sign in sign up
<<
Home , Alhamra Arts Council, Badshahi Mosque, Baradari (building), Hazuri Bagh, Lahore Museum, Shahi Hammam

Inside Out – A Day of Learning in the Open City – reclaiming spaces for diversity, social healing and peace within

Celebrating the International Day Of Tolerance November 16, 2008

Facilitated by Idara-e-Taleem-o-Aagahi (ITA)

Sponsored by United States Institute of Peace (USIP)

Inside Out – A Day of Learning in the Open City 1 Content Page

Introduction...... 3

Objectives of the study visit...... 4

Getting to Know Each Other...... 5

The Grand Tour & Interaction with Living History ...... 5 Visit to Cathedral Church: ...... 5 From the Cathedral to Ranjeet Singh’s (’s Mausoleum) ...... 6 Ranjeet Singh’s Samadhi:...... 6 Poet & Philosopher: Sir Allama Mohammad Iqbal’s Tomb:...... 7 Badshahi :...... 8 Fort: ...... 9 Talk & Discussion with Dr. Bernadette Dean- citizenship expert and Principal Kinnaird College:...... 11 Interactive Theatre at the Fort...... 11 Rafi Peer Festival...... 12 The Puppet Festival...... 12 Dinner at McDonald’s: ...... 13

Transformative Reflections on the International Day of Tolerance ...... 14

Methodology of Inside Out Learning: the International Day of Tolerance...... 19

Annex:...... 20

Inside Out – A Day of Learning in the Open City 2 Inside Out– A Day of Learning in the Open City – reclaiming spaces for diversity, social healing and peace within

Introduction

ITA arranged a unique day of experiential learning to celebrate November, 16, 2008 as an integral and final part of the project “Reclaiming Social & Cultural Diversity: Mobilizing Youth for National Harmony & Peace: the search for resources within “. This was undertaken with the support of the United States Institute of Peace (USIP). The study visit within the historical Lahore City was the most meaningful way to experience the essence of the year long encounters of youth representing all provinces of . The project’s goal is to Mobilize Youth for National and International Harmony and Peace. Although it was not planned as an activity of the project but was designed as an evolutionary necessity to the spirit of the program and also an opportunistic response to the youth gathering in the city of Lahore on a weekend. They had already expressed a desire in February during the first dialogue that they wanted to enjoy the city. The organizers did not want to disappoint them and yet wanted the experience to be one that weaved in with the overall spirit of the program. Although this was not the formal part of the project as originally conceived but since one of the activities, a comparative paper could not be fulfilled, this substantive activity was designed to provide value addition to the program and above all to the participating youth and their teachers.

November 16th is the International Day of Tolerance (annex). It was dedicated to “ Inside Out- a day of open learning” in a city celebrated for its historical and sufi heritage. It was a day to experience the several important dimensions of the project by reclaiming spaces for social healing, diversity and peace within. It was a befitting preparatory activity for the next day’s final National Dialogue as per the project’s plan. This event was designed as a vibrant pedagogic idea of visiting local historical monuments which continue to express a humanistic living perspective. The visit was planned so that each student could empathize with the inherent diversity of our visionary leaders and poets our healthy culture as the best source of learning and living where young and old lives are enriched by recognizing the strength of differences. For educators who accompanied the students it was meant to demonstrate what a rich resource local contexts and spaces can be for learning and experiencing.

Rationale: The paradox of the desire for peace amidst rising global and local conflicts remains a very profound reality for most human beings as does the paradox of low appreciation of cultural, historical, traditional, linguistic differences in a country with 96% population belonging to one religion viz. . For Pakistan the need to reclaim spaces for tolerance, peace and harmony is a critical and burning issue. Looking at the future challenges of coping with conflict and post conflict scenarios, in a weak tension ridden federation, where there are few chances of proactively addressing these issues, it is necessary to seek initiatives which explore possibilities for tolerance, differences and resolution of conflicts particularly through our youth.

There were 40 participants: 20 Students; 10 Teachers and 10 Civil Society Organizational representatives (annex)

Inside Out – A Day of Learning in the Open City 3

The Resource Persons were: Talha Shahzad Debates – ITA Razia Mughal - ITA Huma Sikander – ITA Imtiaz Nizami – ITA Alvina - Interactive Theatre - IRC Maqbool Ahmad- A professional Guide and UNESCO Restoration Team Dr. Bernadette Dean – Principal Kinnaird College Baela Raza Jamil – Chairperson and Senior Adviser ITA

INSIDE OUT PROGRAM – International Day Of Tolerance

8:45 Children Picked up from their Hotel

9:00 Visit to the Cathedral Church and Sunday Services

10:00-1:00 Visit to the Historical Quadrangle of Huzoori Bagh - Part I

1:15-2:15 Lunch and Lecture at Cuckoo’s Café overlooking the Historical Quadrangle Lecture by Dr. Bernadette Dean, Principal Kinnaird College & Expert on Citizenship

2:30-4:00 Exploring the concepts of identity, diversity and tolerance with Alvina from Interactive Resource Centre

4:30-6:00 Back to the hotel to rest and change & rehearse for Debates

6:00-9:00 Rafi Peer Theatre – Festival at the

9:30 Dinner

Objectives of the study visit

• To reclaim cultural and social diversity. • To reclaim spaces for social healing. • To explore the living historical and cultural heritage. • To create opportunities for experiencing open learning. • To create awareness that diversity is the beauty of this world.

Inside Out – A Day of Learning in the Open City 4

Getting to Know Each Other

Before the journey commenced, the visitors had had their introductions as some of them had been exchanging notes on themes on the on-line forum, blogs in virtual space, some had met during the first dialogue in February earlier in the year. Thus since the night before when they arrived they had reconnected face to face and also reacquainted themselves. They mixed with each other, chatting and asking interesting questions about each other’s regions that they came from within Pakistan across provinces and recent issues of conflict that had been growing.

The facilitators introduced themselves sharing their roles with the students and teachers so that they all felt at ease to ask for anything they needed.

The Grand Tour & Interaction with Living History

Visit to Cathedral Church:

Across the Shaharah-Quaid-e-Azam (the Upper Mall) from the High Court, is a nineteenth century gothic stained glass steeple which marks the entrance to the impressive Cathedral Church of the Resurrection. The cathedral is set well back from the road. The sprawling compound, containing the looming towers of the cathedral, provides a haven in the middle of the bustle of downtown Lahore on the famous Mall Road. The Cathedral is constructed from red brick and pink sandstone in the gothic style - the architect was John Oldrid Scott. The Cathedral was built in 1887.

On entering the Church, all the participants gathered at the gate of main assembly hall and greeted each other. Baela Raza Jamil familiarized the visitors with the historical significance of the Cathedral Church. She added that the church is not only a historical monument, but the movement behind this church had made an enormous contribution to education. It had transferred the cultural heritage to the coming generations as well.

Visiting the Cathedral Church was for many the first opportunity for an inter-faith encounter and also to visit a historical monuments of great significance in the city of Lahore. It was a wonderful experience which gave an entirely different insight into diversity that makes Lahore one of the unique places in the world.

The Sunday church service was very absorbing and educational as most of the participants had never entered a church in their entire life, what to speak of attending a Sunday Service. The hosts including the Priest, were extremely friendly and patient with all the questions asked. Meeting

Inside Out – A Day of Learning in the Open City 5 different people and the church priests, attending the congregation was in itself a way of learning about a different religious culture. Students felt excited about the new experience and they were curious to know more about various aspects of the Sunday service and other social activities of the church.

That first stop at the Cathedral was a mere vetting of the palate and the next stop was Hazoori Bagh the historical quadrangle of Lahore built during the period of the Mughals as a grand entrance to several important buildings. Hazoori Bagh is an epitome of diversity and inter-faith evolution of the city, all located across one square, only if we care to visit and explore with our open eyes, hearts and minds. The educational value of this visit was truly immense and overwhelming.

From the Cathedral to Ranjeet Singh’s Samadhi (Ranjit Singh’s Mausoleum)

The journey from the Cathedral Church to Hazoori Bagh and Ranjeet Singh’s Samadhi was a small but strategic tour on a quiet Sunday morning in the otherwise bustling city of Lahore home to over 9 million people. The tour meandered through eminent places of Lahore. On the way, the participants could see famous buildings on both sides of the road. Especially the visitors from other provinces were excited to see

Roshnai Gate from the variety, asking many different questions. They passed by the famous a gothic/oriental building, the General Post Office (GP0), the from Mughal times, the , the 19th century educational living monuments of the (NCA) the Government College University, Old Unviersity, Town Lahore, Lower Civil Courts, Central Model School and ofcourse the chief patron saint’s shrine called Data Ganj Bakhsh(RA), meandering to Manto Park, where the splendid Minar-e- Pakistan stands as a living symbol of the creation of Pakistan.

Moreover, Dr. Baela Raza Jamil’s own knowledge about these places proved a privilege for the visitors. Her continuous depiction of the historical background of these places which are all functionally alive, filled the visitors with enthusiasm and inspiration for exploring other historical places of Pakistan as well.

Ranjeet Singh’s Samadhi:

Inside Out – A Day of Learning in the Open City 6

The Samadhi of Emperor Ranjit Singh in Lahore, Pakistan

On reaching Ranjeet Singh’s Samadi, the visitors were lucky to meet Maqbool Ahmad, Chief Executive of Asian Voyagers, a professional guide who is also helping UNESCO with its restoration work. He was to guide them in the rest of historical journey. He introduced himself to the visitors and gave useful information about Ranjeet Singh and his tomb. He added that Mian Meer, a famous muslim sufi poet supervised and built the tomb of this great raja. It was a symbol of religious tolerance and respect for other religions.

The tomb exmeplifies Sikh . It is gilded with fluted and cupolas and an ornate balustrade round the top. According to him, Ranjit Singh's ashes are contained in a marble urn in the shape of a lotus, sheltered under a marble pavilion inlaid with pietra dura, in the centre of the tomb. Other tiny urns contain the ashes of his four wives and seven concubines who threw themselves on his funeral pyre.

Visit to this place made the students very curious to know about the temple and they asked different questions from the guide who revealed the whole history in a nut shell.

Poet & Philosopher: Sir Allama Mohammad Iqbal’s Tomb:

The visitors had a look at the great mausoleum of the poet of East and the guide gave some general information about Allama Iqbal.

The Tomb of Allama is a simple but impressive structure located in Lahore, in the Hazuri Bagh lawn between the and the Lahore Fort where both the grand structures (the Mosque and the Fort) face each other. Official guard is maintained by . The architecture is entirely constructed of red sandstone. Hundreds of visitors come to the mausoleum every day to pay their respects to the poet-philosopher. He was one of the major inspirations behind the , and is revered in Pakistan as Muffakir-e-Pakistan (The Thinker of Pakistan) or Shair-e-Mashriq (The Poet of the East). Iqbal died on April 21, 1938 in Lahore

The visitors’ hearts were full of reverence for this great poet and they went inside the tomb to pay homage and recite Fateha for him. The place inside the tomb was not enough for all the people to go inside at the same time. The guide told that the was planning to widen the boundary of Iqbal’s tomb.

At this great place, the visitors had a formal and detailed introduction of each other. The participants especially students from other provinces were very excited to see the mausoleum of this great person. They shared their views and quoted verses written by this great poet of East.

For instance, Ms. Rakhshanda Ovais a senior Teacher from Fatimayah School(private) in Karachi said:

Inside Out – A Day of Learning in the Open City 7 “ We should pay homage to such a great poet who shaped the destiny of a nation and provided guidelines for the future. He awakened the zeal among the youth. We should prove practically that we have great regard for our forefathers’ sacrifices.”

She also expressed tributes to the organizers of this tour, especially Baela Raza Jamil who provided such a valuable opportunity to visit these places of enormous historical importance. In the end she dedicated a verse from Iqbal’s poetry to ITA’s leaders.

Nigeh buland, sukhan dil nawaz, jan pur soz.

Yehi hai rakht-e-safar mir-e karwan kay lye.

• Syed Jonaid Ahmad, a Teacher from Wilderness School, Quetta said

“We have visited these places before but not with this view as we are doing today. It has opened new horizons before us. We should familiarize our students with our culture and history by arranging such study visits instead of mere teaching them from the text books about history which seems to be very much boring. It was a wonderful opportunity.”

Then he quoted

Palat kar jhapatna, jhapat kar palatna,

Lahoo garm rakhne ka hai ik bahana

• Adnan Maqbool, a teacher from Beacon House School System, Lahore aptly said

“Diversity unites people and makes the foundations of a country strong. Religious diversity can prove to be strength in its own way. It is a force.

Great Vision of the Great People:

The place where Allama Iqbal’s mausoleum is located itself conveys a hidden massage of diversity. If we stand here facing Minar-e- Pakistan, we can see Badshahi Mosque on our left side, Shahi Qila and Maharaja Ranjeet Singh’s Samadi on the right side. Even inside the Shahi Qila, we can see a small temple of the son of Ranjeet Singh. So this place is a beautiful blend of diversified cultures retaining their own traditions and values. The architecture of each monument despite being at the same place manifests its own particular style. It is obviously an evidence of their love for diversity and they knew its significance as strength for the country. On the other hand, this blend of cultures at one place is the manifestation of great vision of the great people.

Badshahi Mosque:

Standing at the main gate of Badshahi Mosque, we can see all the things in a straight line. The main gate of Shahi Qila, Bara Dari, the main gate

Inside Out – A Day of Learning in the Open City 8 of Badshahi Mosque, and the entrance to the main hall of Badshahi Mosque can be clearly seen sanding at any of these places. The children experienced another wonderful thing. The corridors which served as classrooms as told by the guide, had the miracle of retaining the voice from opposite corners, letting it not be heard by the person standing in the middle. The holy Tabarrukat of the holy Prophet (Peace Be upon Him) are preserved in the upper portion of the main gate which in themselves are the manifestation of the Muslim culture. The devotees have a look at these Tabarrukat to revive their faith. Beside the gate there is another wonder the holy embroidered on the cloth with silver and gold thread- 95% silver and 05% gold. This work was done by a tailor, Ata Muhammad in the last years of his life.

The visitors especially the children asked about the history of the mosque. The guide then gave some historical description of the mosque. He stated that the construction of the mosque took about two years, from May 1671 to April 1673. The mosque was built opposite the Lahore Fort, illustrating its stature within the . In conjunction with the building of the mosque, a new gate was built at the fort, named Alamgiri Gate after the Emperor.

The visitors felt so excited to look at the centuries’ old glasswork still preserved inside the domes of the main hall- a place really worth seeing.

Lahore Fort:

Entering the main gate, the visitors could see the magnificent inside where now receptionists receive the tourists. On the right hand side of the entrance, the temple of the son of Ram Chander is enclosed in the high walls of a very small room. The students were so keen to know about the minute details of different places that they ran after the guide so that they may not miss any information.

Hindu Temple of Loh – Landmark of Lahore – Dating 4000 Years The city’s oldest Hindu temple, dedicated to its founder Loh, in a precarious condition in the Lahore Fort and has been closed to the public for years. According to legend, Loh was one of the two sons of Rama, the hero of the Hindu epic Ramayana, and the founder of Lahore. Rama’s second son, Kash, founded Lahore’s sister town of Kusa-war, or Kasur. To this day, the Lahore Fort has a vacant temple dedicated to Lava (also pronounced Loh, hence "Loh-awar" or The Fort of Loh). This historical legend makes Lahore a 4000 year old city.

Loh’s temple is near Alamgiri Gate besides the Fort’s old jails. The temple was closed until 1985, during General Ziaul Haq’s regime, because the jails were controlled by the police and civilians weren’t allowed in, the sources said. After that the temple was opened occasionally for visits by Fort officials. But in 1992, after the Babri Mosque in Ayodhya was razed, the temple was closed because of the threat of vandalism, the sources said.

Inside Out – A Day of Learning in the Open City 9

Standing at a high place before the chain barrier, Mr. Maqbool Ahmad told about the overall brief history of the fort. As he told the Royal Fort is rectangular. The main gates are located alongside the centre of the western and eastern walls. Every succeeding Mughal Emperor as well as the , and the British in their turn, added a pavilion, palace or wall to the Fort. Emperor Jehangir extended the gardens and constructed the palaces that we see today in the Jehangir’s Quadrangle, while Shah-Jehan added Diwan-e- Khas, Moti Masjid (Pearl Mosque) and his own Sleeping Chambers. He further told that Jehangir is the 6th Mughal emperor; the only one buried in Pakistan. built the impressive main gate which faces the Hazoori Bagh lying in between the Badshahi Mosque and the Fort. The part of the wall of the Elephant Steps towards the Fort’s inner gate is scarred by bullet marks, bearing testimony to the Sikh Civil War of 1847 A.D.

During the visit the students expressed their views about the visit. Every body had one thing or the other to say and they aspired to tell. They said that visiting these places with a view to learn and especially when some body is there to tell the interesting things about the particular places, makes a difference.

Divan-e Khas:

Divan-e- Khas is a gorgeous building that holds a special place in the history. The government officials used it as their center. The officials and the people close to the king used to meet the king here. Recently the musicians use it as a place of priority as a platform for their musical programs. The directors of film industry use it as a background scene for their films. Nusrat Fateh Khan the great artist, often used it as a background scene.

Divan-e Aam:

The guide was constantly surrounded by the visitors and the children went on asking the questions of their own interest. The process and the way of giving information were so interesting that it retained the very close attention of the visitors through out tour. They did not lose interest and curiosity. As Mr. Maqbool Ahmad was telling all this, a large number of people gathered there to get the information about the place.

Divan-e- Aam was used by the king to hold court and listen to the problems of the subject. In the basement, the prisoners were kept and when the king held his court these prisoners were presented before the king. Some times army was also hidden in the basement and the soldiers came out when the king felt any danger.

Inside Out – A Day of Learning in the Open City 10 This splendid place has been in use of the government officials to hold meetings. Recently, General Parvez Musharraf used Divan-e- Aam to hold meetings.

Sheesh :

The Sheesh Mahal, in the Lahore Fort, is one of the most remarkable pavilions of its palace. It was completed by . The sultan would discuss state affairs with his closest courtiers here. The directions of mirrors that decorated the Sheesh Mahal were set so technically that a single candle could light the whole Sheesh Mahal. It was built for Mehr-un- Nisa later on, named Noor Jahan by .

Royal Ladies’ Gardens:

The visitors could see the Royal Ladies’ Gardens which were not in a good condition. The guide described the beauty of these gardens at the time of Jahangir’s reign. These gardens used to be known for its myriad fragrant plants and flowers. It was maintained regularly and gardeners looked after the green lawns.

Lunch at Cooco’s Den

At about 1:30 pm, the visitors reached Cooco’s Den to have a lunch. The restaurant itself was embodiment of aesthetics. Inside the building, narrow winding stairs presented like a tunnel from the earth to the sky. The paintings on the walls clearly depicted the taste of designer. The furniture and different clay models seemed to be the historic signs to tell about the restaurant.

On reaching there, Baela Raza Jamil welcomed the eminent resource person and guest Dr. Bernadette Dean and introduced different groups of participants. Dr. Dean is an expert and pioneer on Citizenship education and Principal Kinnaird College. The objectives of the visit were again emphasized so that the participants could make the best use of an opportunity to learn through living history.

Talk & Discussion with Dr. Bernadette Dean- citizenship expert and Principal Kinnaird College:

It was a good opportunity to have Bernadette Dean there; she elaborated the scope of learning by her comprehensive views about the citizenship. She covered almost all aspects of this topic, giving insights on citizens’ responsibility to take action by voting, expressing opinions, writing public leaders and addressing gender issues at personal, school and community level. She underscored at all times the significance of diversity as a source of strength for the country.

Interactive Theatre at the Fort

Ms. Alvina from the Interactive Resource Center(IRC)

Inside Out – A Day of Learning in the Open City 11 Interactive Theatre was a fulfilling and innovative experience for all participants. It aimed at developing • Confidence • Eye contact • Use of body language • Group work techniques to explore complex concepts of identity

To achieve the above objectives, Ms. Alvina conducted very interesting activities. All the participants including the students and the adults, took active part and enjoyed it a lot. It helped in building communication across cultures and provinces. However, this was at the tail end of the project.

The activities included • Mirror and Actor ( Pair work) • 7 UP Activity ( Group work) • Hypnotize Activity (pair work) • Cat & Mouse Activity( Group work)

Returning to the Hotel and Preparation for the debates

Talha Shehzad- from Idara-e- Taleem-o-Agahi efficiently facilitated the preparation of debating teams for last touches and clarification. The debates were on the agenda for the next day. It was not simply a preparation session but also a chance for the participants to share their experience of journey into history.

Rafi Peer Festival

After the whole day’s exhaustion some kind of refreshing activity was necessary. Rafi Peer Puppet Festival, served as a beautiful combination of learning and happiness. The security precautions were also appreciable. The very first glance at the sight, took the participants into a dream world, huge puppets on both sides of the entrance, the very small children enjoying and shaking hands with them, bright colorful lights creating a sense of hustle and bustle, stalls of different things for sale, embroidered bags and other things, manifesting particular cultures- Sindhi and Balochi, cultural shows live and on the media, all was really astonishing and awesome for the young participants as well as their teachers, who rarely get an opportunity to immerse in such diverse and novel experiences.

The Puppet Festival

It was not an easy task to make choices for the best program. All in all the live puppet shows were equally enjoyable for the adults and the school children. Selections were made by the groups and each group went to their preferred puppet program, a world of fantasy, serious issues and fun too.

Inside Out – A Day of Learning in the Open City 12

The puppet show was not only for the sake of enjoyment but it had learning for the people. Some grammatical aspects of language were highlighted during the interesting dialogue between the puppets. The right use of word and proverb was also of immense use for the audience.

In this way, the festival proved to be a source of diversified learning for the visitors- adults and children.

The grand finale had to be dinner …

Dinner at McDonald’s:

The day ended with sharing feedback on the whole day’s activities and a hearty dinner at the all time favourite of students from across Pakistan “ Mc Donald’s” .

The next day was going to be the grand ending to the year long odyssey of tolerance and diversity and everyone wanted to be looking good for the debates and conversations with eminent people and speakers. After a quick dinner all wanted to go back to the hotel/homes so that they could be fresh for the packed day planned for the National Dialogue on November 17th. 2008.

Inside Out – A Day of Learning in the Open City 13 Transformative Reflections on the International Day of Tolerance

Name: Mohammad Baqar School Name: Wilderness School & College Quetta , Balochistan

“We all, including the teachers & students can hopefully say that this initiative will eradicate the use of the word diversity negatively” The day of learning in Lahore moving from place to place was quite informative for me. The visit to church was a good chance for all to know what is done or performed in the church. We were informed that the church was built in , an old building but it did not seem to look so old. It was well kept & I think was never neglected. Announcement of marriages was a new thing for me because I had never seen or heard such announcements before in a religious place. I really wanted to enter Ranjeet Singh’s Samaadi, the last resting place of a great Sikh leader , but unluckily we were not allowed to enter due to the holy ceremony of Sikh’s community. The things which the guide told us about Ranjeet Singh’s behaviour were different from what we learned. This was a compassionate interpretation of Ranjeet Singh. The visit to the Badshahi mosque was an informative one. The building of the mosque truly defines the intelligence of the person/ persons who designed it. Lahore fort can truly be called “The Heart” of the Lahore city. Visiting the buildings in order made the vision clear in our brains. We learnt about the Mughals and about their life. Their life was quite luxurious and historians were right that the decline of Mughal Empire includes the luxury they had. For me, the most informative and amazing of all, was the temple of “LOVE” and his life. Interactive theater by Miss Alvina, was a very good act to bring the students closer to each other. The students who were shy and were not able to face people stood in the circle face to face. The two activities done there were very enjoyable. The main aim was to let students stand in the circle was a sign of “EQUALITY”. We all were equal although some teachers were also included in the circle. At least I would say that the best thing was the friendly behavior of the teachers. Especially Sir, Talha, was a friend more than a teacher.

Name: Khushal Khan School: Islamia Collegiate School Peshawar, Sarhad.

“We have to straddle the world, but with peace. The suzerainty of peaceful people will lend harmony to the world. Once again let us join hands together. Let the brutal and barbaric minds be changed with peaceful minds.”

To visit the city of gardens was simply marvelous. I praise it in best possible words. Tremendous feelings, to swap with the friends and to visit the glorious spots of the walled city. Well, I think Lahore is the cultural capital of Pakistan and almost every culture is there in Lahore. That was our first occasion to tackle with different cultures and traditions. It availed us to give reverence to other religions. I think we should make it abundantly clear that we respect the views and beliefs of the other people. Pakistan is one of the sublime nations of the world. The

Inside Out – A Day of Learning in the Open City 14 sole way to test our metal is that whether we have the zeal of “tyrst with destiny” and if we have than I think our passions will never dampen. One day we will lead the world, I am hopeful. Regrettably we have not the passion to meet challenges and until we have these traits we can not go ahead. We have to straddle the world, but with peace. The suzerainty of peaceful people will lend harmony to the world. Once again let us join hands together. Let the brutal and barbaric minds be changed with peaceful minds. Let the gauntlet of grief flee from our lives and may we be happy. One day will come when we can behold the change of this riotous world into an orchard of harmony. One day this world will have glorious people, I have a dream. Those who will respect the rights of others, they will show fidelity to their nation, I have a dream, they will face turbulent times with locked arms, I have a dream they will devote themselves to work hard. We will subjugate the treachery of deceitful people. I have a dream that one day Pakistan will be a symbol of peace for the world. I have a dream that one day no one will irk someone else, I have a dream to see the day when our world will expose the gates of an Eden. Do not let our enthusiasms ebb away, I have a dream. A day will come when this dream will change into reality. No one else, but we have to pronounce the verdict whether we prefer a peaceful world or a world full of horror and carnage . We have to see the world with an open eye and let this virgin land be cultivated.

Name: Mohammad Haris Iqbal School Name: Islamia Collegiate School Peshawar, Sarhad.

“I learnt different skills of cooperation, understanding, communication and critical thinking .. In short, this day is the most precious day of my life. In this day I acquired knowledge with great pleasure”. Visiting the church was quite informative for me to know how different people pray to their lord. The history of Raja Ranjeet Singh was very interesting and unforgettable, this information is very important for the students. The quadrangle of Badshahi Mosque, Lahore fort, Allama Iqbal’s tomb and Ranjeet Singh’s Samadhi is itself the great symbol of peace and harmony for human beings. This is the first experience of my life when I realized that all the people who are different in caste, creed, color or religion can live together peacefully. The opportunity of visiting these places together in the form of a group comprising our own different cultures provided us a great chance to know about each other and accept the diversity of nature in a positive way rather than see this as the reason of conflicts and source of divergence. I learnt different skills of cooperation, understanding, communication and critical thinking due to the interactive theater done by Ms.Alvina. In short, this day is the most precious day of my life. In this day I acquired knowledge with great pleasure.

Inside Out – A Day of Learning in the Open City 15 Name: Asif Haider School Name: Islamia Collegiate School Peshawar, Sarhad.

Starting from the first moment of 16th Nov, 08 when I opened my eyes I was feeling great excitement. This was a unique way to celebrate the International Day of Tolerance. After taking our breakfast when we were taken to the Cathedral Church my joys had no bound. Actually I went for the first time to a church and experienced the religion of Christians and their prayers. There we became familiar with the Bible also. And I really appreciate the one who thought about taking us to the church. This is indeed the only one way to become aware about other religions and cultures, their beliefs also. Only in this way violence can be removed and peace can be spread through out the society.

After that we were taken to the Ranjeet Singh’s Samadhi. We were provided with a guide who was really great and should be appreciated. He was just like an encyclopedia. But one thing puzzled me when he told us about the Ranjeet Singh that he was so kind, sympathetic and man of justice. Once when he fell ill a doctor told him that you should take a cow’s skin on yourself for the sake of curing your illness. In response Ranjeet Singh told him that for my own sake I can not put an animal to death.

Well, I want to say how it is possible because as I studied in 1826 he fought against Syed Ahmad Shaheed but his army was defeated and lots of Sikhs and Pathans were killed as a result of this war. And not only this just taking a single mare that was named “Laila” he fought a battle in which12000 people killed. So that how it is possible that he was a kind and peace loving person? This puzzled me as I could not reconcile the two faces of Ranjit Singh.

We were also taken to Allama Iqbal’s tomb and Badshahi mosque. That was quite interesting and fascinating indeed. Well, the only cause of our fascinations was Mr. Maqbool Hussain, our guide because with every step he was providing some thing new and interesting and of course that he was a rich source for us to increase our general knowledge.

Visiting to different places was really tremendous source of enjoyment and a source of increasing our knowledge as well.

Then we were taken to Cuckoo’s Den for lunch to watch the grand view of Lahore city. The most attractive thing for me at Cuckoo’s Den was the series of messages conveyed to us by “Dr. Bernadette Dean”. One thing in her message that directly acted upon my heart was that when she said: “if you want to bring change in the society than you should be passionate. If you are not passionate for change than nothing is possible and than you can do nothing”

After having her words echo in my mind and heart I was thinking of a change and of course that thinking and learning has given me the tools to do so because I have established a school level “UNION” in my school with the theme “PEACE WITH IN THE SOCIETY”

We were showed different places in the Lahore fort like Shesh Mehal, Dewan-e-Khas, Dewan-e-Aam and Museum etc. I had visited these places but this time it was quite more interesting with a new horizon of peace and harmony.

Inside Out – A Day of Learning in the Open City 16

One of the most charming learning for me was the “Interactive Theater” it was thought provoking and came to know that how to co-operate, interact and to behave when you are a leader or working under others or in groups. Due to interactive theater we got familiar with other students and also about their wills and wishes.

The whole day was of great learning experience and helpful for me to learn that how we can interact with people of diverse culture, diverse minds and also diverse religions. I also want to share one thing that before we were sent the schedule of the activities, I was thinking to share with the chairperson of ITA that why they are not arranging the day for students to visit different places together. But when I saw the schedule of the activities I felt very great and hats off to the person who arranged a special day for the students. At last I want to say thanks to ITA and thanks to the facilitators, cooperators and chairperson who invited us.

Name: Aliya Fatima Abidi School Name: Fatimiyah Educational Network,Karachi,Sindh

It was a great experience for me to visit Lahore city. I learned a lot through this memorable educational trip. Witnessing the living history was a great experience for me.

The event I liked the most was interactive theatre at the fort given by Miss Alvina, because through this we all interacted, talked and performed different activities in a group. The kind of response which I got from the students of others provinces was quite encouraging and it helped me to clarify the misconceptions about other students. I also develop new experiences and stories of learning by participating in different activities.

Another thing which I liked was the debate competition in which every student got a chance to convey his/her point of view regarding the topic. I also build my confidence to show and express my ideas and thoughts in front of other people and students from different provinces.

In last I would say that through this event I got an opportunity to meet and interact with students from other cities/provinces of Pakistan.

Name: Zaib Fatima Nanji School Name: Fatimiyah Educational Network, Karachi, Sindh

“I have learnt to respect ideas of others while working in groups. I had the opportunity to interact with people from different provinces of our country and I have also learnt how to love people who are different than us:.

I have learnt that how as a youth we can speak for our rights such as right of our education, right of our basic needs. I have also learnt about my responsibilities to benefit my country.

In the beginning I was shy to talk to male students but during the project group activities I had to interact with all the members in the group as we all are equal, and now I can interact with other comfortably.

I used to think that children from Urdu medium schools are not good in studies. I have learnt that they are equally good, they are friendly and nice. I am glad that I can get rid of my wrong thoughts from my mind.

Inside Out – A Day of Learning in the Open City 17 During the project we discussed many social issues of our society. I have learnt to resolve them for the betterment of my country.

I have gained confidence of speaking publicly. I would like to share one quote

“People may not be considered as bricks having same shape and texture, used in building a house but as pieces of puzzle that match with the rest to bring out the beautiful pictures.”

Inside Out – A Day of Learning in the Open City 18 Methodology of Inside Out Learning: the International Day of Tolerance To take the learning outside classrooms and beyond the textbooks – searching resources within

Identification of the Target Groups Students – which grades Teachers – which grades

Objective To use local heritage/historical sites as sources of live learning on essential concepts of “diversity”, ”tolerance” “peace” and “citizenship” To enable students and teachers from across Pakistan to engage in reflective and critical thinking and explore learning beyond the textbooks To mingle with diverse groups, seeking unity and enrichment of human spirit within differences

Identification of the Places, Purpose Routing and Travel/ Learning time Details A detailed recky has to be undertaken by those responsible from the host organization so that each location selected is done so precisely with the purpose identified, its map/learning materials at hand, timing clocked in for getting there and the activity to be engaged in.

Permission from Parents to participate A formal note informing parents about the excursion and program details. A formal permission letter signed by guardians/parents.

Resources: Experts and Resource Persons : - Professional Guide for guided tours to share nuances of history and symbolism - Trained Facilitators to ensure that the objectives of the study visit are reinforced throughout the day and some guidelines provided at the outset for making notes for reflections - Theatre and body movement professional to help students/teachers unwind, loosen up and enjoy the richness of identity and diversity simultaneously; to feel oneself and be in touch with oneself - Logistics support person to ensure time keeping and transport

Materials/Financial Learning material packs Transport Food Tickets Resource persons’ fee if any Accommodation to students/teachers if they have come from out of town

Formal Day Plan Carefully Chalked Out – Program Hand Out Protocols Informed to Students on Safety, Time and Group Norms

Time to Reflect and Learn This is essential that there is time planned to reflect formally and informally and share the lessons learnt by all (students and teachers)

Inside Out – A Day of Learning in the Open City 19

Annex:

Inside Out – A Day of Learning in the Open City 20 List of participants Inside Out Day of Learning November 16, 2009 :

Students Serial Name School 1 Barkat Ali Yazdan Khan Govt. Model high school 2 Haseeb Ullah Yazdan Khan Govt. Model high school 3 Muhammad Baqar Wilderness School 4 Malik Jibran Tariq Wilderness School 5 Asif Haider Islamia Collegiate School 6 Muhammad Haris Iqbal Islamia Collegiate School 7 Khushhal Khan Islamia Collegiate School 8 Hira Aswad Ali Govt. Junior Model Pilot School 9 Marium Qadeer Govt. Junior Model Pilot School 10 Ayliya Abidi Fatimaya Education Network 11 Zeb Fatima Nanji Fatimaya Education Network 12 Sarim Bajwa Beaconhouse School System (Boys Branch) 13 Abdullah Zafar Beaconhouse School System (Boys Branch) 14 Hina Ahmad Beaconhouse School System (Girls Branch) 15 Neha Russel Beaconhouse School System (Girls Branch) 16 Abida Safder CDG Girls High School, Paisa Akhbar 17 Aqsa Zahoor din CDG Girls High School, Paisa Akhbar 18 Jameela Shaheen Sanjan Nagar Public Education Trust Girls Higher Secondary School 19 Rabia Shoaib Sanjan Nagar Public Education Trust Girls Higher Secondary School 20 Ayesha Zaib Sanjan Nagar Public Education Trust Girls Higher Secondary School Teachers Serial Name School 1 Ms. Rakshanda Ovais Fatmiyah Education Network Shareef 2 Mrs. Farhat Sultana Govt. Junior Model Pilot School 3 Mrs. Fahmida Govt. Junior Model Pilot School 4 Mr. Mubeen Yazdan Khan Govt. Model high school 5 Mr. Asif Naveed Khan Yazdan Khan Govt. Model high school 6 Mr. Syed Junaid Ali Wilderness School 7 Mr. Adnan Maqbool Beaconhouse School System (Boys Branch) 8 Mr. Samir Nizami Beaconhouse School System (Girls Branch) 9 Ms. Saima Shaukat Sanjan Nagar Public Education Trust Girls Higher Secondary School, Lahore 10 Ms. Rabia Sarfraz CDG Girls High School, Paisa Akhbar, Lahore 11 Mr. Khalil ur Rehman Islamia Collegiate School Reprsesentatives from ITA = 5; Representatives from SAHIL = 2 Representative from Strengthening Participating Organization (SPO) = 2 & Representative from Interactive Resource Centre (IRC) = 2

Inside Out – A Day of Learning in the Open City 21 Cathedral Church

Seen across the Shaharah-Quaid-e-Azam (the Upper Mall) from the High Court, is a contemporary stained glass tower which marks the entrance to one of the most important neo-Gothic buildings of the city—the impressive Cathedral Church of the Resurrection.

The cathedral is set well back from the road, but you will enjoy walking up the long drive, full of old trees and wonderful ambiance. You will admire the residence of the bishop, the well maintained quaint bungalow, which adds to the 19th century aura of the place. The sprawling compound, containing the looming towers of the cathedral, provides a haven in the middle of the bustle of downtown Lahore.

The story of the establishment of the Anglican Church in the Punjab can be traced to the first chapel that was set up in Lahore Fort, in the once sumptuous Diwan-e-Khass of Emperor Shahjahan with the altar occupying the eminent position once reserved for the most celebrated of the Great Mughals.

Once the Punjab had been brought fully under subjugation, a church was established in another historic building, the —the tragic heroine of the famous romance between the beautiful court attendant and the Mughal prince Salim, later Emperor Jahangir. As the ruling population in the city grew—the number of local Christians also increasing due to the efforts of missionary organizations—it became essential to move from the limited space of the tomb to a specially designed cathedral. Also, after the laying out of the Upper Mall and the shifting of Anarkali Cantonment to , Anarkali's tomb became redundant due to its location and small size.

By this time Lahore had emerged as the hub of several railway lines, and the city grew rapidly due to an influx of British administrators and experts arriving to administer the province as well as the railways. Accordingly, a site was chosen on high ground that lay between the Upper Mall and Mcleod Road. The Upper Mall provided easy accessibility from the civil station of Anarkali in north west and Government House and Mian Mir Cantonment in the south and southeast, and Mcleod Road linked the Railway Station and Railway Colony established at Naulakha in the northeast.

Although the foundations of the cathedral had been sunk, the work was stopped in December 1867 when the Punjab was constituted a separate diocese. It was decided to enlarge the building into a "larger church fitted as a cathedral, with library, chapter house, etc." Oldrid Scott, the son of the celebrated architect Gilbert Scott whose neo-Gothic exploits had become the rage of London and Bombay, was commissioned to design the new cathedral. The work was carried out in an unusual combination of fine brickwork and grey stone which was procured from the Taraki quarries beyond Jheulm.

The church designed in "decorated early English style" has a footprint 226' in length and 152' in breadth. Although it was only partially completed, it began to be used in 1885, while its two large saddleback western towers, were completed much later. The two Norman towers guarding the main entrance once carried tall steeples, which were taken down for safety reasons after the earthquake of 1911. Both the weathercock and the lantern tower that it topped are no longer extant; however, the name Kukkar Girja (Rooster Cathedral) that it is referred to in local parlance survives. The ringing bells are in the southwest tower. The Cathedral guide-book says 'Originally the frame for the bells was made to accommodate eight, but only six of them arrived from England. They were cast in 1903 by John Taylor & Co. of Loughborough. The largest bell is about 1 ton in weight and when in use, the foundations used to vibrate.' Lahore Cathedral is famous for its cross erected inside the cathedral and its stained glass windows, bells, pipe organ and a clock from 1862 which rests in the top floor of the northwest tower, disused, with a clock bell hung from a portion of the clock-case. The bell has radial angular canons from which it is hung.

Details below: http://www.ualberta.ca/~rnoor/sites.html

Allama Iqbal's Tomb

Inside Out – A Day of Learning in the Open City 22 Hazuri Bagh and Baradari

Hazuri Bagh, lined with cloisters for mendicants and holy men, was built as a forecourt for the grand mosque. The Hazuri Bagh pavilion that dominates the centre of the quad was built by Ranjit Singh. Opposite (south) is the Hazuri Bagh Gate, which was built as part of a boarding house for scholars and students attached to the mosque. An impressive gateway in the east, the Alamgiri Gateway, was built specially and oriented in the direction of the mosque to provide suitable emphasis when entered from the citadel.

Once known as Serai of Aurangzeb, the Mosque forecourt would be thronged by the cavalcade of the emperor when he came to offer his Friday prayers at the grand mosque. Hazuri Bagh provided the stage on which the pomp of the Mughal emperor was showcased, his train a throng of mace-bearers, omerah, grandees and nobles. The traveler Francois Bernier recorded that the way from the citadel, would be lined by hundreds of soldiers in their dazzling uniforms making a glittering passage for the emperor.

The entrance to the mosque with its lofty plinth, makes it imperative to climb its 22 steps to reach the platform, and provides a foretaste of the grandeur within the mosque enclosure.

The Mughalised attractive marble baradari adorning the Hazuri Bagh was put together on the orders of Ranjit Singh in 1818 to celebrate the capture of the famous Koh-i-Noor Diamond from Shah Shuja of . Its Mughal character is beholden to the material removed from Mughal monuments and reused here.

The pavilion was constructed in 1818 and originally consisted of a basement and two storey above ground. Elegant carved marble pillars support the baradari’s delicate cusped arches. The central area, where Ranjit Singh held court, has a mirrored ceiling. Both the garden and the baradari, originally a 45-foot, three-storey square with a basement approached by fifteen steps, suffered extensive damage during the fratricidal Sikh wars and was only reclaimed and laid out according to the original plan during the British period. On 19 July 1932, the uppermost story collapsed due to heavy rainstorm and lightning. Because of a paucity of funds the top storey was never restored; however, the first floor marble fretwork balustrade, which had also been severely damaged, was rehabilitated three years later.

From contemporary illustrations the design of the top storey is evident: a chamber punctured by cusped arch openings, set in the middle of a large terrace and well set back from the edge of the ground floor roof.

The Baradari was the focus of regal displays during the Sikh rule. Although the takht (or throne) was the citadel, Ranjit Singh used the venue of the baradari for conducting functions of state. After his death, the pavilion continued to be utilized by his successors.

Allama Iqbal's Tomb

Inside Out – A Day of Learning in the Open City 23

Outside the Badshahi Mosque in the Hazuri Bagh on the southeast of the main gateway of Badshahi Mosque stands the imposing , Pakistan's national poet. It took thirteen years to complete. It was designed by Nawab Zain Yar Jang Bahadur, the chief architect of Deccan.

Soon after the death of the poet in 1938, the Iqbal Tomb Committee, presided over by the late Chaudhry Muhammad Hussain, approached eminent architects to design the tomb, but they were dissatisfied with the results. The president expressed a desire that the monument, like Lahore's great works of , "should aim at the expression in stone of the self." The committee was of the opinion that the designer, instead of copying architectural models of the Mughal period, should derive inspiration from Afghan interpretations of . Consequently, the present design, a mixture of Afghan and Moorish architecture, was approved by the committee.

Many difficulties had to be overcome before the actual construction was begun. The British government delayed approval of the project. Then, funds had to be raised from contributions from the poet's friends, disciples, and admirers. Construction halted for a long time after Independence, when the import of red sandstone from and marble from Makrana in Rajputana (India) was temporarily stopped.

The mausoleum has two gates with teak frames inlaid with marble. The taweez of the tomb, done in lapis lazuli, the most expensive architectural stone in Afghanistan, is a gift from the Afghan government. On the inside walls of the mausoleum are written six couplets of a of the poet from Zabur-e-Ajam which epitomize the message of Iqbal.

Inside Out – A Day of Learning in the Open City 24

Badshahi Mosque

Built by the last of Great Mughals, Aurganzeb, it is among the largest in the world. No doubt Aurangzeb, well-known for his piety, was fulfilling an urge to pay the most impressive tribute to God in the form of a grand mosque. Inspired by the of Delhi and , which predate it, the Badshahi Mosque is even more massive than they are.

Aurangzeb entrusted the mosque to Fidai Khan Koka. Above the arched entrance are many small turrets of red sandstone and marble. A tablet of white marble on the outer face of this entrance has the following inscription (besides the Kalima): "The mosque of Abu Zafar Mohiuddin Muhammad Alamgir, the Ghazi King, completed under the superintendence of the humblest servant of the household, Fidai Khan Koka, in 1084 AH".

Its exterior walls are painstakingly decorated with sculptured panels. Each corner is marked by a square tower capped with a red sandstone turret with a white marble cupola. The white-capped turret idea is repeated on a larger scale atop the 176-foot which mark the corners of the mosque. These have 204 steps each.

In the chambers above the gate of the mosque are housed relics attributed to the Holy Prophet of Islam, his daughter and his son-in-law. These are said to have been brought to the subcontinent by Amir Taimur. The relics include a green turban, a cap, a green coat, white trousers, and a slipper worn by the Prophet Muhammad (PBUH), the mark of his foot impressed on a sand- colored stone, and his white banner, with verses of the Holy Quran embroidered on it. The Mosque was built at a cost "exceeding six lakhs of rupees," according to Khulasat-ul-Tawarikh by Sujan Rac.

The courtyard of an immense size 530'x530', dazzles you with its vastness as you enter the peshtaq of the east portal. The prayer chamber is placed on a raised platform, in the tradition of mosques built during Shah Jahan's period, which itself forewarns you regarding the immense scale of this mosque. The mosque allows over 60,000 worshippers to pray at any one time. The prayer chamber possesses three grand, bulbous marble domes. The prayer chamber measures 276 feet by 83 feet. It has a large central vault with five subsidiary arches on each side and four small octagonal minarets at the corners. The main entrance to the prayer chamber, with three central vaults, is paneled and enriched with marble inlay in lineal floral and geometrical patterns. The marble domes have a refined curvature constructed at the neck. The diameter of the central ,

Inside Out – A Day of Learning in the Open City 25 which is higher than the rest, is 62 feet 10 inches. It is 69 feet high. The domes are crowned with spires of richly gilt brass. The floor of the vast court was originally paved in cooling brick laid in prayer carpet shapes and bordered with black stone but is now replaced with red sandstone.

Eighty cells (hujras) built into the walls were originally study rooms. The British demolished them in 1856 and rebuilt to form arcades. The splendid mosque structure was subjected to severe damage when it was used as a magazine for storage of military stores. During the inter-Sikh wars, in 1841 used the minarets for zamburahs or light guns to bombard the supporters of Maharani in the besieged fort, inflicting great damage to the fort itself. The earthquake of 1840, where it damaged portions of Shah Burj, also shook and damaged the minarets so that the top storey of the minarets was also lost. Due to major reconstruction, the damaged portions have been reconstructed. Today, tastefully lit up at night, it presents a fairy tale appearance composed as it is of an enormous Timurid aiwan gateway, multi-foiled arch arcading, deep alcoves, bulbous white domes and tall belvedere topped minarets.

Lahore Fort

Inside Out – A Day of Learning in the Open City 26 Lahore Fort is located at an eminence in the northwest corner of the Walled City. The citadel is spread over approximately 50 acres and is trapezoidal in form. Although the origin of this fort goes deep into antiquity, the present fortifications were begun by Mughal Emperor Jalaluddin Muhammad . There is evidence that a mud fort was in existence here in 1021, when Mahmud of Ghazni invaded this area. Akbar demolished the old mud fort and constructed most of the modern fort on the old foundations. The fort's mud construction dates back to the early Hindu period. The fort is mentioned in connection with Muhammad Sam's invasions of Lahore in 1180, 1184, and 1186. It was ruined by the Mongols in 1241, and then rebuilt by Balban in 1267. It was again destroyed by Amir Taimur's army in 1398, to be rebuilt in mud by Sultan Mubarak Shah in 1421, then taken and repaired by Shaikh Ali. The present fort, in brick and solid masonry, was built during Akbar's reign between 1556 and 1605. Every succeeding Mughal emperor, as well as the Sikhs and the British, added a pavilion, palace, or wall to the Lahore Fort, making it the only monument in Pakistan which represents a complete history of Mughal architecture.

Hindu, Sikh temples in state of disrepair

By Shoaib Ahmed

LAHORE The city’s oldest temple, dedicated to its founder Loh, is in atrocious condition in the Lahore Fort and has been closed to the public for years. A Sikh temple in the Fort is also deteriorating and has been closed for a hundred years, sources in the Archaeology Department told Daily Times.

According to legend, Loh was one of the two sons of Rama, the hero of the Hindu epic Ramayana, and the founder of Lahore. Rama’s second son, Kash, founded Lahore’s sister town of Kusa-war, or Kasur.

Loh’s temple is near Alamgiri Gate besides the Fort’s old jails. The temple was closed until 1985, during General Ziaul Haq’s regime, because the jails were controlled by the police and civilians weren’t allowed in, the sources said. After that the temple was opened occasionally for visits by Fort officials. But in 1992, after the Babri Mosque in Ayodhya was razed, the temple was closed because of the threat of vandalism, the sources said.

They said local and foreign Hindus had often tried to visit the temple but found it closed. An introductory plate giving visitors information about the temple was once fixed next to it, but has now been removed. Asked why the temples were closed, a guard at the Fort said it was by order from above.

Magicians consider the mud around Loh’s temple very powerful. Pirs and magicians send their clients to get mud from around or inside the temple to make potions.

The Sikh temple in the fort was built during Maharaja Ranjeet Singh’s rule of Lahore. Located outside the Shish Mahal, the temple has been closed for a hundred years.

A Fort spokesman told Daily Times that Loh’s temple was closed for repair. The Sikh temple, he said, was closed because there was “nothing to see” on the inside. He said the temples were closed because of the fear of vandalism.

With permission from the Fort administration, Daily Times entered Loh’s temple. The employee who led us inside said it was the first time he had been there in his 22 years working at the Fort.

The temple was dirty inside. Thick spider webs covered the walls and it smelt bad. There were no signs of repair work being carried out.

Inside Out – A Day of Learning in the Open City 27 Daily Times was not given permission to enter the Sikh temple. The chipped door to the temple is barred with a rusted lock. The stairs leading to both temples have been destroyed, so there is no easy entrance.

The sources said the Sikh and Hindu communities had officially and unofficially asked the Fort administration to open their temples. Sikhs from , which is near the Fort, even offered to pay for the renovation of their temple, but they received no response to the offer, the sources added.

There are two huge gates in the fortifications, one each in the middle of the east and the west sides. The western gate, known as Alamgiri Gate, is presently used as the main entrance; however, plans are afoot to open the eastern gate, the Fort's Masjidi Gate, to the general public as well. The Masjidi Gate, built in 1666 during Akbar's reign, was the original entrance to the fort and faces the historic Maryam Zamani Mosque. Alamgiri Gate, a magnificent double-storey gate, was built by Emperor Mohiuddin Aurangezeb Alamgir in 1673 and faces the grand Badshahi Mosque and opens into Hazuri Bagh. The imposing semicircular bastions flanking the gateway have lotus petals at their base and are highly fluted, crowned with small, graceful domed kiosks. The fortification wall is built of small burnt bricks strengthened with semicircular bastions at regular intervals.

For access to the present entrance, from Circular Road (road encircling the Walled City) you should take a turning south, opposite the famous Minar-e-Pakistan tower dominating the expanse of Iqbal Park or Minar-e-Pakistan Park (formerly Minto Park). The wall that you will notice from the Circular Road is the Sikh Period perimeter wall, beyond which the original Mughal fortification wall is visible. The road leads to Hazuri Bagh and Badshahi Mosque. As you enter the Hazuri Bagh perimeter, you will find the massive Alamgiri Gate on your left side. Before entering the Hazuri Bagh, if you turn your attention to the Mughal fortification wall, you will be able to enjoy a spectacular -mosaic mural wall, extending to nearly 1500 feet and about 55 feet high. This is the famed Pictured Wall of the Great Mughals, of which the Hathi Pol-the lofty Shahjahani Gateway—is an integral part. This gateway allowed the royal entourage on elephants to enter the citadel, traversing the elephant ramp that terminates at the forecourt of Shah Burj. The Pictured Wall, so labelled by archaeologist Ph. Vogel in his monograph, extends the whole length of the west fortification wall, with belvederes situated in the Shah Burj including the famous Naulakha Pavilion visible from the lower level. The view from below hardly prepares you for the spectacular structures you will find when you enter the Shah Burj quadrangle.

The mural wall turns the corner and continues as the north fortification wall, with several pavilions situated on the top and overlooking the north aspect—this is the area where once the waters of the Ravi washed the foundations of the fortification wall. This is where a promenade with beautifully laid out gardens by the river bank, along with spaces where elephant and other animal fights were held for the amusement of the royal family and the courtiers watching from an eminence. The Pictured Wall is a spectacular display of Mughal court life and is a remarkable mural, the only one of its kind in the world. where most of the northern wall was rendered in tile mosaic (kashi) during Jahangir's reign, part of the north wall, under Shah Burj and the whole of the west wall is the work of Shah Jahan. Interestingly, the same architect, Abdul Karim Mamur Khan, was employed by Jahangir and during the early part of Shah Jahan's reign, a fact which was instrumental in bringing harmony to the two sections. However, if examined carefully, certain differences can be seen between the walls of the two periods.

The citadel is divided into different sections, each creating its own world within its quadrangle, but they are all interconnected for ease of administration of the fort. In the various sections of the citadel you will be able to enjoy the contribution of successive —at least three of the Great Mughals are represented within the confines of the citadel, namely Akbar, Jahangir and Shah Jahan. The fourth, Emperor Aurangzeb Alamgir, although he built outside the citadel, constructed the impressive Badshahi Mosque and, like the other three left an indelible architectural mark on the cultural map of Lahore.

Maidan Diwan-e-Aam (Garden of Public Audience) located in the south of the citadel, is the earliest and the most important element of Mughal court ceremonial spaces. Its generous dimensions of 730'x460' providing an arena of enormous scale once framed by a perimeter of cloisters, it allowed the pageantry of the Mughal court to be enacted with extraordinary splendor. The cloisters—numbering 114 according to historian al-Badayuni—and dated to Akbar's period, are no longer extant, their foundations alone defining the garden today. Much damage was caused during the Sikh occupancy and Inter-Sikh wars, and after annexation many cloisters were demolished to construct European artillery and infantry barracks when the Mughal fort served as a British cantonment. From the garden you can see the British ceremonial steps lining the southern edge, leading down to the road considerably below its ground level. Although intended as a grand entrance to the fort when the Mughal wall was demolished to

Inside Out – A Day of Learning in the Open City 28 make way for the grand steps, this entrance is no longer used.

Diwan-e-Aam dominates the centre of the north periphery of the garden and carries the focus of all activity, with the marble Jharoka or throne gallery projecting from its rear wall. The Diwan-e-Aam is constructed on a raised platform bounded by a stone katehra or railing. The hall measures 187 feet by 60 feet and rises to a height of 34 feet. On the second storey, there are beautiful cusped marble arches at the back of the building, looking down to Jahangir’s Quadrangle. During the reigns of Akbar and Jahangir, the Diwan-e-Aam consisted of a triple canopy of velvet to provide protection from the sun while the floor was covered with rich carpets. However, among the first orders given by Shah Jahan as emperor was the instruction to replace the velvet canopy by a wooden hall. Soon after, however, a sumptuous chihil stun (40-columned hall) was ordered both in Agra and Lahore. While Shah Jahan's Agra Diwan-e-Aam survives, only the Columns and footprint of the one at Lahore are original—the superstructure arches and roof being a British reconstruction.

The takht-jharoka or throne gallery which is located a few feet above the ground and projects into the Diwan-e-Aam is Shahjahani structure, as is the structure in the rear, the Daulat Khana-e-Khass-o-Aam, overlooking the royal residential quad—Jahangir's Quadrangle situated in the north. Today, the takht-jharoka is accessible to all. After climbing a few steps you might like to contemplate the aura of days gone by. In your imagination you could conjure up the scene of the Great Mughal's court. For it is the Diwan-e-Aam, and its garden that became the stage on which the pomp and grandeur of the Mughal Empire was exhibited. The cloisters were decorated with costly shawls and carpets, each of the grandees competing to outdo the one next door, with the garden itself dotted with silver pavilions of the princes and costly tents of the grandees, lined with velvet, damask and taffetas.

In the Diwan-e-Aam, a portion of the original Mughal floor—brick flooring of 'old Lakhauri brick'—is distinguishable from the remaining floor. The original red stone poly-faceted column shafts, and the multifoil arched bases that had supported the original roof have been re-used in the . You will notice a great deal of similarity with those used in Akbari architecture when you visit Jahangir's Quadrangle. The comparatively simple faceted concave capitals that you see here were transformed into elaborate stalactite capitals beautifully rendered with inlay etc. when Shah Jahan's Shah Burj was later built.

Daulat Khana-e-Khass-o-Aam is accessed by following the steps to takht-jharoka. It is a building cleverly placed to provide transition from the highly public area of the Diwan-e-Aam to the private residential apartments of the imperial . The throne jharoka, overlooking the Diwan-e-Aam in the south, is set above the human height to ensure an elevated position for the emperor. 8'6" in length and projecting 4' from the wall, the elegant and regal jharoka, with its railing of delicate sang-i-murmur (white marble) is roofed over with an elegant sloping chajja and saddle-backed dome. The 4' wide galleries on the two sides of the jharoka, seem to have extended the whole length of the Daulat Khana, acting as a viewing gallery for court proceedings by the imperial female entourage, no doubt seated behind screens. The building dated to the Shahjahani period was much mutilated during later rules. Consisting of a core of vaulted chambers—the central one an elongated octagon opening into an open-fronted aiwan—the Daulat Khana is bordered by an arcaded verandah circumambulating its three sides. It is a largely arcuate structure sporting, from a simple coved roof, shallow domes on in verandah bays to more complex vaults. From the first floor of the building you can enjoy the freshness of the quad on the north, a chahar bagh bounded by royal pavilions— the of Emperor Akbar. Originally there may have been an access staircase to descend into the quad. However, it is no longer extant. Few of the original decorative elements in the building are now extant—indiscriminate Sikh over-painting and British 'military whitewash' having camouflaged most of the Mughal evidence. There is little doubt that at one time all surfaces were profusely ornamented. In spite of the loss of surface decoration, evidence of the sumptuous rendering of structure and surfaces can still be seen. On the north verandah, there are two sets of beautifully sculpted seh-dara (3-bay) ensembles consisting of a combination of white marble double-column shafts, and grey-black stone base and ornamental brackets. They are original Shahjahani elements, as are the marble dadoes (izara) with courtly inlay borders of double black lines and of multi-colored inlaid zigzag (chevron) design.

Makatib Khana is located in the northwest corner of the Maidan Diwan-e-Aam. Since there is no access to any quadrangles from the Daulat Khana-e-Khass-o-Aam, you will need to climb down the royal throne steps to return to the Diwan-e-Aam. Makatib Khana is the only inscribed Jahangiri building (1027/1617-18) in the fort, and is well worth a careful examination. It was designed by one of the most accomplished Mughal architects—Abdul Karim titled Mamur Khan, a favourite of both Jahangir and Shah Jahan. Placed ingeniously, this introverted building on the one hand faces the highly public garden (Maidan-e-Diwan-e-Aam) to the east, and on the other provides access to the select quad-precinct of the Moti Mosque located to the north, an area also accessible from several royal apartments located in the northern belt of the citadel. The eastern facade, with its low level arcade, no doubt designed to relate to the height of extinct cloisters bordering the maidan, carries a tall aiwan (portal) in its centre. The inscription above the portal, while ascribing the building's construction to 1027/1617-18, "the twelfth year of Jahangir's accession by the devoted servant Mamur Khan," describes it as "the building of this daulat khana". This structure is conjectured to be part of a group of royal mansions on which the princely sum of seven lakhs Rupees was expended, and which were much acclaimed by

Inside Out – A Day of Learning in the Open City 29 Emperor Jahangir in his delightful memoirs. The east arcade facing the maidan incorporates raised platforms likely to have been used as sitting places—indicating their use for news writers, mentioned by the traveler Montserrat as noting down the daily court events. As you step down into 62 ' square internal courtyard, you will find it framed by low-height arcade-like bays on all four sides. The centers of two of these are accented by tall arched recesses and the remaining two by gateways, providing access to east and north mentioned earlier. The arcaded bays employ single-storey, wide pointed arches and accommodate platforms a couple of feet above the courtyard floor, possibly also for the use of scribes. You will find no trace of stone, since Mamur Khan selected the common brick as his basic building material, which once treated with chunam, a polished lime plaster, lent itself to a remarkable array of surface decoration. However, today little of the once dazzling decoration employed as an integral part of the architectural countenance is in evidence. However, a few decorative fragments of colorful based on floral and vegetal themes can still be seen—some in the aiwan ceiling and mucfarnas (stalactite squinches) as well as some in the courtyard alcoves. Makatib Khana leads directly into the Moti Mosque Quadrangle and to the celebrated sang-e-murmur (marble) Moti Masjid, or the Pearl Mosque.

Haveli of Mai Jindan dominates the eastern periphery of the Moti Mosque Quadrangle. Mai Jindan, (Chandan or Chand Kaur), was the mother of the infant Sikh ruler, Dulip Singh. This two-storey building may have originally been a Mughal structure, however, it is considered a Sikh structure due to large-scale additions by the Sikhs. The building now houses a collection known as the Princess Bamba Collection. This is the building where according to Fakir Qamruddin, during the Sikh War of succession the gruesome murder of Rani Jindan took place.

Jahangir's Quadrangle was begun by Akbar and completed by Jahangir in 1618 and contains some of the earliest Mughal structures in the fort. The area is part of a belt of quadrangles and suites lining the northern periphery above the Mughal fortification wall, and was dedicated to strictly imperial usage. Jahangir's Quadrangle, a quad consisting of royal apartments and a harem sera, was placed in a secure corner of the citadel to ensure the safety and security of the zenana. Also, since the river Ravi once flowed at the foot of the north fortification, the view from the royal quads, overlooking the vast countryside beyond, would have been spectacular.

Most of the buildings around this quad are built upon subterranean chambers, particularly those bordering the quad's northern, eastern and western peripheries. From recent studies, it can be inferred that the east and west suites were built at the same time as the subterranean chambers below them, pointing to Akbar as the architect of the imperial chambers.

The represent the best of Akbari architecture in the region that is now Pakistan. In fact in the rendering of the sculpted imagery in the struts, they surpass the elements found anywhere else in the subcontinent. While there are many elements that are evocative of those employed in Agra or , there is little doubt that as the last capital built by Akbar, Lahore represents the high point of Akbari architecture in view of the experience gained by Akbari architects and crafts persons while building the earlier capitals.

Jahangir's Quadrangle, 372' x 245' in size, is the largest of all quads, except the Maidan Diwan-e-Aam. In the rectangular quadrangle is set a chahar bagh (paradisiacal garden) with parterres and walkways, cooled by an enormous hauz (tank) and an array of fountains. The central chabutra (mahtabi) or platform, accessed by narrow causeways provides a delightful seat elevated above the water reservoir to enjoy the amiable surroundings. A wonderful fairy tale scene setting decorated with oil lamps (diyas) and candles, was witnessed as late as 1843 by the Prussian Von Orlich when he visited the Sikh durbar.

During the British period the suites in the quad were converted into officers' accommodation, and greatly altered with additions made to cater to military requirements. At the time, the vast space of the original roya 1 quad was utilized to build several new structures consisting of 'cook rooms' and school rooms.

Haveli of Kharak Singh, the heir to Ranjit Singh, occupies the southeast corner of Jahangir's Quadrangle. No doubt it was due to its having been utilized by the heir to the Sikh throne that after the British occupation the first floor was considered suitable for the 'Commandant's Quarters', while the ground floor was used as 'godown and servants' house.

The first floor is presently used by the Archaeological Survey offices and ground floor accommodates the Archaeological Library, a remarkable storehouse of antiquarian books. If you have time, it is worth entering the library, since you are allowed to browse through the collection. The whole southern periphery of the quad would also have been lined with suites similar to the porticoes lining the eastern and western edges of the quad. Today, the surviving red stone seh-dara alone provides the clue to the ancient lineage of the structure.

Inside Out – A Day of Learning in the Open City 30 Mashriqi and Maghribi Iwans (East and West Chambers), built by Akbar, define the quad's eastern and western borders. These symmetrically arranged chambers are the most spectacular of the quad buildings. Originally lined with five iwans or suites on each side, each unit is identified by original distinctive features—the red sandstone seh-dara (three-doorway unit) dalan porticoes. The seh-daras carry exquisitely carved columns and the roof chajja is supported by striking sculpted struts composed of the much- acclaimed figures of elephants, griffins and peacocks. Although the seh-dara is a trabeated structure—using beams and struts of stone—the rooms themselves demonstrate arcuate construction techniques in red Lahori brick which were utilized with great effect to produce lofty vaulted spaces and arched apertures.

Some rooms show simple fresco decoration, though in view of the damage inflicted upon these chambers by various rulers, including present-day custodians, it is difficult to distinguish and identify the original elements.

Mashriqi and Maghribi Suites are identical two-storey, detached graceful mansions located at the northeast and northwest corners of Jahangir's Quadrangle. They are of greater height and the east and west chambers and carry greater refinement in the execution of architectural elements. Although they are placed in continuity of the remaining iwans on either side, from their unique character and elaborate ornamentation of structural elements, it is evident that these mansions were reserved for the more illustrious members of the royal household—the queen mother or a favourite empress—or a favourite daughter such as Shah Jahan's eldest Jahan Ara Begam. Surely these mansions were the place where edicts would have been brought to be stamped with the royal seal, which was always in the custody of the most powerful royal lady of the day.

These mansions provide a delightful opportunity, to experience the most exquisite carving of the Akbari period. The polyfaceted, double-storey columns on multifoil bases of the deep set portico, and the moulded and carved brackets supporting the soffit of the deep sloping chajja (overhang or projection), are all incised with a delicate overall pattern. The most stunning of all are the flamboyant, 2-stage highly figurative struts, based on animal imagery, to support the deep eaves.

In each of the mansions, flanking the seh-dara are two projecting semi-octagonal balconies, with their bases elaborately fashioned out of innovative brick corbelling. Faint traces on the of these provide evidence of the once highly decorative, embellished and gilded fresco work.

It is worth entering the seh-dara portico of the east suite since you will find an interesting two-level mezzanine arrangement in the portico. From the portico you can view the vaulted rear chambers, and gauge the splendour and loftiness of the accommodation.

Khwabgah-e-Kalan (Bari Khwabgah) is a detached single-storey arcaded palace building located in the centre of the chahar bagh overlooking the north aspect of the fort. Through its rear openings could once be viewed the verdant surroundings bordering the river Ravi. Today, the Ravi, having receded, is no longer visible, while the Bari Khwabgah (Great Chamber of Dreams) is a much disfigured version of the original building attributed to Jahangir.

In view of the evidence of historical sources regarding Jahangir's habit of rebuilding on the foundations of buildings constructed by his father, Emperor Akbar, the Jahangiri palace itself is likely to have been built upon the walls of an earlier palace or khwabgah, below which lie the subterranean chambers attributed to Akbar.

The current building presents a 19th century remodelled veranda in the front, while the 3-chamber arrangement in the rear with thick walls, vaults and squinches is indicative of original construction. During the British occupation of the fort, new constructions totally camouflaged the original structure and for a time, the building was thought to have been constructed by the Sikhs. However, after the removal of various additions, the building was taken in hand and was 'restored'. The pointed arches as part of the reconstruction effort were believed by the 'restorers' to be Jahangiri architectural expression, but really have no affinity with Jahangiri architecture.

You may not be able to view the interior of the building, since it is utilized as a museum and is open during fixed hours only. However, it is worth timing your visit to the fort so that you are able to view the collection. The interior is also worth a visit to examine the original arcuate construction of the chambers, in which evidence of fresco work on qalib kari (stalactites) can also be seen.

Bangla Pavilion is often mentioned as a Sikh structure, it is more likely to have been of Jahangiri origin. Flanking the Khwabgah- e-Kalan were once two 3-chamber structures, carrying bangladar roofs. Only one of the pavilions is now extant. Its echo, the western pavilion having been lost during the 19th century, its location in dotted lines is indicated on maps prepared by H.H. Cole in the late 19th century. In the absence of any recorded evidence, these pavilions could well have been among the 'sitting places' that Jahangir mentions in his memoirs with evident enthusiasm.

Inside Out – A Day of Learning in the Open City 31

The location of these pavilions, in close proximity of the royal Chamber of Dreams, the khwabgah, overlooking the north fortification wall as well as enjoying a view of the chahar bagh of the Quadrangle, confirms their significance as royal apartments. The large hall has a seh-dara arrangement on the south, although the architectural vocabulary is disparate from the seh-daras seen in Akbari iwans. The columns are simple and are similar to the ones noticed earlier in the Makatib Khana east arcade.

The bangladar roof of the pavilion is also worth noticing, since the central unusual roof line is combined with flanking shallow domes. Although most of the decorative features are lost, traces of fresco, mainly consisting of floral themes and human figures influenced by European imagery, will be found that are indicative of Jahangir's artistic preferences.

It is unclear how the pavilion was utilized. Historical sources are silent on the usage of these pavilions. Were they belvederes for enjoying the cool evening breeze, or did Jahangir utilize these as Jharoka-e-Darshan (or Bangla-e-Darshan) as he did at Agra? If Jahangir did build the khwabgah and the two bangla pavilions, it is likely that his famous rassi-e-adal (the chain of justice) consisting of pure gold 30 yards long carrying sixty small bells, would have been attached to the domed kiosk of the adjacent burj (tower). He might well have appeared for darshan (public viewing) in the lost bangla pavilion.

Zenana occupies the southwest corner of the quad in a highly damaged state. A Sikh-period map identifies it as a bath (hammam). It is likely that this is the hammam that was built for the use of the imperial female entourage of the emperor—the imperial zenana.

Shah Jahan's Quadrangle, located on the left (west) of Jahangir's Quadrangle is a much smaller 150' x 150' square. The quad incorporates a chahar bagh, its four sections divided with walkways and central axis marked by a 31' x 31' marble platform incorporating a water reservoir (hauz). A 19th century account by Ph. Vogel describes a silver gilt pavilion that was placed on the platform. As in the case of many Sikh ornaments and bric-a-brac, the silver pavilion was sold by auction by John Login in 1848 after he took over the fort as governor.

In view of the number of buildings named after Shah Jahan or attributed to him, along with evidence of his favorite building material—white marble—being utilized in buildings as well as in paving and garden platforms, it is evident that this was among the favorite residential areas for the emperor on his visits to Lahore. The marble paving is no longer in place since it was stripped and taken to be utilized in the new church built at Mian Mir during the 1850s.

The quadrangle is bordered by a building known as 'Khwabgah-e-Shahjahani', contiguous to which is the royal hammam, while the northern periphery is dominated by the elegant white marble pavilion known as Diwan-e-Khass.

As in the case of the earlier Jahangir's Quadrangle, the northern periphery boasts the most important structure in the quad, an elegant white marble baradari marking the central axis—known as Diwan-e-Khass. This building is sometimes referred to as Chotti Khhwabgah or Khwabgah-e-Khurd (Minor Sleeping Chamber). Although reconstructed due to damage caused to it during the Sikh rule, the baradari probably retains much of its original character.

Diwan-e-Khass, the marble pavilion of exquisite beauty, was in the past referred to as Chotti Khwabgah, also as Khwabgah-e- Khurd (Minor Sleeping Chamber)—the name khwabgah most probably being an appellation given by the Sikhs. The building also did duty as the garrison church during the British occupation of the fort, when the elegant fountain and the marble screens in the north were filled with concrete. At the time a baptismal font was placed in the central alcove, a place which 19th century archaeologist Henry Cole noted, "Shah Jahan would most likely have selected for his couch to catch the air through the marble lattice." The building was reconstructed during the British period restorations, utilizing the original elements, but it is likely that the roof structure was modified during reconstruction.

Most scholars agree that this is the sangi-i-murmur pavilion which Shah Jahan came to inspect in the fort in 1645, since this is the only extant building built entirely of marble (except for the Moti Mosque) which overlooks the river.

With an almost square footprint 52' x 52', there are an equal number of arched bays on all four facades. The north aspect sports massive wall-like piers which form vaulted alcoves, while the remaining portion of the building carries a coved roof supported on classical Mughal columns. Due to its hypostyle character the pavilion has an elegant transparent air.

When the Ravi flowed along the north fortification wall, the cusped arched openings on the north, carrying marble geometric fretwork screens incorporating viewing windows would have provided a delightful prospect.

Inside Out – A Day of Learning in the Open City 32 Also worth examining are the poly faceted columns and stalactite capitals. Also of note is the beautifully crafted scalloped white marble fountain—a neat device to cool the air wafting in through the open pavilion. Its basin hollowed out in the floor of the central bay, though ravaged, still contains vestiges of courtly pietra dura. The flooring is also neatly executed, and the fine black inlay pattern in white marble in the flooring of the two alcoves is a treat. You might also like to notice the fine pietra dura work in the parapet encircling the building.

If it is Shah Jahan's Diwan-e-Khass, this is where the emperor would review the petitions of subehdars (governors) through wakil (an advocate) or wazir (a minister) once they had been processed by the royal prince in charge of correspondence, and before sending them to be stamped by the royal seal. The seal would be in the custody of the emperor's first born Begam Sahib Jahan Ara Begam, his wife Mumtaz Mahal having passed away before this was built.

As you look down from the viewing windows of the Diwan-e-Khass, immediately below you will notice a dilapidated structure, used as a stable during the British Period. This is labeled Arzgah on Sikh period maps, referring to it as a platform from where petitions and complaints were heard in public by the ruler. Although it is likely to be a Mughal Period structure its date is uncertain—its walls having no bond with the fortification wall against which it is constructed, indicating its construction at a later date than the north fortification wall.

It is conjectured that this is the place where the grandees would assemble in the morning to receive the emperor's commands. It is likely that it was constructed as a complementary structure to the Diwan-e-Khass, since it is located immediately below and at the same axis as the former building.

Intizar Gah is located on the northeast corner of Shah Jahan's Quadrangle and is presently used as the Archaeological Rest House. Since a lot of reconstruction took place during 1935-36, it is difficult to date this building. However, it can be asserted with confidence, that at least the eastern portion of this structure belongs to the original iwans bordering Jahangir's Quadrangle.

The reconstruction and additions are an attempt to match the architectural outlook of Shah Jahan's Diwan-e-Khass rather than the Akbari iwans of Jahangir's Quadrangle. The large semi-octagonal structure that you see at the northern end of the western periphery is popularly referred to as 'Lal Burj' (the Scarlet Tower), a Sikh appellation. The eastern periphery of the quadrangle is bordered by the western aiwan of Jahangir's Quadrangle;

Khwabgah-e-Shahjahani is a large building dominating the southern periphery of the quad, and marked as 'marble baradari' on Sikh Period maps. A rather heavy-set building, and not a baradari (baradari= a pavilion with 12 openings), it might have carried marble cladding at one time. Today it is bereft of most decorative features, with just a trace of the marble which might once have beautified the facade. This is not surprising in view of the damage inflicted on it. Vogel's reports indicate that a projecting portico in the centre was "ruthlessly cut off" during the 1850s. The only indication of the extent of the portico today is the slightly raised platform incorporating a finely sculpted marble scalloped fountain.

If it is the khwabgah then it can be inferred from historical sources that it was built in 1634 and was among the first Shahjahani buildings of the fort. Shah Jahan's first visit to Lahore as emperor took place during the seventh regnal year (1634). At this time he reviewed the palace buildings critically from the point of view of his own residence.

A contemporary court historian Muhammad Saleh Kamboh informs us that the emperor turned his attention to the repair of palace buildings, which had been neglected over the years. He also decided to reconstruct the buildings of "the Ghusul Khana (bathroom) and Khwabgah" since the existing palace buildings, probably those dating to Jahangir's period, "were not in reality pleasing to the Imperial mind in their plan and style." It is probably the same building which was entrusted to the Governor of Lahore Wazir Khan, when Shah Jahan was on his way to his sojourn in Kashmir. However, the famed tile-mosaic extensively used by Wazir Khan in some of his other constructions, e.g. the or the in the Walled City is not in evidence.

The structure is commodious with lofty chambers. Its location on the central axis, and its closeness to the imperial zenana quarters of Jahangir's Quadrangle, is an evidence of its importance as being reserved for royal usage. It could be a khwabgah as the present appellation suggests. On the other hand, the existence of a hammam contiguous to it may point towards its being Daulat Khana-e- Khass. One is impressed by the building's arcuate construction, resulting in lofty interiors, incorporating arches, squinches, vaults and qalibkari muqarnas (stalactite squinches), elements which are expressive of the best of Mughal structural techniques. There has been much tampering with it, however, inflicting great damage to its internal features, and the interior has been largely divested of its decorative features. There are some unfortunate samples of more recent tampering consisting of badly-executed mirror work and incised plaster work, as well as indiscriminate plastering, blocking of walls and earlier Sikh Period paintings, which have together destroyed the original spatial character of this splendid structure. Among its noteworthy elements are the three

Inside Out – A Day of Learning in the Open City 33 finely carved marble fretwork screens fitted into the cusped arched openings.

Contiguous to Khwabgah-e-Shahjahni on its west are the remains of the Hammam-e-Badshahi (the imperial hammam), built by Shah Jahan. The hammam, known as the Sheron-Wala Hammam during the Sikh period due to the spouts in the form of lion's heads, is in an extremely damaged condition. This is not surprising since the structure did duty as servants quarters during the British Period.

The research during the late 1920s by Moulvi Zafar Hassan of the Archaeological Survey of India has shown that the royal baths incorporated two different enclaves—the eastern chambers for imperial use and the western for the royal harem. The zenana section is no longer extant since it was demolished to make way for a roadway during the occupation of the fort by British troops.

Although you cannot enter the extant portion of the hammam, its remains show the footprints of an elaborate arrangement. The structure was based on arcuate construction and its several chambers incorporated a reservoir with fountains, a cold room (sard khana), a hot room (garam khana) and dressing rooms in addition to latrines. There were cubicles for changing as well as for furnaces to warm the water in the reservoirs, along with providing hot air for the chambers. Plans are afoot to restore and present the various sections of the hammam to the visitors.

Paien Bagh and Khilwat Khana (Chamber of Seclusion) Quadrangle are in continuation with each other. Most of the structures are now lost, except the two major towers—Lal and Kala Burj—jutting out from the northern periphery wall—which define the eastern and western ends of the courtyard.

The first area that you encounter is known as Paien Bagh or the Zenana Garden where remains of foundations indicate the footprints of now-lost structures.

The northern portion of the court is known as Ahata-e-Khilwat Khana (Quadrangle of the Palace of Seclusion)—denoting a private section. However, during the Sikh Period it was known as the Khilat Khana (the Palace of Robes of Honour) or a public arena where nobles, ambassadors and courtiers congregated during the Sikh reign, giving the court with an opposite function and a divergent appellation. Unfortunately, in the absence of historical accounts or recognizable structures it is difficult to declare with certainty the name of this quadrangle.

Khilwat Khana, a small bangladar pavilion of uncertain origin, lies in the centre of the northern edge of the Paien Bagh. This building, marked as the 'Hall of Perfumes' on Sikh Period maps, is usually referred to as the Khassa Khana. Archaeologist Ph. Vogel conjectured that it was probably a khass khana (khass as opposed to khassa), which would have been enclosed with the cooling device of khass tattis (screens of fragrant matting) during summer. However, if it is the Khassa Khana, it would mean royal palace, which would indicate exclusive use by the imperial family. During the British Period it was part of a house for the commanding officer, when the Mughal Khassa Khana was converted into a bathroom.

Lal and Kala Burj (Scarlet and Black Towers), constructed by the Sikhs, are massive 4-storey structures and are thought to have been used as residential apartments. Both are almost similar, semi-octagonal towers and have attached chambers. The towers were designed incorporating galleries at a high level encircling the projecting semi-octagonal portion, and facilitating a breathtaking view of the surrounding country side.

The large semi-octagonal structure at the northern end of the western periphery is popularly referred to by the Sikh appellation of 'Lal Burj' (the Scarlet Tower). The burj projects out from the adjacent fortification wall and also carries a narrow ambulatory overlooking the northern aspect. There are several elements which conform to the constructional elements of the Makatib Khana such as its simple columns, and its muqarnas vault and fresco decoration, identifying the structure with Jahangir rather than with Shah Jahan. In order to enter the tower you will need to use the opening from the Shah Jahan Quad.

The tower underwent extensive repairs during the mid-1930s when it was found that it was suffering from unequal settlement. At the time its tendency to incline outwards was halted through remedial measures, that is to say, strapping and tying with iron rails. Attached to this residential tower are a few extant chambers, though foundations alone of others are now extant.

The Kala Burj is entered from Shah Burj (Royal Tower) Forecourt. Although normally kept closed, if you can gain permission to enter, Kala Burj is definitely worth a visit. It has been definitively dated to Jahangir's period by the historian Ebba Koch, and represents some of the remarkable imagery of the period. The ceiling of the tower carries a singular rendering of angels and birds, influenced by European art. The tower decoration also portrays Jahangir's fascination with painting, particularly his attempts at

Inside Out – A Day of Learning in the Open City 34 encouraging Mughal court artists to paint according to the themes and style of Renaissance painters.

Shah Burj or Royal Tower is the most well documented group of buildings in the Fort. The controversy regarding the authorship of this tower—also referred to as Mussaman Burj (or the octagonal tower) was laid to rest by Moulvi Nur Bakhsh in his writings in 1902-3, when he concluded that the Shah Burj of Shah Jahan mentioned in the inscription on the Hathi Pol Gateway was none other than the Sikh-appellated Mussaman Burj. Hathi Pol is the same impressive gateway that one passed through when the British Period 'postern' gate was being used as the main entrance while Alamgiri Gate was under repairs.

Reception Court occupies the first part of the group of buildings of Shah Burj. Although few chambers with arched alcove frontages are now extant, the once elaborate architectural perimeter of the court can be gauged. The remains of foundations also give an indication of a cloistered space, framed on all sides by chambers and punctured by passages or gateways. From an imagined reconstruction it is evident that an entrance provided convenient access from the Paien Bagh or the zenana garden into Shah Burj's reception court. The reception court was designed in a manner that made it easily accessible on one hand from the imperial zone in the east of the fort and on the other hand from the Hathi Pol situated on the west through a twisted flight of wide steps. The Hathi Pol entry facilitated secluded entry directly into the imperial zone of the fort—the imperial family arriving atop caparisoned elephants.

The court is dominated by the Gor Darwaza, a gateway which leads from the reception court into the Royal Tower Forecourt. The porch-like gateway—a porte cochere—with a simple cusped arch on the south side, incorporates alcoves for sitting comfortably in the shade provided by its vaulted roof. The gateway arch on the north side is lined with white marble. Within the cells bordering the south edge of the court is tucked away a small mosque, presently inaccessible, thought to be for the use of the imperial zenana; however, this could not be established with any certainty.

The eastern periphery of the forecourt is punctuated by the Kala Burj, described earlier. However, the eastern periphery is largely a blank wall today distinguished by three niches framed by cusped arches. Worth inspecting is the central one accented by a carved marble chini khana sawan bhadoon similar to the one found at Shalimar Gardens.

There is hardly any evidence of a structure that might once have dominated the central part of the northern periphery, considering that it must have been a choice location in view of the scenery beyond. Today there is a non descript parapet defining the northern edge.

Ranjit Singh's Athdara is located on the western periphery of the reception court, beyond which is situated the Shah Burj, that today dominates the forecourt. This Athdara—eight doorways as the name implies—was constructed by Ranjit Singh, and used by him as kachahri or court of justice. It is an interesting structure, very much in the Mughal architectural tradition, that was built by the Sikh ruler. Research shows that most elements of the Athdara in fact belonged to the Shah Burj structures which were removed and reused to erect this sumptuous pavilion—an object of interest to 19th century European artists.

Shah Burj (Royal Tower) Quadrangle is accessed by climbing up an undistinguished ramp located on the west next to the Athdara. Walking up the ramp, you arrive in Shah Jahan's sumptuous Shah Burj, more than 6' above the forecourt floor level. As you step into the paved chahar bagh—in contrast to the usual landscaped —you have arrived in the midst of the most famous of structures in the Mughal Fort.

From the chronicles it is evident that the original semi-octagonal footprint of the royal tower, jutting out from the face of the north fortification wall, was devised by Jahangir (its octagonal shape leading to the Sikh appellation Mussaman Burj). The foundations and lower portions of the subterranean chambers were constructed in the 19th year of Jahnagir's rule (1624). However, when Shah Jahan became emperor and reviewed the designs—and we know how deeply attached Shah Jahan was to Lahore, having been born and brought up there during the early years of his life—he ordered the raising of the floor level, and this is the reason for its higher floor level compared to that of the adjacent forecourt. It was Yamin-ud-dawla, the trusted noble of Shah Jahan (also his father-in- law) who then laid before the emperor "several plans which the masters like Sinmar had made in consultation with him [Yamin-ud- dawla]."

It was Mamur Khan's designs (the architect who was much favoured by Jahangir), that were selected. This was fortuitous, since Mamur Khan had worked extensively on the Lahore Fort and is likely to have been instrumental in the design and execution of the Pictured Wall. Thus he was able to bring a measure of uniformity and compatibility to the whole complex along with the continuity of the spectacular Pictured Wall—the tile mosaic mural on the fortification wall encircling the northern and western aspect.

While the other quadrangles are designed with the parterres of the chahar bagh, you will find the Shah Burj Quad fully paved. The

Inside Out – A Day of Learning in the Open City 35 pattern on the floor of black marble and a variegated marble known as sang-i-Maryam, also referred to as sang-i-abri, is particularly interesting. The paradisiacal imagery is embodied in a perfectly square 131'x131' courtyard, its subdivision attained by the four narrow watercourses. A large water reservoir—an outer square of 54'x54' with an inner circle dominates the centre.

Instead of the natural vegetation found in usual chahar bagh (four-garden style), imagery based on floral themes—guldastas (bouquets), bunches of flowers, flowers in vases—embellishes the facades of surrounding buildings, recreating the imagery of the paradisiacal chahar bagh.

A causeway leads to the central mahtabi or platform which could accommodate only 'two royal seats'—a much scaled down version of the one that is seen in Jahangir's Quadrangle.

The Shah Burj was always considered the most exclusive of the areas due to its importance in conducting business of state and the fact that only a select few were allowed access to it. The Shah Burj was the exclusive preserve of the Mughal emperor and princes of the blood, and even those holding the exalted office of prime minister were allowed entry only on rare occasions.

The Shah Burj was the "favourite abode" of Ranjit Singh, and suffered the greatest impact of the Sikh rule, when the Royal Tower's skyline was "encumbered with a curious medley of structures." Ranjit Singh called it "the palace" and used it to impress his foreign visitors. It is in the Shish Mahal that he constantly displayed his prize possession, the Kohinoor diamond, and arranged "grand entertainments" for his foreign visitors—Alexander Burnes and Sir Henry Fane being among them—when "nautching, drinking and fireworks in the room fitted with small mirrors" would be arranged.

Shish Mahal was the palace where after the annexation of the Punjab by the British, the sovereignty of the Punjab, along with the fabulous Kohinoor diamond, was passed into the hands of the British. As you turn right at the entrance, you are overawed by the spectacular Shish Mahal commanding the north aspect. This is the famed 'Palace of Mirrors', a comparatively recent name given to the building because of the use of "a mosaic of glass inlaid with gypsum" for its decoration. The Shish Mahal is composed of several chambers and projects out in the form of a semi-octagon from the general alignment of the fortification called the Pictured Wall.

The most impressive part of this structure is the central aiwan (hall) which is of handsome proportions rising to two-storey height. Its white marble arcade composed of sculpted shash-hilali (6-crescent) arches, and the cusped profile of engrailed spandrels is outlined with a delicate line of incised marble inlay.

The Shahjahani historian Lahauri refers to its "twelve pillars of marble" each in fact consisting of four sets of double columns and two sets of respond engaged (attached) double columns, employing classical Shahjahani order. The profiled column bases are worth examining, as is their elegant detailing—they represent the best of Shahjahani pietra dura. The aiwan's interior is eulogized by the historian Lahauri in extravagant terms: "From the intermingling of colours in this sky-reaching structure and lofty mansion, spring adorns the cheeks of tulip and the face of the jasmine."

Unfortunately, tawdry dabbling by later rulers and custodians has resulted in the addition of 19th century porcelain blue and pottery shards, the whole overwrought with mirrors and discordant Hindu-mythological frescoes. Ph. Vogel relates how the young Dulip Singh proudly pointed out his own handiwork in the fresco painting. Today it is difficult to distinguish the original Mughal portions of the ceiling in view of the various structural problems and subsequent repairs.

Flanking the white marble aiwan are the 2-storey west and east 'Paradise Halls' constructed in red stone. Although today shorn of plaster, keeping Shah Jahan's preference in mind, it is more than likely that the red stone was covered with the finely rubbed patyali plaster, which would have made the whole facade white. The seh-dara unit (first noticed in Akbar's suites in Jahangir's Quadrangle) defines the frontage, but is executed in an exceedingly refined ensemble by the Shahjahani architect compared to the earlier structure built by Akbar. The internal walls of the ground floor structures were so elaborately treated that Mughal chronicler Lahauri gifted them with the name 'paradise-like halls'.

Today, you will find amateurish fresco decoration on the ground floor walls of the east dalan. The west dalan, is in a better state of preservation and carries gilt markings. In both cases the flat ceilings decorated with wood fretwork in a geometric pattern are well executed. A similar treatment and more elaborate fresco work is noticeable on the first floor of the paradise halls, but they are not open to the general public.

Walking through the lofty cusped archway of the Shish Mahal aiwan you enter the Shish Mahal Tambi Khana in the rear (north)—a belvedere which once provided a spectacular view of the river Ravi. The north aspect of this 'open-fronted summerhouse' sports an

Inside Out – A Day of Learning in the Open City 36 echo of the cusped arch framing within its deep alcove an elegant white marble fretwork screen, within which are set three viewing windows, suitably decorated for the viewing pleasure of the imperial entourage. From here could be surveyed the river scenery and gardens beyond, along with animal fights which were a great source of entertainment. You will find the ceiling of the Tambi Khana as decorative as that of the Shish Mahal aiwan.

The two sides of the Tambi Khana to the north are bordered with east and west 'octagonal chambers' each sporting a domed ceiling. It is interesting to note the construction of corner squinches with muqarnas (stalactite) hoods which are also decorated with mirrorwork.

The octagonal chambers on either side provide access to a 'fine hall', each with splayed frontages facing northwest and northeast. These halls, which appear in the form of deep-set alcoves when seen from the north, have finely crafted marble fretwork railings. No doubt these balcony-like halls provided the possibility of enjoying the entertainment below by the nobles accompanying the emperor, who could stand in full view of the general public gathered to watch the elephant fights in the river promenade, directly below the fortification wall of the Shah Burj.

The internal walls as well as ceilings carry florid mirror work and fresco of uncertain origin. The Mughal partiality for water as a cooling device and for controlling the environment is evident from the presence of three shallow basins extant in the central arched bay of the west balcony. These consist of two circles with a central oval hollowed into the floor adjoining the marble handrail.

East and West Dalans, which are placed at right angles to the 'paradise halls' are on the east and west sides of the quadrangle, and are distinguished by the use of seh-dara units similar to those encountered in the paradise halls, and provide an architectural frame to the central Shish Mahal ensemble.

The east dalan is greatly altered with extensive Sikh Period decoration—not surprising since it served as the Sikh ruler Sher Singh's bathing room or hammam.

The internal walls and coved fretwork ceiling of the west dalan located in the north of the quad is profusely decorated with fresco and gilding. The walls camouflaging the seh-dara unit on the west side are a later addition.

Another dalan on the west side is situated to the south of Naulakha Pavilion. It is similarly constructed, though it has gone through some unfortunate and amateur restoration work which has resulted in loss of original evidence. The recent restoration work, done in a hurry to impress the visiting Queen Elizabeth II, is also crude in its handling of decorative features.

Naulakha Pavilion is the only other structure that can claim to rival the celebrated Shish Mahal. Naulakha is probably a Sikh appellation (lit. pavilion costing 9 lakh rupees). This structure is placed at the central axis of the hauz (water reservoir) and is notable for its drooping bangladar roof, and distinctive pietra dura. Although much ravaged and largely robbed of its semi-precious stones in later periods, it is the same pavilion (bangla) of marble that Lahauri describes, "whose mosaics of cornelian coral, and other precious stones," he enthused "excite the emulation of the workshop of Mani" (the Persian artist credited with miraculous power while painting).

Particularly noticeable is the courtly pietra dura in muqarnas capitals (stalactite capitals), abacus and the space between twin- column polyfaceted shafts. The guldasta (bouquet) and other floral compositions carried in the marble pietra dura dadoes and floral-interlacement borders, both externally and internally, reinforce the paradisiacal chahar bagh theme of the courtyard. The central white marble pierced screen on the west aspect, incorporating delicate floral tracery, is an almost exact replica of the one in the Shish Mahal Tambi Khana. Just as the tambi khana was for select royal use, surely the arrangement of similar three viewing windows placed in this fretwork screen points towards similar usage on the west. It is likely that the roof of this bangla was similar to the dazzling 'gilt copper plates' of Agra's Bangla-e-Darshan, a similarly constructed building with bangladar roof.

Although sometimes the Naulakha Pavilion is thought to be the work of Aurangzeb, in view of Moulvi Nur Bakhsh's translation of Lahauri's text it is clear that the pavilion was part of the original Shahjahani ensemble, and in fact the piece de resistance of the Shah Burj.

South Dalans are comparatively simple chambers bordering the southern periphery of the quadrangle. They present a disparate facade compared to the transparent arcaded outlook found in its other structures.

This is not surprising since, even though most of the Shah Burj structures were not greatly affected, the south dalans were put to various functions by the Sikhs and later by the British, along with robbing them of their architectural elements for re-use in the

Inside Out – A Day of Learning in the Open City 37 Athdara. The chambers in the central portion were greatly altered in order to house a collection of ancient, mostly Sikh Period weapons.

The only original elements in two corner dalans that can be identified are the seh-daras found in other dalans as well. The central sitting room mentioned by Lahauri is identifiable due to the extant waterfall (chaddar) discharging into a scalloped pond set within the floor, amplifying the quad's chahar bagh paradisiacal image. This particular sitting place provided a wonderful view not only of the hauz, and its mahtabi (its central platform) but from here the impressive facade of the Shish Mahal could also be viewed in its full glory. Although most of the original features are no longer evident, the waterfall's coloured marble inlay in a chevron pattern is a reminder of the imagery and enhancement of play of water that the Mughal builders excelled in.

According to Lahauri there was a 'blessed khwabgah' along with the south dalans, which was so well decorated as to be "a model of the world-exhibiting cup" (the cup made by Kai Khusrau, the King of Persia and which he used to predict future events). That chamber is no longer traceable, but the fact that a royal bedchamber was part of the Shah Burj reinforces its place as among the most significant of all fort structures.

Inside Out – A Day of Learning in the Open City 38 Annex - International Day of Tolerance – Resources from UNESCO

Inside Out – A Day of Learning in the Open City 39