HISTORY OF AGRA                                                                                                                                                GO TO TOP

  For anyone with a deep interest in history, a summary of Agra's history would indeed provide a wealth of information. Situated on the banks of river Yamuna between Mathura and Surajpur, Agra was originally a part of the Surasena Empire with Mathura as its capital. But it came into limelight when Sikander Lodhi, the Sultan of Delhi made it his capital in the 16th century. After the advent of the Mughals, there was a shift in the power play and Agra became the most important seat of Mughal power in India between the 16th and 17th centuries.

  Since Agra was one of the most important cities under the Mughals, it witnessed some big scale renovation and development from time to time. Babar, the founder of the Mughal dynasty laid out the first formal Persian garden on the banks of river Yamuna. His grandson Akbar raised the towering ramparts of the Great Red Fort besides making Agra a center for

learning arts and commerce. His son Jehangir built rose-red palaces, courts and gardens inside the red fort, and emperor Shah Jahan, known for his great love for architecture gave Agra its most prized monument, the magnificent Taj Mahal. Built in memory of his wife Mumtaz Mahal, the mausoleum took 20 years to finish with the combined efforts of 20,000 laborers, architects and engineers.

  Shah Jahan had shifted the capital to Delhi during his reign, but Aurangzeb shifted it back to Agra and imprisoned his father in the Agra Fort. Agra remained capital of India during the rule of Aurangzeb till his death. After the decline of the Mughal Empire, the city came under the Marathas and Jats before falling into the hands of the British in 1803.

  Agra came under different rulers and dynasties from time to time, but it was the Mughal rulers who left an indelible mark on this historic city. Anywhere you go, the city's Mughal heritage can easily be discerned, something that Agra has managed to retain in spite of the ravages of time and change.

  Fatehpur Sikri was the imperial city of the Mughal dynasty between 1571 and 1584. Built by the Mughal emperor Akbar, this royal city is one of a kind. The architectural grandeur of this deserted city cannot be described in words and one can only experience the aura of its magnificent edifices by seeing them.

  The buildings within Fatehpur Sikri are a unique blend of different architectural traditions. Though the general layout and concept of the buildings conform to the Islamic style of architecture, the actual buildings (mainly palaces), their ornate columns, arches, carving style, etc., show a strong Hindu style in general and that of Gujarat and Rajasthan in particular.

  Akbar was the greatest of all the Mughal rulers and one of the best to have ruled India. In 1556, he ascended the Mughal throne at the tender age of 14, 

after the sudden demise of his father, Humayun. As soon as he consolidated his power, he turned his attention towards building an imperial capital in Agra. The result was the Agra Fort, which not only served military purposes, but was also the royal residence. Most of the buildings within the precincts of this magnificent Red Fort are a mixture of different architectural styles. The unique integration of these different styles has given the buildings and palaces within the fort a distinctive look. The assimilation of the different architectural styles was the reflection of the period of prosperity and social tolerance, which was the hallmark of Akbar's administration.

However, in the course of time, Akbar decided to shift his capital to Fatehpur Sikri near Agra. Akbar used to visit the hamlet of Sikri to take the blessings of the great Sufi saint Salim Chisti in order to have an heir to his throne. Akbar's visitations were fruitful, for he was blessed with three sons. The new city, built on a ridge, grew into a magnificent township larger than contemporary London.

At Sikri the various royal palaces have been built in Gujarati and Rajasthani architectural styles, using trabeate construction ornate columns, fanciful jali work (intricately perforated decorative stone screens) sumptuous carving and surface ornamentation. These small palaces are largely a sequence of connected rectangular courtyards; these are aligned with the polar axes and so have to be grouped in a staggered formation across, the top of the narrow diagonal ridge. The overwhelmingly Hindu architectural vocabulary, however, cannot conceal the Islamic norms followed in the large-scale planning that is supposed to have derived from Arab and Central Asia tent compartments.

IMPORTANT MONUMENTS WITHIN FATEHPUR SIKRI There are a number of buildings within the Fatehpur Sikri complex. Each of the small palaces in Fatehpur Sikri has a specific purpose and generally faces a courtyard. Diwan-I-Aam (Hall of Public Audience) is an enclosed space surrounded by colonnades and has a large open area where petitioners and courtiers once stood in attendance. On the western face of this building is the pavilion where the emperor sat in honor surrounded by his courtiers. The Diwan-I-Khas (Hall of Private Audience)-used for serious, confidential, diplomatic, and religious discourses-is just behind. The Diwan-I-Khas is famous for its central decorated pillar consisting of 36 elegantly carved brackets in the Gujarati style-heavy and ornate, and sprouting in shape.

The most intriguing building in Fatehpur Sikri is the Panch Mahal (five-tiered palace), which is a five-storied pavilion of winds. The first two floors are of equal size, while the next two are graded. On top is a single kiosk or open pavilion. Each of the floors is supported on pillars. Originally, jali screens stood between the pillars. The women of the royal household and ladies of the harem originally used the pavilion. From the top of the Panch Mahal, one can have a panoramic view of this imperial city with its buildings, palaces, and the courtyards linking them. The Turkish Sultan's palace is known for exquisitely carved panels depicting wildlife-lions, birds, and foliage. Near the Diwan-I-Aam, one can see a tank called the Anup Talao. Four bridges link the central platform at the Anup Talao. Here the famous court musician Tansen played music. Akbar's private apartments stand close to the tank.

Jodha Bai's Palace (Jodha Bai was Akbar's Rajput queen) has the most distinctively Gujarati and Rajasthani architectural features. A strong portal guards this place, which was the residence of Akbar's prominent queens. Also noteworthy are Mariam's Palace or Sunehra Makan (golden house), Palace of Birbal (one of Akbar's minister notable for his witticisms) and a miniature garden.

Jami Masjid (mosque), sacred center of Sikri, symbolizes the city's spiritual prominence. It stands at the southwestern end of Fatehpur Sikri. A high wall with gateways on three sides opens into a huge courtyard, 111 by 139 meters, making it the largest to be found in the Mughal period. The inner walls are lined with columns and cloisters and the western façade has a massive arched doorways behind which are three domes. In the vast courtyard stands the tomb of Sheikh Salim Chisti whose blessings are still sought by childless women. This tomb was originally built in red sandstone but was later on made with marble. The tombstone covered by cloth is under a canopy of ebony, mother of pearl and brass.

A corridor for circumambulation surrounds the square tomb chamber. The corridor has jail screens having a marvelous quality and the intricately carved serpentine brackets in white marble are pieces of sheer splendor. The tomb has a low dome. The 54 meter high Buland Darwaza or triumphal gateway built in 1575 to celebrate Akbar's successful Gujarat campaign, is the most stupendous architectural work of the Mughals. The gateway is approached by a steep flight of steps, which add height and majesty to the entire structure. The gateway is designed in colored stone and marble. The gateway is so awesome that it hides the magnificent Jami Masjid (mosque), which is just behind.

Fatehpur Sikri had a short life of splendor. Once Akbar left it in 1585, it never regained its lost importance and has remained the most magnificent and well-preserved ghost city of India.

 The Mughals constructed this great monument of red sandstone dominating a bend in the river Yamuna, 2km northwest of Taj Mahal during 1565-1571. It was Emperor Akbar who laid the foundation of this majestic citadel in 1565. The fort was ready by 1571 period of Shahjahan, Akbar's grandson. The fort is crescent shaped, flattened on the east with a long, nearly straight wall facing the river. Fort's colossal double walls rise 69 ft in height and measure 2.5 km in circumference encircled by a moat and contain a maze of buildings that form a small city within a city. The fort contains splendid mosques and palaces in red sandstone and white marble built by two generations of creative builders during the time of Akbar and later Jehangir and Shahjahan. The wall has 2 gates, the Delhi Gate and the Amar Singh Gate. The original and grandest entrance was through the Delhi Gate, which leads to the inner portal called the Hathi Pol or Elephant Gate. But now the entrance to the fort is only through the Amar Singh Gate. Public access is limited to the southern part of the fort that includes nearly all the buildings of tourist interest.

Jehangiri Mahal:

This is the first notable building as one enters through the Amar Singh Gate and emerges out of the passage. Situated north of the gate at the end of a spacious lawn, the Jehangir's palace was built by Akbar as a residence for his son Jehangir. The largest private residence in the fort, it is a blend of Hindu and Central Asian architectural styles. The Mahal is reached through an impressive gateway and its inner courtyard consists of a two-story facade of beautiful halls, profuse carvings on stone, heavy brackets exquisitely carved with animal and floral motifs, piers and cross beams with remnants of the rich gilded decorations that once covered much of the structure. There is a verandah with slender pillars on the eastern front facing the riverfront. This is the most important building remaining from Akbar's period as his successors demolished several of Akbar's red sand structures replacing them with marble one's. To the right of Jahangiri Mahal is a simple palace of Akbar's favorite queen Jodha Bai.

Khas Mahal:

Built entirely of marble by Shah Jahan in 1637, the Khas Mahal or the Private Palace demonstrates distinctive Islamic-Persian features. The enclosure has three pavilions overlooking the Yamuna, with a fountain opposite the central pavilion. The central pavilion an airy edifice, used by the emperor as a sleeping chamber has three arches on each side, five in front, and two turrets rising out of the roof. It overlooks the Angoori Bagh (grape garden). The Mahal is flanked by two golden (copper) pavilions, one with white marble and was supposedly decorated with gold leaf, while the other is made with red stone, which were meant for the prominent ladies of the harem. The Khaas Mahal provides the most successful example of painting on a white marble surface.On the three sides of the Grape garden are residential quarters of women.

Musamman Burj:

On the left of the Khas Mahal is the Musamman Burj, an octagonal tower with an open pavilion build by Shahjahan for his beloved wife Mumtaz Mahal. It is made of delicate marble lattices with ornamental niches for the ladies of the court to gaze out, unseen. The chamber with a marble dome on top is surrounded by a verandah with a beautiful carved fountain in the center. The tower looks out over the River Yamuna and is traditionally considered to have one of the most poignant views of the Taj. This is where Shah Jahan spent his last few years as a captive of his son Aurangazeb and where he lay on his death bed, gazing at the Taj.

Diwani-i-Khas:

Diwan-I-Khas (hall of private audience) built by Shahjahan in 1636-37 was used to receive kings, dignitaries and ambassadors. It is a three-sided pavilion with a terrace of fine proportions. Outside the structure is the marble throne terrace, where a pair of thrones was kept. The black throne belonged to Jehangir. Presently, entry is not allowed inside Diwan-i-Khas.

Sheesh Mahal:

Opposite to the Mussaman Burj and just below the Diwan-i-Khas hall, at the northeastern end of the Khas Mahal courtyard is the Sheesh Mahal or the Glass Palace. It is believed to have been the royal dressing room and its walls are inlaid with tiny mirrors, one of the best specimens of glass-mosaic decoration in India. The Sheesh Mahal is composed of two large halls of equal size, each measuring 11.15m x 6.40 m. Both are connected in the canter by a broad arched opening and on the sides by two narrow passages.

Macchhi Bhawan:

Opposite to the Diwan-i-Khas is the Macchhi Bhawan, a grand enclosure meant for harem functions. The emperor sat on the white marble platform of the Diwani-i-Khas facing this courtyard. It once contained pools and marble fountains, which were carried off by Jat Raja Surajmal to his palace at Deeg. On another side stands a small mosque built for Shahjahan by his son Aurangzeb.

Hammam-i-Shahi:

To the right of Diwan-i-khas is the Hammam-i-Shahi or the Shah Burj. It is an airy apartment, attached to the residential quarters, which was used as a summer retreat.

Diwan-i-Am:

Shahjahan constructed The Hall of Public Audiences, made of red sandstone. It is here the emperor met officials and commoners and listened to the petitioners. The women of the palace could watch the court without being seen by others from the pavilion through jali (lattice) screens. The open sided, cusped arched hall (64x23m) built of plaster on red stone, is very impressive. The throne alcove of richly decorated white marble completed after 7 years work in 1634 was used to house the famous Peacock Throne, later shifted to Delhi by Aurangazeb and was finally carried away to Iran.

The Nagina Masjid or the gem mosque is a private mosque raised by Shah Jahan with typical cusped arches for ladies of the court. There is Mina bazar for the royal ladies to buy things from the marble balcony beneath the Nagina Masjid.

The Moti Masjid near the Nagina Masjid is a perfectly proportioned pearl mosque built in white marble. This grand mosque has three domes in white marble raising their heads over the red sandstone wall.

  Itmad-ud-Daulah's tomb is a highly ornate edifice, which is looked upon as an imminent precursor of the Taj Mahal as far as elaborate carvings and inlay work are concerned. The tomb marks a significant departure from the tombs of the Mughal dynasty built before its construction

  The pure white and elaborately carved tomb of Itmad-ud-Daulah conforms to the Islamic style of architecture. The use of arched entrances, octagonal shaped towers or minarets, use of exquisitely carved floral patterns, intricate marble-screen work and inlay work are all representative of the Islamic style. The absence of a dome and the presence of a closed kiosk on top of this building and the use of chhatris (small domed canopies, supported by pillars) atop the four towers (minarets) instead of proper domes are reflective of local influence.

The tomb of Itmad-ud-Daulah is as interesting as the life of the person for whom it was built. Mirza Ghiyas-ud-din or Ghiyas Beg (later known as Itmad-ud-Daulah) was a poor merchant and lived in Persia (modern-day Iran). While on his way to India for business, his wife gave birth to a baby girl. As the family was extremely poor and had nothing to eat, the parents decided to abandon the child. However, the wails of the baby girl forced the parents to come back and take her with them. The baby girl brought a stroke of good luck to her parents, for Ghiyas Beg found a caravan that straightaway took him to the court of the great Mughal Emperor, Akbar. In the course of time, Ghiyas Beg rose to become a minister and a trusted treasurer in Akbar's court. After Akbar's death in 1605, his son Jahangir became the Mughal emperor, who made Ghiyas Beg his chief minister or Wazir. Ghiyas Beg was also honored with the title of Itmad-ud-Daulah or the pillar of the state.

Ghiyas Beg's daughter grew up to be a beautiful lady and came to be known as Mehr-un-Nissa or the sun of womankind. In the course of time, the fame of her beauty spread. She was married off, but she soon became a widow. She returned to the court of Jahangir where her father was employed. Emperor Jahangir fell in love with her and married her. She soon became a powerful personality in Jahangir's court and was called Nur Mahal, the light of the palace, and Nur Jahan, light of the world. When Ghiyas Beg (Itmad-ud-Daulah) died in 1622, Nur Jahan undertook the project to build his mausoleum. Later she built the tomb of her husband (in a similar style) in Lahore. Nur Jahan had a brother whose daughter was married to Jahangir's son, Shahjahan. She was known as Mumtaz Mahal in whose memory Shahjahan built the world famous Taj Mahal.

Itmad-ud-Daulah was buried in a tomb that resembles a jewel box and set in a garden. This tranquil, small, garden located on the banks of the Yamuna was to inspire the construction of the Taj Mahal in the later years. It is the first tomb in India built entirely in white marble. The tomb is also justly famous for the glorious pietra dura (stone inlay) decoration depicting cypresses, wine glasses, and an amazing variety of geometrical arabesque. The jali screens set in arched recesses are splendid. Four small minarets rise at the four corners of the small tomb structure. The whole structure gives the impression of an enlarged precious object. Due to the profusion of intricate work done on marble and the beautiful marble screen-work, the tomb easily qualifies as a veritable forerunner of the famous Taj Mahal.

  Akbar's tomb at Sikandra is an excellent example of assimilation of different styles of architecture and it represents a significant departure from the earlier Mughal buildings. The tomb carries the characteristic flavor of the airy tiered pavilions of the Agra Fort and Fatehpur Sikri.

  The tomb of Akbar, though Islamic in spirit, is a blend of styles. The magnificent entrance, use of exquisite patterns, excellent jali work (intricately perforated decorative stone screens), fine Persian style calligraphy, the charbagh garden layout (four-quartered garden layout, with the main building at the center), etc., are representative of Islamic influence. On the other hand, the absence of a dome, use of chhatris (small domed canopies, supported by pillars), tiers of airy pavilions, etc., reflect a local influence, which are also found in the buildings built by Akbar in Agra Fort and the deserted city of Fatehpur Sikri.

Akbar was the third emperor of the Mughal dynasty that ruled India in the medieval period. In 1556, at the tender age of 14, he was crowned the Mughal ruler following the sudden death of his father Humayun. Akbar was not only a good administrator but also a connoisseur of art and architecture. The architectural prowess of this great monarch is evident from the numerous buildings built by him within the precincts of the great Agra Fort. Most of the buildings within this fort represent a unique blending of different architectural styles. Later on, he went on to build the imperial city at Fatehpur Sikri (near Agra). The buildings at Fatehpur Sikri belong to a composite style of architecture with the predominating Islamic style cleverly blended with local Rajasthani and Gujarati styles. The style of architecture characterized by airy tiered pavilions that emerged at Fatehpur Sikri can best be described as a melting pot of different cultures. It not only made Indian culture rich but also reflected the broadminded nature of Akbar and his prosperous reign.

Before his death in 1605, Akbar started building the magnificent edifice at Sikandra, which was later, completed by his son Jahangir. The tomb, as it stands today, is in a large walled garden on the Delhi-Agra road. The tomb can be entered through an elegant southern gateway, which leads into the huge enclosed garden. This magnificent gateway is covered with floral and geometrical arabesque decoration in white and colored marble is crowned with four elegant minarets in white marble. The calligraphic decoration, first of its kind, is simply grand. The gateway is a stately composition. Its high central arch is flanked by others, which are small and simple. The grandeur of this gateway renders it the most magnificent gateway to any monument in the country. The charbagh (four gardens) leads to the pyramidal structure of the emperor's tomb. The tomb is predominately bright red-tiered structure, stacked like a castle of playing cards.

The tomb is different from previous Mughal buildings in many ways. The building has five levels. The first is a podium of arches. In the center of each face is a highly inlaid framed door. The next three levels are in red sandstone and have no arches, but the flat roof is held in place by rows of pillars. On the uppermost terrace, one can see a white wall with arches and replica of the sarcophagus that lies open to the sky. Large panels of superbly crafted jali (filigree) screens form the outer wall of the verandah on all four sides. Akbar's grave lays in the basement, reached through a portico covered with gorgeous stucco paintings in gold, blue, and green floral arabesque of Persian inscriptions.

Since Jahangir completed the structure begun by Akbar, it suffers from stylistic and conceptual incoherence. The absence of the crowning dome remains a mystery. Still, Sikandra ranks high amongst the most beautiful of all Mughal buildings.

 Also known as the "garden of the Supreme Lord", the Dayal Bagh Gardens is located 15 km from Agra and is an important pilgrimage site. The Dayalbagh Gardens is also the headquarter of the Radhasoami religious sect, founded in 1861 by Shri Shiv Dayal Singh. The Radhasoami movement combines elements from Hinduism, Christianity, Sikhism and Buddhism.

Shiv Dayal Sahib, popularly known as Soami Maharaj by his disciples, lived from in Dayalbagh from 1818 to 1878. He is worshipped at this grand memorial that is a combination of temple, gurudwara, vihara and mosque. The Radhasoami memorial is 110 feet high, has impressive pillars and is made of pure white marble. The building is under construction now. Surprisingly, work has been going on at this building for the last 100 years. The Dayalbagh Gardens would surely be an interesting place to visit for connoisseurs of art, who would love to watch the skilled artisans and marble cutters at work.