The Sultan Garhi tomb complex. It was constructed for Raziya Sultan’s brother and Shamsuddin Iltutmish’s eldest son – Nasiru’d-Din Mahmud; the abode of the heir apparent of Sultan Iltutmish, the second sultanate ruler of Delhi.
Nasiru’d-Din Mahmud was designated as the Governor of Lakhnauti. He fell ill while stationed there and eventually succumbed to it in 1228. Iltutmish brought his son’s body to Delhi and buried him in a village three and a half miles from today’s Qutub Complex, called Malikpur. He also constructed an elaborate tomb over his son’s grave.
The fort-like appearance of the tomb probably gave it its name – Garh in Hindi means a small fort. However, some attribute the name “possibly on account to the vaulted crypt (ghar) in which he is buried”.
The elaborate xây dựng mộ đá which adorns the burial chamber is of a strange architectural style. The overall structure is that of a small fort with a flight of high stairs leading to the entrance and bastion-like projection on all the four corners of the enclosure wall.
Some architectural features there are influenced by Hindu architectural styles. Some say that the masons were Hindus because of which a majority of the architectural style is Hindu. By this early period of Islamic rule, the masons did not have the knowledge of their architectural styles of the dome and the arch. Another opinion says that it was constructed after the destruction of Hindu temples in the surrounding area; therefore there are visible Hindu features.
However, this line of thought has been refuted by religious Muslims stating that Iltutmish would have never buried his son in a structure which had once adorned religious structure of idolaters, i.e. Hindus.
The structure is a one of its kind in Delhi. There are visible amalgamation and intermingling of architectural styles that can be noted. The moment one enters the tomb, one is greeted by an octagonal raised platform, which is actually the roof of the crypt. It is entered through a small opening on its southern side.
As you enter the crypt and the eyes adjust to the light you notice that there is a big gravestone on the west indicating the place where Nasiru’d-Din is buried with two smaller graves besides him. There is a stark difference in the level of decoration in the crypt between that is seen outside báo giá lăng mộ đá.
It is interesting to note that the tomb is constructed in a manner that even though people visiting the tomb would have to enter the chamber from a higher level, they have to bend, bow down as they climb down – a way to make sure people pay their respects as they enter.
Nasiru’d-Din was believed to be a Pir, Sufi and hence greatly revered–till date.
Once, out of the crypt we notice the western wall has been clearly demarcating Kaaba with a profusely decorated white marble mirab at the centre of a fluted pillared verandah. It is quite interesting to see the scale of use of white marble, simply because that during this period the use of marble was a very limited affair.
The stones of the mosque’s ceiling are covered with marble. The ceiling has a very different look to it. It is a circular structure from inside while being a pyramidical/conical structure from outside instead of a dome.
As most of the monuments, this one too provides soothing comfort when you are there. Apart from the main tomb area there are other structures which are part of the larger Sultan Garhi tomb complex.
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