Having landed in Lucknow as we were driving to the hotel we passed many domed structures. My interest was piqued and the one surrounded by a “Bagh” was a decade old. Then one found many such domes atop modern structures. I guess that is the Lucknow Leit Motif. The houses we visited had thick walls, tiled floors, “roshan daans” near the ceiling to let the light in, outhouses, huge gardens. The staircase had steps quite high and was a challenge to negotiate. The windows were largely wooden frames with wood or glass. As compared to Calcutta missing were the Khar-khari windows, red cement floors and the courtyard within the house to house the resident deity.

Faint memories from childhood, and the perspective having changed it was a must to visit the monuments again. The last day a quick tour on my own covered most of them. The unusual ones were left for another visit which has become a must.

 

The Lucknow School of Architecture was an experiment by the resurgent Nawabs of Awadh influenced by various cultures and religions throughout the years. The distinct features are the use of Fish as an auspicious motif especially on Gates, the use of Chattar (umbrella), vaulted halls, enclosed baghs, the labyrinth (Bhool Bhulaiya), Taikhanas, Bazaars, the use of Lakhauri bricks.

“A vision of palaces, minars, domes azure and golden, cupolas, colonnade, long faced of fair perspective in pillar and column, terraced roofs – all rising up amid a calm and still ocean of the brightest verdure. Look for moles and miles away, and still the ocean spreads, and the towers of the fair-city gleam in its midst. Spires of gold glitter in the sun. Turrets and gilded spheres shine like constellation. There is nothing mean or squalid to be seen. There is a city more vast than Paris, as it seem, and more brilliant lying before us. Is this the city of Oudh?”

 

Some info

The Fish Symbol: When Sheikh Abdur Rahman was coming to Lucknow from Delhi by boat two fish jumped on his lap. It became auspicious and a part of the Mughal Military decoration as two fish heads on a post. “Mahi Maratib” originated in Persia. In 1819 British artist Robert Home used fish to design Ghazi-ud-dins Court of Arms. Later Wajid Ali Shah improvised his Court of Arms with fish which were mermaids.

Safed Baradari is situated in the heart of the city. The word Baradari comes from two words; “bara” meaning twelve, and “dwar” meaning door so a Baradari is literally a building or structure with twelve doors. There is a large terrace in front of it with carved marble screens as fencing and this structure contains elaborate stucco work, stunning arched gateways and windows with twin columns. This was the venue for the festival.

 

Asafi Imambara or Bara (Big) Imambara was made by the Delhi architect Kifayat Ullah.

The architecture of Bara Imambara is inspired from the ornamented Mughal design, named the Badshahi Mosque. This is one of the last projects not incorporating the use of irons or any European elements. The central hall of the Imambara is said to be the largest arched hall in the world. What makes its construction unique is that no woodwork has been used in the entire structure (except the galleries). The blocks have been put together with the interlocking system of bricks, and the roof stands upright without any pillars to support it.

The Bara Imambara can be accessed through two large gateways, at one end of which lies the grand Asafi Mosque, on the other side is the large baori. Beyond the small entrance, to the left of the central hall, lies the intriguing labyrinth leading to the Bhul Bhulaiya, an enticing network of narrow passageways winding its way inside the upper floor of the monument’s structure. There are eight surrounding chambers built to different roof heights, permitting the space above these to be reconstructed as a three-dimensional labyrinth with passages interconnecting with each other through 489 identical doorways.

 

Chhota Imambara

The Chhota Imambara, or the Imambara of Hussainabad, was initially a congregation hall for Shia Muslims that was built by Muhammad Ali Shah, who was the third Nawab of Awadh, in 1838. The Imambara was to serve as his own mausoleum as well as that of his mother, who is buried beside him here.

It is a beautiful amalgam of Charbagh, Indo-Islamic and Persian structural and architectural designs. The exterior is complete with Quranic verses which are written in Islamic calligraphy on the walls of the monument. It is an amalgamation of the elements of Persian and Indo-Islamic styles of architecture.
The Imambara is beautifully adorned with decorations and chandeliers, this 19th-century building is also referred to as the ‘Palace of Lights’. The interiors decorated with delicate Arabic glass work and calligraphy. Ornately designed with a gilded golden dome, chandeliers from Belgium, colourful stuccos and gilt-edged mirrors.

The five doorways of the Chhota Imambara emphasize the significance of ‘Panjetan’ or the holy five. The Imambara comprises of two halls and a Shehnasheen, which is a platform where the Zarih of Imam Husain is kept.

The monument houses the tomb of Muhammad Ali Shah and is  a small-scale copy of the majestic Taj Mahal. The Husainabad Mosque which can also be found inside the main monument is constructed on a raised platform with two grand minarets on the edge of the platform. The fish, the symbol of the Nawabs at the entrance is designed to be a weather vane.

 

 

The watchtower, which is also known as Satkhanda, or the tower of seven stories, is located just outside the Chota Imambara. Even though the structure is known as Satkhanda, it has only four storeys, since the construction of the building had to be abandoned when Ali Shah passed away. Satkhanda was built between 1837 and 1842, in the time of Muhammad Ali Shah, who wanted to make the structure similar to the Qutub Minar of Delhi.

Folklore: The King wanted to make this for his daughter to see the moon and was stopped when she died

 

The Rumi Darwaza is a striking gateway standing tall at sixty feet tall exhibiting ancient Awadhi architecture. Built by Nawab Asaf-ud-Daula, it is also known as the Turkish Gate because it is modelled after Bab-i-Humayun gateway in Turkey.

When famine struck North India during 1748, the then Nawab of Lucknow came up with a plan that would feed his countrymen as well as give him something to cherish and be proud of. As per the plan, the Awadhi workers built the great Rumi Darwaza for him, in exchange for an everyday meal.

Unlike the Mughals, who used red stone, the Nawabs of Lucknow used limestone which was much easy for carving intricately detailed designs than hard stone. The top of the Rumi Darwaza at 60 feet height has a small octagonal place which is called the chhatri or umbrella – it looks over both sides of the gate from the top. It has four minarets at four corners, and it stretches out on both sides taking up almost the shape of a building rather than a gate.

The whole structure of the massive door is decked with ornate patterns of flowers and leaves and other detailed designs that speak explicitly of the great craftsmanship of that time. The design of the gate represents the most famous industry for which the city Lucknow itself is known for – ‘Chikankaari’. When the gate is looked upside down it resembles the v shaped neckline used in chikan clothings. On the top of the gate some small pillars have been erected, they represent the spice clove which was used as one of the ingredients in “paan” of the Mughal kings.

 

Lucknow Clock Tower is located very near to the Rumi Darwaza. Built in 1881 by the British, this 67 m-high clock tower on the river Gomti is said to the tallest clock tower in India. The tower features European style artwork. The part of the clock is built of pure gunmetal and the pendulum hangs 14 feet. The dial of this clock is shaped like a 12-petalled flower and has bells around it.

Folklore : In earlier times the sound of the clock resounded through the entire area. 2 men wind the clocks everyday. It takes an hour.

 

Shahi Baoli

An intricate merge of Indian and Islamic architectural styles, the Shahi Baoli was formerly built as a reservoir for the society of the time. It was constructed between 1784 and 1795 by Nawab Asif-Ud-Din Daula and Kifayat-Ullah, one of the excellent architects of the time.

 

The Residency

Lucknow Residency in Lucknow is a group of buildings that were built in 1800 A.D by the then Nawab of Oudh, Nawab Saadat Ali Khan. It was mainly built in order to serve as the residence for the British Resident General who was a representative in the court of Nawab.

The year 1857 will always be remembered in the records of history as ‘The First War of Indian Independence’ or the Sepoy Mutiny took place in 1857. The Residency was one of the main places of battlement during the siege of Lucknow. The mutineers laid the siege on The Residency in June that year. Almost every European who resided in the city of Awadh took shelter here. The siege took place for more than 140 days.

The redbrick ruins of Lucknow’s Lucknow Residency are peacefully bounded by lawns and flowerbeds, but thousands died during the month-long siege. The Residency has been maintained as it was at the time of the final relief, and the devastated walls are still scarred by cannon shot. The cemetery at the nearby ruined church has the graves of 2000 men, women and children, and that of Sir Henry Lawrence who died defending the empire. There is a worn epitaph near the grave of Sir Lawrence that reads “Here lays the son of Empire who tried to do his duty”.

1857 Memorial Museum, Residency in Lucknow showcases the visual details of the 1857 mutiny. The commendable collection of old photographs, paintings, lithographs, documents ,the other articles of interest are included the antique objects like guns, swords, musketing canons, rank badges and medals. paintings that give pictorial details of the battle fought at the Residency.

 

Missed seeing Dilkkhusha and La Martinere among others.