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Conservation at the Red Fort – New Delhi 2003 Table of Contents

Conservation at the Red Fort – New Delhi 2003 Table of Contents

Conservation at the – New 2003 table of contents:

Neher-i-Behist & Bagh-i-Hayat Baksh > Destroyed Evidence for Medieval Hydrological System > Reconfigured & Reconstructed Terrace > Contravened Conservation Standards Hayat Baksh Extant Traces – covered or removed Intrusive lighting Features Repaved Pathways Reconstituted Features Shah Burj Pool re-Pointed with Cement

Diwan-i-Khas & Khas > Damaged Scale of Justice > Renovated statement of purpose

As a public-spirited group of citizens, we draw your attention to the reckless renovation work at the Red Fort. We present herewith evidence of a cavalier approach to conservation that perpetuates a 'chalta hai' attitude towards a scientific discipline. The present works at the fort violate international norms of conservation that could disqualify its bid to achieve World Heritage status. Adhoc measuresof 'beautification' in the name of restoration attack both protected material heritage and the cultural identity of a society. Who is to be held responsible for the criminal negligence in the execution of well-established guidelines? who answers for: > the eliminatiion of authentic evidence of material heritage, and thereby our identity > the replacement of this authentic heritage with new design elements in violation of international conservation charters > the presentation of a complex, integrated hydrological structure as a decorative feature > the alteration of a traditional architectural ethos with an aesthetics of public-works landscapes > the devaluation of high-quality traditional skills by patronising substandard workmanship > the denial of our basic right to be informed about the state of our heritage

The Red Fort is amongst the finest Mughal in - a talismanic emblem of the subcontinent's struggle against colonial rule.

“The palace at Delhi is, or rather was, the most magnificent palace in the East – perhaps in the world... The gems of the palace (remain), it is true, but without the courts and corridors connecting them they lose all their meaning and more than half their beauty. Situated in the middle of a British barrack-yard, they look like precious stones torn from their settings in some exquisite piece of Oriental jeweller’s work and set at random in a bed of the commonest plaster.” James Fergusson, and Eastern Architecture, 1910, in Nicholson, Venturi - The Red Fort Delhi, London: Tauris Parke Books (1989)

Conservation at the Red Fort, Shahjahanabad, . 2003 2 the Red Fort

An axonometric view shows buildings up until the British occupation in 1858 (adapted from Sanderson) in Nicholson, Venturi (1989) p.122

Circled is the area under scrutiny in these .

‘Of all the Mugal monuments of Delhi which are now Compared with its counterpart in , the palace invested with so much interest owing to the having in the red fort of Delhi is a unified whole. Its main become once more the Capital of the Indian Empire, the parts were conceived all at once, rather than built Fort of will, to the majority appeal to the most.’ up piecemeal over time, and though it has some Sanderson (in ASI Annual report 1911-12,1915, p.1) later additions these have not destroyed the original basic pattern. however, it is much less well preserved than the Agra palace, for various historical reasons. In the larger context Red Fort played an enormous symbolic After half a century of destruction adn neglect, a role for the throughout the country, both programme of restoration of the surviving parts was during and after the freedom movement. On the morning of begun by the Archeological Survey in 1903.

15 August 1947, it was from this port Pandit Jawaharlal GHR TillotsonTillotson, Mughal India, London: Viking (1990) Nehru the first prime minister of independent India, addressed his countrymen to commemorate a day that had long been sought. A S MukherjiMukherji, The Red Fort, Delhi: Oxford University Press (2003)

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 3 Hayat Baksh “Made the earth the envy of the sky…” Fadil Khan

There were two major , the Hyat In the design of their gardens, the Mughals balanced everything Baksh or Life Giving Garden, and the perfectly: space and texture, light and shade, colour and scent. In Mahtab Bagh or Moonlight Garden, the realm of waterworks, their imagination knew know bounds; combined to form one grand design. The every detail was considered, even surface patterns. latter no longer exists, but much of the Hayat Baksh remains, designed as a water The Hayat Baksh, or life bestowing garden, once had several rows garden and connected with the eastern of cypress and beds of saffron, crimson and purple flowers, a terrace with the Neher-i-Behist running favorite combination in the colorful Timurid charbags. Today the through it. garden area is modernized with lawns and low, clipped hedges and flower beds, though it is still planted in the old colors. The gardens In the Hyat Baksh …the centre of each of its of the Red Fort, once most splendid of , lack even four sides was marked by or the melancholy charm of a ruin. gateways. On the northern and southern ends were Sawan and Bhadon pavilions, There has been much restoration and unfortunately, some and on the eastern and western ends were building. Within the fort today, ugly nineteenth century barracks Moti Mahal and the connecting stand on the site of the Mahtab Bagh and loom over restored river gateway to the respectively. side terrace. Moti Mahal, no longer extant, is represented by the white pavilion in Above all it was the playful use of water in their gardens that so miniature drawings. Written descriptions enchanted and pleased the Mughals. For these gardens were not however portray it as a red stone building just symbols of power where they lusted after pleasure. Rather the …(with a) white marble tank in the centre. deeper symbolism and the poetic nature of the appeal of these A S Mukherji (2002) the Red Fort, Paradise Gardens is reaffirmed in an inscription in the Red Fort Delhi, p.149 describing the water garden of the palace: “The Hayt Baksh (life bestowing garden), which is to these buildings as the soul is to body, and the lamp to an assembly; and of the pure canal, the limpid water of which is to the person possessing sight, as the mirror showing the world; and of the water cascades, each of which you may see is the whitener of the dawn… and of the , each of which is hand inclined to shake hands with the inhabitants of heavens, or a string of bright pearls made to descend reward the inhabitants of the earth; and of the tank, full to the brim of the water and in its purity the envy of light and spring of the sun.” E Moynihan (1979) Paradise as a Garden - In Persia & Mughal India, p.135, 136, 146, 147

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 4 the Neher-i-Behist

‘There is almost no chamber but it hath at it’s Door a storehouse of running water; that ‘tis full of , pleasant Walk, shady Places, Rivulets, Fountains, Jets of Water, Grottas, great Caves against the heat of the day, and great Terraces raised high, and very airy, to sleep upon in the cool: in a word, you know not there what ‘tis to be hot.’ BernierBernier, in Crowe, Haywood, The Gardens of Mughul India, p.159

Based on contemporary and preceding Mughal water systems, it seems likely that within the Red Fort, water would have flowed from a storage tank with designated pipe inlets and outlets, through copper pipes into the pavilion attached to the Shah Burj. Water in the canal, after rising up at fountains at frequent intervals, would have continued through the pavilions into the garden. It would have then entered , the emperor’s private chambers, and the imperial seraglio to finally collect in a baoli in the Asad Burj. Here, it was probably used as a watering hole for the animals, after which it was allowed to flow back to the river. Since the also flowed southwards, the direction of currents would have ensured that this used water would not flow back towards the Shah Burj and into the Fort. Mukherji (2002) The Red Fort, Delhi, p.115

Once inside Shahajahanabad, the Neher-i-Behist split into two. One branch met near Fatehpur Masjid and flowed down the middle of the to Faiz Bazar. The other branch entered Saihibabad garden and ran to the northeastern corner of the palace-fortress near Shah Burj. A ingenious device called Shuturgulu (Camel’s Neck) is said to have lifted the stream from the ground level to the floor of the fort. A marble channel directed water to the building and the apartments along the eastern wall, while smaller canals diverted the flow to the gardens and waterways.

A mid eighteenth century writer observed: (The canal) brought greenness to Delhi. It ran in all of the city from lane to lane, and the wells became full from it. Having flown to the mansion of princess and amirs it flowed into the city – to Chandni Chawk, to the Chawk of Sa’adulla Khan, to Pahargunj, to Ajmeri Gate, to the grazing places to the other mahallahs, and to all the lanes and of the city.

The paradise canal was responsible for much that was fresh green and beautiful in Shahjahnabad. Sujan Rai wrote: “confers freshness to the gardens in suburbs of the capital, lends happiness to the streets and bazaars, and enhances the splendor of the imperial palaces.” Sujan Raiai, “Khulasat al-Tawarikh,” fol.29b

Water moved regularly from the Jamuna to the city until the middle Reconstituted Plan of the eighteenth century. The canal proved a boon to cultivators showing a stretch of and the taxes they paid in superintending (amir SafdarJang is said the Neher-i-Behist to have received two million five hundred thousand one & Hayat Baksh Garden year) were ample incentive to keep it open. With the collapse of sources: Koch (2001) Mughal order and government, however the canal again ran dry. Art and Imperial Ideology, Chatruman RaiRai, “Charan Gulshan,” fols. 37 a-b Collected Essays, p.222; Mukherji (2002) The Red Fort in Stephen P. Blake - Shahjahanabad, The Sovereign City of Shahjahnabad, p.118, 146 in Mughal India (1639-1739) p.65

The Nehar-i-Behist also ran through a pavilion termed the Moti Mahal which, as shown in the old maps, is positioned on the eastern terrace as the climax of one of the Hyat Baksh’s central axes. The rest of the distance on the terrace that the Neher-i-Behist passed through before entering the hammams appears open to sky.

Excavations by the ASI at the beginning of the twentieth century have revealed that the channels and the canals in the garden were generally shallow, with holes in the sites connected to the earthen pipes. The overflow from the channels would have thus percolated back into the earth and no doubt used for irrigating the flowers beds and fruit trees, to finally flow back in the river. The discovery of traces of Mughal drainage system in the later excavations in the Fort, as in the ‘[t]renching which revealed an underground drain leading to a doorway in the outer wall of the Fort’ (Sanderson, 1914), points to such a possibility.’ The around the fort is described as being full of fish in clear water. This suggested that the moat was connected in a continuous circulation system, and took in water from the northern end and emitted it the south end. Mukherji (2002) p.116-117

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 5 the Neher-i-Behist and the science of medieval hydrology

the water looking north towards the Shah-Burj pavilion. Remnants of this stone pattern were found beneath layers of rubbish when the gardens were restored at the beginning of the (20th) century.

Crowe, Haywood, Jellicoe - The Gardens of Mughal India, Vikas (1973), 160-61.

Looking south towards the , more recent photographic evidence indicates an intricate profile for the stream

Nicholson, Venturi (1989) The Red Fort, Delhi, Tauris Parke Books, p.90

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 6 Configuration & Hydrology before...

there are several indications that the Neher-i- Behist went underground and reappeared all along the Eastern terrace of the royal palace.

Left: Neher flowing through the Hammam, photo Mukherji (2002) p.115;

Right: through Diwan-i-Khas, photo Dube, Ramanathan (1997) p.124;

Below: Mukherji (2002) p.141

These photographs of excavations in 2002 reveal traces of a scientific system of pipes contiguous with the streams that fed the fort gardens and palaces. Specific names and uses of separate pipes- for big and small baths, for tanks, canals, and passages-were marked on the tank from which they flowed onwards This was a complex, precisely graded system of waterworks activated by gravity, as recently revived as part of the restoration of 's .

Photos taken during excavations, 2002. Courtesy Ratish Nanda

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 7 Configuration & Hydrology ... after

footprint of Moti Mahal

before...

& after...

In the present configuration, oblong scallops create a uniformly paved pool that bears no resemblance to any Mughal structure or historical precedent

the footprint of the Moti Mahal plinth, where the Neher goes underground, has not been preserved.

Photo taken 09/2003

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 8 Configuration & Hydrology after...

A puzzling aspect of this arrangement is that in such a dusty climate as Delhi’s, the water that flowed into hammams and the private rooms of the emperor was allowed to first flow uncovered. An explanation for this may be that the trees flowers and the plantation both within the gardens and around the Fort produced a micro climate that ensured reduced level of dust. And it is also probable that at the point at which these channels entered royal paviions or hammams, a system of filtration removed any adhering particles and purified the water before it was heated or cooled for bathing. Mukherji (2002) p.116

in the newly finished 'restoration' a truncated scallop extends right to the wall of the hammam. this was most likely a portal in and out of the royal baths to the terrace, probably done in marble like the rest of the Neher. a platformed area here, visible in the photograph above, would have extended over the intake pipes, allowing residents to enter and exit the hammam. It is safe to infer that the king did not step down and wade into a stagnant pool at this point.

The end result is the creation of a still, leaky waterbody, below.

In the process of this so-called restoration, all evidence of the highly- evolved water circulation system of the mughals has been at best concealed, and at worst destroyed.

photos taken 09/03

The eastern wall of the Fort, retaining this terrace with its cosmetic changes and two leaky water bodies, is already weakening

(refer to 'Red Fort regalia is a damp squib', the Pioneer artical in Annex A) photo Vijay Kumar (2002)

These cosmetic changes are clearly not addressing real conservation issues.

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 9 Configuration of the Neher-i-Behist...

cornice details along waterway edges

before...

& after...

Photos taken during excavations, 2002. Courtesy Ratish Nanda

sections of cornices

likely before and at present as suggested by after renovation the main channel, Photos taken 09/03. left, in the Hayat Baksh garden

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 10 Configuration & Hydrology before...

Water flowed from the Neher-i-behist, through these concealed pipes under the terrace, leading into the Hayat Bakhsh garden

Left: Reconstructed plan of the Bagh-i- Hayat Bakhsh, in (2001) Mughal Art and Imperial Ideology, Delhi, Oxford University Pub.

Below: Notional sketch

Evidence of stairways descending into the garden can be seen in the retaining wall of the terrace. These correspond to the morphology of the Neher- i-Behist, and the streams intersecting the Hayat Baksh garden

Photos taken 17/09/03.

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 11 Conservation Standards... preserving extant traces

The evident traces of stairways leading from the Neher-i-Behist Terrace down to the Hayat Baksh garden have recently received Lime- plaster infill

photos taken on 17/09/03.

This ad-hoc concealment of extant architectural traces indicates a wilfull neglect of their significance in the larger architectural and hydrological scheme, with no effort at either preservation or restoration.

Photos taken on 24/09/03.

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 12 Public Campaign to Misinform

MM Kaye's book 'the Golden Calm' is based on the post-1867 reminiscences of Emily Metcalfe, an English memsahib, her mother Lady Clive Bayley and her father, Sir Thomas Metcalfe, a resident at the Mughal court who commissioned illustrations of the Fort from Delhi artists in his 'Delhie Book'.

Illustration from 'the Golden Calm', ed. MM Kaye (1980), Webb & Bower, Great Britain, reproduced from the 'Delhie Book' by Sir Thomas Metcalfe This was the 'evidence' cited by the Minister in the same newspaper - "the Nehr-i-Bihist which was covered under earth and debris, was excavated and then restored with red sandstone in conformity with the description and photographs(sic) given in the book written by Metcalfe (sic) titled Golden Calm(sic)."

Another example of the Neher-i-behist depicted by an artist of the period, showing the linkage of the terrace to the garden. Illustration from 19th century copy of M. Salih Kanbo, Amal-i- Salih, Collection, reproduced in Ebba Koch (2001) Mughal Art and Imperial Ideology, Delhi, Oxford India Pub.

Significantly, this was a private area, part of the royal household, and hence shielded from the eyes of painters. These painters would have relied on chance sightings, descriptions and imaginative renderings of existing stylistic conventions and work drawings. These illustrations do not stand scrutiny as authoritative, incontrovertible evidence towards creating blue-prints for restoration.

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 13 Public Campaign to Misinform

The Minister released these photographs, through an unsigned article in a national newspaper, a day after the first media reports revealing the fiasco at the red fort. Misleading the public, the minister cited this as proof of the "original structure revealed after ASI excavation". The photo actually shows the newly constructed cement structure, made to retain the modified Neher-i-Behist.

in the subsequent photo, a platform with brick-rubble infill and sandstone cladding further obscures the footprints of the Neher and moti mahal. These "restorations" have now been completed, unchallenged.

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 14 Public Campaign to Misinform

May 2002 Neher-i-Behist during excavations photo courtesy: S. Makhija

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 15 Conservation Standards... pointing marble with cement Shah Burj

The Shah Burj, or royal tower, was used for the private council meetings that were part of the daily routine of the emperor. It was accessible only to the imperial princes, the vizier and a few important courtiers who had the emperor’s special confidence. Koch (2001) Mughal Art and Imperial Ideology, p.219

From the pavilion attached to the Shah Burj, water drawn from the river below would have flowed into a pool at the head of the Neher-i-Behist, and continued from there into the fort's complex system of waterways.

at the source of the Neher-i-Behist in the Shah Burj, Pointing with white cement (a bag of which sits beside the artisan) A material analysis by an independent conservationist is requested.

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 16 Conservation Standards... Shah Burj

Careless reactivation of Water flow

leaks have developed on the east wall of the Shah Burj. This indicates improper pointing and water-proofing in the source pool, from where water is seeping into the plinth and foundation of the structure. The damage from this flow into the stagnant Neher-i-Behist will soon become evident. Below, cement pointing and other inappropriate measures taken to staunch the flow, endangering the building.

photos courtesy: S Makhija 21 Oct. 2003.

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 17 Conservation Standards... preserving extant traces in-situ

Conservation Standards... Paving pathways PWD-style

several alternatives, true to period technologies, are available. For instance, hexagonal-patterned brick paving in the paien bagh or ladies garden of Jehangir's

photo Crowe, Haywood, Jellicoe, Patterson (1973)p. 154,155

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 18 Conservation Standards... intrusive lighting features

before media reports

New lighting features along pathways in the Hayat Baksh Garden.

Photo taken early September 2003

after media reports

The Minister claimed that this pathway lighting was required for thesound and light show, when the Red Fort's son et lumiere does not extend to this part at all. (refer to annex A) However, soon thereafter the lamps were removed from this same stretch - a small change considering the serious issues raised by renovations at the fort, but an acknowledgement of culpability.

Photo taken late Sept. 2003

indiscreet lighting continues...

Floodlight mounted on of protected structure

Photos courtesy A.G.K. Menon, Oct. 2003

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 19 Conservation Standards... Reconstituted features

The stands amidst fountains in a pool where four canals converge. The south and north canals emanated from the small Sawan and the Bhadon pavilions.

Right: Photo from E. Moynihan (1979) Paradise as a Garden In Persia and Mughal India, p. 136

New Fountainheads

Newly carved fountains have been added in a denser and atypical arrangement in the channel flowing between the Sawan and Badhon pavilions. The photograph above indicates their original form and placement. Those below document successive generations: the older, with weathered blue paint from a previous beautification effort, sits unmoored beside an inaccurate reproduction; fragments from the succession.

Photos taken Oct. 2003

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 20 Conservation Standards

in electrification & water storage

details of the pipes being laid under the new paving of the Neher-i-Behist terrace

cemented water tanks created under the extant footprint of the Moti Mahal.

Photos 09/03

Footprint of Moti Mahal, in Koch (2001)

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 21 Khas Mahal* scale of Justice Jali before...

One of the finest specimens of Mughal lattice-work in the country.

The screen carved with the scale of justice, part of emperor’s insignia, formed a transparent vertical boundary between two central arcade verandas on the north and south faces. The Neher-i-Bahist channel flowing below the screen bisected the open width of the Khas Mahal. This space, cooled by the water channel, seems to have been a favourite spot of the later emperors, who are often depicted in the court paintings with the screen of justice, silhouetting their profile amidst the hint of the breeze and the prospect of a vista of marble pavilions. Mukherji (2001) p.29

above: 19th cent. illustr. from Kaye (1980) p.75 left: uncredited photo from a common postcard; left below: photo taken in 1997, from Mukherji (2001) p. 31

The Khas Mahal, or special palace, was the* emperors personal living quarters, with multiple verandahs and chambers. Its parts were variously designated the Khwabgah, the House of Dreams or more prosaically, the Sleeping Chamber; the Tasbih Khana or Chamber of Telling Beads; the Toshakhana or the Baithakkhana, the Robe Chamber or the Sitting Chamber.

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 22 scale of Justice Jali after...

Is there a first-information/ police report, or any other records establishing liability or accountability?

photos taken o9/03, allegedly two months after breakage.

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 23 Diwan-i-Khas renovated Pietra Dura

It is this place that the king, seated No picture can give an adequate idea in a chair, his Omrahs standing of it, for in design, proportion, around him, grants more private material and finish, it was faultless... audience to his officers, receives a more wonderful building does not exist their reports, and deliberates on in the world." important affairs of the state. MetcalfeMetcalfe, in Kaye (1980) p. 168 Bernier (1996), Travels in the , AD-1656-68, p.265 photo: Nicholson, Venturi (1989) p.115

Shah Jahan chose to describe this marble pavilion in words inscribed on its southern interior arcades: Agar firdaus bad zamin ast, hamin ast, hamin ast if there is paradise on earth, it is this, it is this!

photo from Nicholson(1989) p.51

The descriptions of Diwan-i-Khas by most writers convey a picture of a delicately lavish interior containing painted gold decoration, finely carved marble screens, glass infill on arched windows, and a ceiling of pure silver.

Plan of the Diwan-i-Khas showing its 32 pillars, all delicately inlaid.

Photo taken 09/03

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 24 renovated Pietra Dura assessing Material-use & skill

Documentation of works

Documentation of each stage in the conservation & restoration process is mandatory. There must be records of every stage of conservation for each face of the 32 columns in the Diwan-i-Khas (approx. 120 faces) It is incumbent on the ASI and its contrators to maintain and furnish these public records.

a comparitive study by independent conservationists and specialists, based on ASI records, is necessary. an in-situ assessment of restoration and expert advice by president- honoured master craftsmen, for which a request for has been made to the ASI.

varying state of inlays on different Panels in the Diwan-i-Khas

Photo taken 1966, ASI no. 1062-66 Top Photo taken 1989, in Nicholson, Venturi(1989), p.120 Middle Photo taken 2003, after restoration Bottom

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 25 renovated Pietra Dura

Material-use & Craftsmanship possible

Comparable inlays from the , Agra, demonstrate the fine pietra dura craft- skills that could still be brought to bear in restoration, where appropriate.

photos from Joshi, Okada, Nou(1993) p.21, 34, 64

Stone (Cornelian, Lapis, Jaisalmer etc.)was carefully selected (with the choice of shades obtained by the heating of stones such as Cornelian & Jaisalmer) to achieve the subtle gradations in hue at the turning of a leaf or petal

There is no justification for craftsmanship of a quality inferior to the original Mughal or British colonial work, when today the skills and the technologies employed by the country's craftspeople are vastly improved. Interviews of mastercraftsmen who have received presidential awards reveal that none have been consulted.

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 26 renovated Pietra Dura

Replacement of Inlays

the removal of surviving inlays, and replacement by an inferior grade of material and workmanship, to effect uniformity. The Contrator for the restoration of inlays was changed after work was unsatisfactorily 'completed' on 20 columns.

(according to the accounts of craftsmen working on-site, in early september)

Negligent choices

examples of careless with poor, discoloured stone, & finishing with epoxy

photos taken 24/09/03

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 27 Diwan-i-Khas

pietra dura panel clearly indicating incompatible adhesive usage & irreversible restoration procedures.

photo 2002 courtesy: s. Makhija

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 28 Diwan-i-Khas

pietra dura panel

indicating the removal of original material prior to current restoration work

photo 2002 courtesy: s. Makhija

inappropriate filling with epoxy suspected (refer to previous image) permission for evaluation requested.

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 29 Bibliography

S. P. Blake - Shahjahanabad The Sovereign City in Mughal India 1639- 173, Cambridge: Cambridge University Press (1993)

Crowe, Haywood, Jellicoe, Patterson - The Gardens of Mugal India, Delhi: Vikas Publishing House Pvt. Ltd. (1973)

Dube, Ramanathan - Delhi, The City of Monuments, New Delhi: Timeless Books (1997)

M.M. Kaye (Ed.) - The Golden Calm, Devon: Webb & Brown Ltd. (1980)

Ebba Koch - Mugal Art and Imperial Ideology Collected Essays, New Delhi: Oxford University Press(2001)

Ehlers, Krafft (Ed.) - Shahjahanabad/ Tradition and Colonial Change, New Delhi: Ajay Kumar Jain for Manohar Publishers (2003)

Joshi, Okada, Nou - Taj Mahal, Paris: Abbeville Press Publisher (1993)

MARG, Vol. XXXIX, No.1, Patrons of Art: The Mughals and the Medici, Bombay: MARG Publications.

Masselos, Gupta - Beato’s Delhi 1857,1997, Delhi: Ravi Dayal Publisher (2000)

E. Moynihan - Paradise as a Garden In Persia and Mughal India, New York: George Braziller, Inc. (1979)

A. S. Mukherji - The Red Fort of Shahjahnabad, New Delhi: Oxford University Press (2002)

Nicholson, Venturi - The Red Fort Delhi, London: Tauris Parke Books (1989)

G.H.R. Tillotson - Mughal India, London: the Penguin Group (1990)

Illustration credits

All uncredited photographs & images in these papers contributed by R. Sethi & S. Chatterjee Credited Contributors: S. Makhija, A.G.K. Menon

Conservation at the Red Fort, Shahjahanabad, New Delhi. 2003 30

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