The Family and I came by and fell in love with it.