Empress Noor Jahan’s Tomb is located in the Shahdra Bagh in Lahore, across Ravi River, just separated by a train track from that of her husband’s and her brother’s tombs. She was the beloved wife of the Mughal Emperor Jahangir and most popular queen of Mughal period. She died in 1645 and was buried in the tomb she built for herself during her lifetime. Empress Noor Jahan’s tomb is located near Emperor Jahangir’s Tomb.
About the Empress
Her original name was Maher-un-Nisa and Noor Jahan was the title given to her which literally mean “light of the world”. She was the daughter of Mirza Gayas Baig, a noble from Iran, and was the beloved queen of Emperor Jahangir from 1569 to 1627. She died in 1645 at the age of 72 years and outlived Jahangir by 18 years. Queen Noor Jahan was the most powerful empress in the history of Mughal dynasty and was the only empress to have her name appeared on the coinage of her period.
The mausoleum of Empress Noor Jahan was built in her lifetime and was completed in a period of four years at a cost of Rs. 0.3 million of the time. However, like other Mughal era monuments in Lahore, Noor Jahan’s tomb was also plundered during the Sikh era in the 18th century and the beautiful marble was removed to use in the Golden Temple in Amritsar, India.
Noor Jahan’s tomb was built on an elevated podium, in the takhtgah (throne) style. The platform making the base of the square mausoleum measuring 158 square feet, has the tomb in the shape of a square and measures 124 feet on each side and 19.6 feet high. There might be minarets previously have risen from the corners of the mausoleum, similar to the nearby Jahangir’s tomb but currently missing.
Noor Jahan’s tomb is constructed using the red sandstone with flat roofing bordered with white marble grill similar to that of Jahangir’s tomb. It has 7 vaulted arches to each side covered with marble and fashioned with flower mosaics in semi-precious stone. The inner floor is covered with marble and outer platform with sandstone. The red sandstone was inlaid with floral motifs in addition to white, black and yellow marble. The central arch on each side protrudes out from the six flanking vaulted arches on its sides. The intricate patterns of the panelling and honeycomb shaped cornices in its several rooms surrounding the crypt.
The central vaulted chamber of the tomb contains a marble platform with two cenotaphs put together – one that of Nur Jahan and the other of her daughter, Ladli Begum. It was built by Hakim Ajmal, Khan of Delhi in 1912, the original marble sarcophagus bears ornate workmanship and the name of Allah, in the same style and size as seen in the tombs of Jahangir and Asif Khan. On her tomb is inscribed an epitaph: “On the grave of this poor stranger, let there be neither lamp nor rose. Let neither butterfly’s wing burn nor nightingale sing“. The original tombs are underneath and accessible by a narrow entrance just outside of the mausoleum. The narrow room is dark and has two small openings to allow sun during sunrise and sunset as Noor Jahan was said to have a fear of darkness.
The tomb stands in the centre of a Persian-style Chahar Bagh. The original garden no longer survives, but once included tulips, roses, and jasmine. It is under renovation currently on a 5-year project and hopefully will gain its past glory.
The Akbari Sarai (Palace of Akbar) is a large oblong shaped courtyard situated between Jahangir’s Tomb and Asif Khan’s Tomb in Lahore city in Punjab province of Pakistan. This unique Mughal era structure was built in 1637 to host travellers and caretakers of Jahangir’s Tomb. It also served as mail station known as dak chowki.
The court historian to the Emperor Shah Jahan, Abdul Hamid Lahori, mentioned the original name of the building as “Jilu Khana-e-Rauza (attached court of the tomb) in his book the Padshahnama. The name Akbari Sarai began to be called during the reign of Islam Shah Suri in mid-1550s, not during the reign of the Mughal Emperor Akbar.
The Sarai measuring 797 feet by 610 feet covering 12 acres of land is bordered by a raised terrace containing 180 cells with front verandas and a common passage. The Sarai has four Burjes in its corners containing elaborate chambers feature an elliptical hall in front with a veranda and an octagonal room in the back.
It is accessible by two stately entrances on its north and on the south. Featuring typical Mughal style art, these gates are beautifully adorned with frescoes and Ghalib Kari (a network of ribs in stucco and plaster applied to curved surfaces in each archway). Its topographies including the decorative elements, the style of the structure, the size of the bricks used for construction; the Sarai and the eastern entrance gateway to the Jahangir’s tomb, featuring a large double storied iwan linked by four other smaller arched niches, are believed to have been built in the same period.
To the west of the Sarai, in the middle of the row of cells, is a mosque from the Suri period with three splendid domes. Although most of the fine artwork is already gone, its sandstone facing decoder with inlay work is graceful. The cells which line the complex and its gateways date from the Shah Jahan period in the mid-1600s.
The Sarai actually served as a state guesthouse and was administered by a Shahna (official caretaker) and several assistants. It also had a physician and a resident baker. Fodder for animals, hot and cold water, and bedsteads were provided free of cost.
During the Sikh era, Maharajah Ranjit Singh converted the complex into a cantonment of one of his foreign generals called Musa Farangi. It was also used as a private residence. Likewise, during the British era, it was used as a rail depot and severely damaged following the construction of the nearby rail line.
The Mughal Emperor Jahangir’s Tomb is the most glorious edifice in Lahore, Pakistan. The tomb complex is sited in Shahdara – on the right bank of Ravi River, to the northwest of the Walled City of Lahore. In fact, it is the only Mughal tomb surviving intact in the region and is considered as the second most magnificent structure known for its beauty and texture after Taj Mahal in Agra, India.
The garden where the tomb is erected had been the most favourite place of Jahangir and his wife Noor Jahan. It was constructed by Nawab Mehdi Qasim, a special curator of emperor Akbar. When Meher-un-Nisa, title with Noor Jahan, became the Queen of India, she took the garden in her custody and further enhanced its charm with the beautiful trees and fountains due to which it was called Dilkusha Garden. Historically, this place served as a point of departure and arrival to and from Kashmir for Jahangir and Noor Jahan.
Emperor Nuruddin Salim Jahangir (1605-1627), the son of Emperor Jalal-Ud-Din Akbar (1556-1605) and father of Emperor Shah Jahan (1627-1658), was the fourth Mughal ruler in the subcontinent. Like his father Akbar the great, emperor Jahangir also made Lahore the centre of official affairs which resulted in the significant growth of the city during the rule of Akbar and Jahangir. When Jahangir died in the foothills of Kashmir near the town of Rajauri on 28 October 1627, his entrails were separated and sent to be buried in Kashmir and his body was transported to Dilkusha Garden in Lahore for burial.
Official records suggest that Emperor Shah Jahan was the head designer of the tomb who wished to construct a ‘Tomb befitting an Emperor’ to honour his beloved father. On the other hand, most historians believe his wife Noor Jahan had more influence over the construction of this tomb complex. The major bases that convinced historians was the profound Persian influence throughout the area as well as her inspiration from the tomb of her father, Itmad-Ud- Daulah, in Agra that reflects the design of the Tomb of Jahangir.
Besides leading the entire architecture of Jahangir’s tomb, empress Noor Jahan played a role in designing the gardens which resulted in making Lahore her permanent resident after Jahangir’s death. There’s also enough evidence that suggests the construction of this grand mausoleum was mostly financed by Noor Jahan rather than the imperial treasury. It took about ten years, from 1627 to 1637, to build the grand mausoleum at a total cost of one million rupees of the time.
Later, during the Sikh regime, the tomb was used as army headquarters and as a private residence. During the time, it was desecrated, damaged, and precious pieces of art in the inner chambers were destroyed and pillaged. The tomb complex almost lost its prestige after the fall of the Mughal empire, particularly during the Sikh rule and British occupation. The British used the complex for coal dumping during the construction of a railway line which also separated Jahangir’s tomb from that of his wife’s. However, the British later restored the tomb complex and Akbari Sarai to its former glory. Image of the tomb was used on the 1,000 Pakistani Rupee note until 2005 but no longer printed yet is still in circulation.
Jahangir’s mausoleum is set in a large quadrangle measuring 500 (600 gaz) meters to a side and is covered with a thick wall. The complex could be accessible by two grand entrances located to the west and east. The eastern entrance gate of Jahangir’s tomb was destroyed because of the river the garden and is currently accessible by the western gate that features a small mosque and accessible through the Akbari Sarai – a square enclosure reachable from two gates standing to the north and south facing each other. The gate is artistically decorated with pietra-dura work – white marble inlaid in red sandstone – retains its unique glory. The arch of the gate is skillfully associated with the sun and the stars and present a beautiful example of human excellence.
Entering through the gate provides a panoramic view of the tomb which is surrounded by a retch of a magnificent garden laid out in the Persian Chahar Bagh scheme (Islamic paradise garden). The garden is separated into four squares by paved walkways (Khiyabans) and two bisecting channels of water designed to reflect four rivers that flow in the paradise (Jannat). All four squares are further divided into sixteen smaller squares with pathways and fountains in between.
Jahangir’s great grandfather Babur chose to be buried in a tomb open to the sky, following the Sunni tradition, but the construction of Jahangir’s mausoleum with a flat roof compromised the conventional tradition as Jahangir was said to have explicitly forbade the construction of a dome. Standing gracefully on a 5 feet high podium and square in plan measuring, the 22-foot-tall single-story mausoleum measures 267 foot (100 gaz) to a side. The main grave is surrounded by forty rooms and every room has a corridor attached with a different design from the other. These rooms were used by Islamic scholars to recite the Quran in the al era in order to reward the king soul. The corridor around the mausoleum is adorned with a very elegant mosaic, floral frescos and verses from the holy Quran. Carved marble jali screens admit light in various patterns facing toward Mecca. The rooftop is remarkable, with intricate marble work on the ceiling that resembles a Persian carpet. Its vaulted bays reflect Timurid architectural style from Central Asia.
The four octagonal minarets topped with white marble cupolas measuring 100 feet in height rising from the corners are decorated with zigzag inlay of brilliant white marble and yellow stone. Each one of the minarets is 5 floored, easily accessible, and provide a scenic view of the city. Badshahi Mosque lies opposite the tomb of Jahangir and the fun fact is that these structures have been built in such a way that only three minarets of the tomb are visible from the mosque and, vice versa. The exterior of the mausoleum, including the lowest stage of the towers, is clad with red sandstone facing with rich panel decoration inlaid with marble decorative motifs. The geometrical perfection and exquisite symmetry combine to reflect dexterity and human excellence simply admirable in this piece of art.
Jahangir’s grave is situated at the centre of the mausoleum in an octagonal chamber 8 meters in diameter. It is connected to the outside of the tomb by four hallways facing the four cardinal directions. The floor is beautifully decorated with floral designs using a variety of stones including four types of 400 years old original marble while walls are decked with mosaic samples. The tomb was constructed in a Mughal style influenced by Safavid-style architecture from Persia, which may have been introduced into the Mughal Court by Noor Jahan – who was of Persian origin.
The cenotaph is laid out as a takhtgah – built upon a 1.5 ft high podium measuring 9ft by 6 ft which serves as a Takht, or “throne”. It is decorated using white marble on which beautiful floral fresco work is done with precious and semi-precious stones including Aqeeq, Suleiman, Sapphire, Zehar Mohra (Bezoar Stone) and Ubri Marble. The platform of the cenotaph is 2.5 ft from the podium made with white marble. The cenotaph has 99 traditional attributes of Allah decorated with pietra dura inlays. The flat top of the cenotaph is engraved with Quranic verses. The inscription to the feet side confirms the Persian influence, reads, “This is the illuminated grave of His Majesty, the Asylum of Pardon, Nooruddin Muhammad Jahangir Padshah 1037 AH”
The Original Building
There is another notion that the tomb structure was a three-story building and there was a Baradari on the existing building (Pavilion with 12 doors) where Jahangir’s grave amulet was built. During the Sikh rule, on the orders of Maharaja Ranjeet Singh, several Mughal era buildings were undermined including the Jahangir’s tomb. The Baradari was said to removed from Jahangir’s tomb and reassembled at the garden (Hazuri Bagh) located between Badshahi Mosque and Lahore Fort which is standing even today. After extracting Baradari, Ranjeet Singh installed a temporary wooden roof which was replaced with a permanent concrete roof by the British, but the structure never looks the part of work done in the Mughal era. The roof of the tomb had intricately carved marble grill which was also removed by the Sikhs and sent to Darbar Sahib in Amritsar, India. To fill the space, lime plaster had been done on the roof of the mausoleum.
Well respected for their architectural marvel, floral designs, geometrical patterns, extensive application of natural colours, pietra-dura work, and use of precious and semi-precious stones for ornamentation, the Mughals have earned a name for their aesthetic brilliance. The intricate work inside and outside this massive complex is the testament of the marvellous art the Mughals have demonstrated. Visiting Jahangir’s tomb is always a rewarding experience. The two other complexes in Shahdara Bagh – Asif Khan’s tomb and Akbari Sarai – built by Shah Jahan are worth the visit and give a deep insight into the glorious days of the Mughal empire.
The Shalimar Gardens in Lahore is an exceptional Mughal garden complex. It was constructed during the artistic and aesthetic zenith of the Mughal rule. The construction of the Shalimar Gardens began on 12 June 1641 by the Mughal Emperor Shah Jahan and completed after 18 months at the end of 1942. The Shalimar Gardens and the Lahore Fort together were inscribed as a UNESCO World Heritage Site in 1981.
The gardens were built primarily to entertain the royal guests yet the general public could enter to a specific section of the garden. The construction of the Shalimar Gardens was influenced by the older Shalimar Gardens in Kashmir built by Emperor Jahangir (Shah Jahan’s father) and Shah Jahan himself was involved in the construction of the old gardens in Kashmir.
Covering about 16 hectares (658 meters north to south and 258 meters east to west) by crenelated walls of red sandstone, the rectangle garden is constructed in three terraces descending from south to north. Each terrace has been given a special meaningful name. The upper-level terrace, for instance, was named “Farah Baksh” meaning Bestower of Pleasure, the middle-level terrace was named “Faiz Baksh” meaning Bestower of Goodness, and the lower level terrace was named Hayat Baksh meaning Bestower of Life.
There are a total of 410 fountains rising from the canal and from the basin water discharges into the marble pools. The water circulation system was so technically engineered that even scientists today still find it hard to understand thermal engineering. The architecture of thermal engineering was aimed to create cooler air through fountain water during beating down summers to relief visitors. Out of 410, there are 105 fountains in the upper-level terrace, 152 in the middle-level terrace and 153 in the lower level terrace.
Inside the covered boundary wall, there are a number of buildings used for a variety of purposes. The names of the buildings are:
- Sawan Bhadun pavilions
- Naqar Khana and its buildings
- Khwabgah or Sleeping chambers
- Hammam or Royal bath
- The Aiwan or Grand Hall
- Aramgah or Resting place
- Khawabgah of Begum Sahib or Dream place of the emperor’s wife
- Baradaries or summer pavilions to enjoy the coolness created by the Gardens’ fountains
- Diwan-e-Khas-o-Aam or Hall of the special and ordinary audience with the emperor
- Two gateways and minarets in the corners of the Gardens
Besides the terraces, various buildings, fountains, marble pools, and pathways, there used to be a variety of trees in the garden named as Almond, Peach, Apple, Plum, Apricot, Poplar, Cherry, Quince Seedless, Gokcha, Mango, Mulberry, Sapling of Cypress, Shrubs and Sour and Sweet oranges.
Historically the project of Shalimar Garden was supervised by a noble of Shah Jahan’s court named as Khalilullah Khan. The site originally belonged to the Arian Mian Family and the title “Mian” was given to the family by the emperor for its services to the Empire. However, the land where the Shalimar Garden was built was acquired by Mughal engineers by placing pressure on the Mian family only because of its ideal position and soil quality. In return, the Arian Mian family was granted the governance of Shalimar Garden which lasted for 350 years. Later, General Ayub Kahn nationalized the Garden only because the Mian Family had opposed his imposition of Martial law.
The modern-day Lahore Fort is located in the north-western corner of the historical city of Lahore. Locally known as Shahi Qila, the royal fort is an architectural masterpiece bearing a rich history. Its irregular design covering an area of almost 20 hectares, measuring about 427 meters east-west and 335 meters north-south, excluding the outer fortification wall erected during the Sikh rule of Maharaja Ranjit Singh (1799 – 1839 A.D).
The site where the existing Lahore Fort (Shahi Qila) is erected has been established for several centuries. The mud-brick fort of the 11th century, for instance, was the first structure ever recorded during the rule of Mahmud of Ghazni. Between the 13th and 15th centuries, the fort was damaged, demolished and rebuilt several times by numerous invaders and rulers before it came under the domain of Mughal emperors.
Historically, in 1241 Mongols destroyed the fort and Sultan Balban of the Delhi Sultanate constructed a new fort in 1267. In 1398, the invading forces of Timur destroyed the fort and it was rebuilt by Mubarak Shah Sayyid in 1421. Similarly, the fort was occupied by Shaikh Ali of Kabul in the 1430s and it remained under the control of the Pashtun Sultans of the Lodi dynasty. Lahore was later captured by the Mughal Emperor Babur in 1524 after the defeat of Ibrahim Lodi’s forces. It remained under Mughal Empire until their fall and was then captured by the Sikh followed by the British.
The foundation of the modern Lahore Fort was laid in 1566 during the reign of Emperor Akbar (1556–1605) when he made Lahore his capital. Akbar carried out modifications to the fort with architectural style featuring Hindu motifs. After Akbar, it was continuously damaged, renovated, improved, and expanded by successive emperors. Shah Jahan, for instance, changed the model by using luxurious marble with inlaid Persian floral design. The fort was entirely rebuilt in the 17th century when the Mughal Empire enjoyed the peak of its prestige and prosperity.
The Lahore Fort is located very close to the Badshahi Mosque, only separated by Hazur Bagh. The Fort has two distinct sections: the northern half of the fort comprises of the private or residential section and the areas for royal audiences make up the administrative section. The Lahore Fort comprises several notable monuments each having a distinct name and history. Prominent buildings and structures of the fort are:
Akbari Gate or the Masti Gate
The Akbari Gate was built by Emperor Akbar in about 1566 A.D. and later on, it was called the Masti Gate. Actually, the Empress of Akbar built a mosque outside this gate in 1614 A.D that still exists in good condition. The word” Masjid” (Mosque) in local version was corruptly pronounced Maseet and transformed as Masti; thus the name Masti Gate affixed. The fort during Akbar’s times had two gates including Masti Gate. The other gate was later replaced by Alamgiri Gate in 1673 A.D.
The iconic Alamgiri Gate, located on its western side, opens in the Hazuri Bagh and facing the renowned Badshahi Mosque, was the masterpiece built by the last of the Mughal ruler Aurangzeb (ruled: 1658 – 1707 A.D) in 1673-74 as a private entrance to the royal quarters enabling the elephants carrying members of the royal household enter at one time. It has two semi-circular bastions decorated with lotus petal designs at the base.
Diwan-i-Aam (Hall of Public Audience)
Diwan-i-Aam is a forty pillar complex built under the supervision of Asif Khan (brother of Nur Jahan, the empress of Shah Jahan’s father, Jahangir) during the reign of Shah Jahan in 1631 to receive official visitors, make a daily public appearance to address the issues, and review parades. It was demolished when Ranjit Singh’s son Sher Singh bombarded Lahore Fort by light guns during a fight against Chand Kaur, the widow of Kharak Singh (the elder son of Ranjit Singh). After the occupation of the fort in 1849 A.D The British rebuilt Diwan-i-Aam.
The northeast corner of the fort is made up of Jahangir’s Quadrangles. The construction of the Quadrangles started in during the tenure of Akbar in 1617-18 while it was completed by Jahangir in 1620 at a cost of seven lacs (Seven Hundred Thousand) of rupees. The design of the Quadrangles reflects Akbar’s influence as it employs column brackets carved in the form of animals. Moreover, the quadrangle’s layout differs from the mainstream Mughal quadrangles and its features reflect Hindu temple architecture referring the Akbar’s policy of tolerance. Usually the Mughal quadrangles used the layout of a Persian paradise garden, and instead, it is formed by concentric rectangles with a fountain in its center.
Diwan-i-Khas (Hall of Private Audience)
Diwan-i-Khas is a hall commissioned by Shah Jahan where state guests were received and discussed matters related to the state. It is an arched pavilion built in semi-chaste marble and its parapet was decorated with pietra dura work (by inlaying semi-precious stones into white marble).
Khwabgah-e-Jahangir (Jahangir’s sleeping chamber)
The north end of the quadrangle is dominated by the Barri Khwabgah, or ‘large bedroom’, is Jahangir’s sleeping chamber attributed to Jahangir’s period and is located in the residential section. The current building is the reconstruction version from the British era. It is now used as a museum housing Mughal antiquities.
Khwabgah-e- Shah Jahan
It was the sleeping chamber and the first building built by Shah Jahan under the supervision of Wazir Khan in 1634 during his first visit to the city. The Khwabgah comprises five sleeping chambers aligned in a single row. The carved marble screens inside the chambers are decorated with inlaid white marble and frescoes. The incised work known as Ghalib Kari in Urdu and stucco tracery on the arches of this monument are the main features of this building. Its original decorations have gone astray presently except for a trace of the marble.
Maktab Khana (Clerks’ Quarters)
Originally known as Dawlat Khana-e-Jahangir, the Maktab Khana was constructed in 1617 during the reign of Jahangir (1605 – 1627 A.D) under the supervision of Mamur Khan. There the carved Persian inscription on marble slab relates to the construction. It was designed by Khawaja Jahan Muhammad Dost and used as a passage to the Audience Hall from the palace buildings to the north. It was also used by the clerks to record the entry of guests into the fort.
Moti Masjid (Pearl Mosque)
It is one of the two mosques built between1630-35 by Emperor Shah Jahan; the other one is in Agra Fort and was built in 1654. The mosque has three superimposed domes, two aisles of five bays, and a slightly raised rectangular-framed central portal. The distinct five-arched front distinguishes it from other mosques of the similar class usually with three-arched facades. The interior is simple and plain, however, the ceilings are adorned and designed in four different orders, two arcuate, and two trabeated.
The white marble structure is a small building, a prominent addition, located on the western side of the Lahore fort closer to Alamgiri gate, the main entrance. After the fall of the Mughal Empire, it was used as Sikh Temple and renamed as Moti Mandir (Pearl Temple) under the rule of Ranjit Singh. Later it was used as state treasury by the Sikh. When the British took over Punjab in 1849, some precious stones and other inventories were collected inside the Mosque. It was revived to its former state later.
Lal Burj (“Red Pavilion”)
The Octagonal shape Lal Burj (watch tower) is a three-storied summer pavilion building lies adjacent to Diwan-e-Khas and stands in the corner of Shah Jahan’s Quadrangle, in the northeast corner of the Khilawat Khana (Place of Isolation). The top storey including most of the interior frescoes is the Sikh era addition while the lower two stories together with the basement chambers are the beautiful work of Emperor Jahangir while finished during the reign of Shah Jahan. The exterior is beautifully furnished with tile mosaic and filigree work. Its primary windows opened to the north are meant to catch cool breezes.
Kala Burj (“Black Pavilion”)
The Kala Burj stands in the northwest corner of Khilwat Khana and was also used as a summer pavilion. It is the most significant of the Jahangir-era additions and is similar to Lal Burj in many respects. It occupies north-west corner of Khilwat Khana. The top storey belongs to the British period and used as a bar. The Chhajja (eave) of the Kala Burj is built with interlocked brickwork. The arched ceilings in the pavilion feature paintings in a European-influenced style of angels which symbolize the virtuosity of King Solomon – a ruler with whom Jahangir identified.
Shahi Hammam (Royal Bath)
The Shahi Hammam, also known as Wazir Khan Hammam, was built during the reign of Emperor Shah Jahan in about 1635 A.D. and lies adjacent to Shah Jahan’s Khwabgah. It is patterned on Turkish style, so it comprises Jama Khana (dressing and undressing room). The baths were built to serve as a waqf, or endowment, for the maintenance of the Wazir Khan MosqueThe bath, also had the facility of warm and hot water. No longer used as a hammam, the baths were restored between 2013 and 2015 by the Aga Khan Trust for Culture and the Walled City of Lahore Authority and restored in 2016 to its “former prominence.
Seh Dari (three-door) Pavilion
She Dari is located on the eastern side of the Barri Khwabgah inside Jahangir’s Quadrangle. The Sikh period architectural style pavilion is called Sah Dari (of three doors in the Persian language) because it has three entrance doors. The building is said to have served as an office of Faqir Syed Noor-Ud-din, the trusted Governor of Maharaja Ranjit Singh. It is decorated with fresco portray floral designs of birds and scenes shown reflect Hindu religious themes suggesting obviously belong to the Sikh period.
Sheesh Mahal (the Palace of Mirrors or the Crystal Palace)
Sheesh Mahal is the intricately worked white marble pavilion inlaid with pietra dura and complex mirror-work of the finest quality and is considered as a jewel in the crown. It was built by Asif Khan, brother of Noor Jahan, under the reign of Shah Jahan in 1631-32. It is located within Jahangir’s Shah Burj block in the northern-western corner of the Lahore Fort and was built for personal use by the imperial family and close aides. The extensive use of marble reflects the typical Shah Jahan style of construction. The palace has a complex mirror work, called Ayina Kari, in order to conceal from meddling eyes. The palace used to be the favorite place of Ranjit Singh during Sikh occupation of the Fort. Its walls were rebuilt in the Sikh period.
Summer Palace (Pari Mahal or Fairy Palace)
The summer palace or Pari Mahal is a jumble of chambers located directly underneath Sheesh Mahal and Shah Burj Quadrangle dating back to Shah Jahan period. The palaces were only accessible from Sheesh Mahal and used as a residence during hot weather months. The fairy palace was constructed skillfully using the flow of natural air and perfumed water to create a cool temperature with the aroma. The palace was even used during the Ranjit Singh’s reign and it was the store of British Civil Defence Department during World War II before it was transferred to Pakistan. Its integrity was affected by its use as a storehouse. It will now be restored to show how it looked as summer palace once.
Constructed in 1633 during Shah Jahan’s period at a cost of 900,000 (as the name suggests), the Naulakha Pavilion is an iconic building of the Lahore Fort. It is located on the west side of Sheesh Mahal, made of prominent white marble and covered by a distinctive curvilinear roof, having inside lavishly decorated with tiny jewels as Agate, Jade, Lapis-Lazuli, and Goldstone etc in intricate floral motifs. The Naulakha Pavilion served as a personal chamber reflecting a mixture of contemporary tradition at the time of its construction.
Paien Bagh (Ladies Garden)
Paved paths for walkways were the main feature of the Mughal Gardens. The Paien Bagh was built for royal ladies to sustain their health. These paths were surrounded by green patches and filled with cypresses and dwarf plants emanating delighted fragrance. In addition, the garden was adorned with a water basin in the middle of the spacious platform built in brickwork.
Hathi Paer (Elephant Stairs or path)
The Hathi Paer was built by Emperor Shah Jahan in 1631-32 A.D especially meant for elephants carrying the royalty from and to the palace. The 58 low and broad steps each measuring 216 inches in length and 18’-8” inches in width starts from Hathi Paer gate and ends on the outer courtyard of Shish Mahal.
Ath Dara ( having eight openings)
Located at an elevated podium at the original entrance of Shish Mahal, the Ath Dara was built, and used as Kachehri (court), by Maharaja Ranjit Singh who ruled over Punjab. The gilt frescos paintings on its northern wall were made by Maharaja Ranjit’s court artists and its ceiling is decorated with beautiful woodwork. The Department of Punjab Archaeology has magnificently renovated the woodwork with beautiful mirror work recently.
Kharak Singh Haveli
The Haveli of Kharak Singh, the heir to Ranjit Singh, lies in the south-east of the Jahangir’s Quadrangle. When it was occupied by the British, the first and the ground floor were used as a Commandant’s Quarters and servants’ house respectively. It is used as the archaeological survey office currently.
The greatest artistic triumph, the monumental “pictured wall” in Lahore Fort was commenced by Emperor Jahangir in 1624-25 A.D and may have been completed under the reign of Shah Jahan in 1631-32 A.D. It is exquisitely decorated with a vibrant array of glazed tiles, faience mosaics, and frescoes stretch over much of the northern and western walls of the fort. The 116 embellished panels altogether measuring approximately 1450 feet by 50 feet is the most representative relic of Mughal period depicting an array of geometrical and floral patterns including elephant fight, angels, hunting, dancing, mythological scenes, and polo game. This art is known in Persian as Kashi Kari because it originated from Kashan the city of Persia (Iran). These pictures do not seem to have a strong cohesion to explain a single story.
Khilawat Khana (Palace of isolation)
Khilawat Khana, the residence of the royal ladies of the court, was built by Shah Jahan in 1633. It is located to the east of the Shah Burj Pavilion, and west of the Shah Jahan Quadrangle. It is a building with a curvilinear roof made mostly with marble.
Lahore Fort Museums
There are three distinct museums in the Lahore Fort – the Armory Gallery, the Sikh Gallery, and the Mughal Gallery.
The Armory Museum
The Armory Museum is located in Dalan-e-Sang-e-Surkh of Moti Masjid and showcases various arms captured by British during Sikh battles. These arms include pistols, helmets, guns, swords, daggers, spears and arrows
The Mughal Gallery is located in Jahangir’s Quadrangle and houses historic manuscripts, coins, calligraphy, miniature paintings and an ivory miniature model of India’s Taj Mahal.
The fall of Mughal Empire leads the control of fort to Sikh suzerainty before it was passed to British colonialists. The British took over Punjab following their victory over the Sikhs at the Battle of Gujrat in 1849. Located in the Haveli of Rani Jindan, the Sikh Gallery houses the Princess Bamba (the granddaughter of Maharaja Ranjit Singh) collection belonging to Ranjit Singh. This gallery carries a rare collection of oil paintings including some beautiful paintings by European artists.
The entrance and the office for the entry ticket to the fort for the general public are through Hathi Gate.
- The fort is open to public seven days a week as per the following timings.
1st April to 30th September: from 7:30 hrs to half an hour before sunset.
1st October to 31st March: from 8:30 hrs to half an hour before sunset.
Museum and Galleries timings
8:30 to 12:30 hrs and from 14:30 to 17:30 Hrs
9:00 to 16:00 Hrs
Toilets for the visitors are located in front of the Diwan-e-Aam area.