Having landed in Lucknow as we were driving to the hotel we passed many domed structures. My interest was piqued and the one surrounded by a “Bagh” was a decade old. Then one found many such domes atop modern structures. I guess that is the Lucknow Leit Motif. The houses we visited had thick walls, tiled floors, “roshan daans” near the ceiling to let the light in, outhouses, huge gardens. The staircase had steps quite high and was a challenge to negotiate. The windows were largely wooden frames with wood or glass. As compared to Calcutta missing were the Khar-khari windows, red cement floors and the courtyard within the house to house the resident deity.

Faint memories from childhood, and the perspective having changed it was a must to visit the monuments again. The last day a quick tour on my own covered most of them. The unusual ones were left for another visit which has become a must.

 

The Lucknow School of Architecture was an experiment by the resurgent Nawabs of Awadh influenced by various cultures and religions throughout the years. The distinct features are the use of Fish as an auspicious motif especially on Gates, the use of Chattar (umbrella), vaulted halls, enclosed baghs, the labyrinth (Bhool Bhulaiya), Taikhanas, Bazaars, the use of Lakhauri bricks.

“A vision of palaces, minars, domes azure and golden, cupolas, colonnade, long faced of fair perspective in pillar and column, terraced roofs – all rising up amid a calm and still ocean of the brightest verdure. Look for moles and miles away, and still the ocean spreads, and the towers of the fair-city gleam in its midst. Spires of gold glitter in the sun. Turrets and gilded spheres shine like constellation. There is nothing mean or squalid to be seen. There is a city more vast than Paris, as it seem, and more brilliant lying before us. Is this the city of Oudh?”

 

Some info

The Fish Symbol: When Sheikh Abdur Rahman was coming to Lucknow from Delhi by boat two fish jumped on his lap. It became auspicious and a part of the Mughal Military decoration as two fish heads on a post. “Mahi Maratib” originated in Persia. In 1819 British artist Robert Home used fish to design Ghazi-ud-dins Court of Arms. Later Wajid Ali Shah improvised his Court of Arms with fish which were mermaids.

Safed Baradari is situated in the heart of the city. The word Baradari comes from two words; “bara” meaning twelve, and “dwar” meaning door so a Baradari is literally a building or structure with twelve doors. There is a large terrace in front of it with carved marble screens as fencing and this structure contains elaborate stucco work, stunning arched gateways and windows with twin columns. This was the venue for the festival.

 

Asafi Imambara or Bara (Big) Imambara was made by the Delhi architect Kifayat Ullah.

The architecture of Bara Imambara is inspired from the ornamented Mughal design, named the Badshahi Mosque. This is one of the last projects not incorporating the use of irons or any European elements. The central hall of the Imambara is said to be the largest arched hall in the world. What makes its construction unique is that no woodwork has been used in the entire structure (except the galleries). The blocks have been put together with the interlocking system of bricks, and the roof stands upright without any pillars to support it.

The Bara Imambara can be accessed through two large gateways, at one end of which lies the grand Asafi Mosque, on the other side is the large baori. Beyond the small entrance, to the left of the central hall, lies the intriguing labyrinth leading to the Bhul Bhulaiya, an enticing network of narrow passageways winding its way inside the upper floor of the monument’s structure. There are eight surrounding chambers built to different roof heights, permitting the space above these to be reconstructed as a three-dimensional labyrinth with passages interconnecting with each other through 489 identical doorways.

 

Chhota Imambara

The Chhota Imambara, or the Imambara of Hussainabad, was initially a congregation hall for Shia Muslims that was built by Muhammad Ali Shah, who was the third Nawab of Awadh, in 1838. The Imambara was to serve as his own mausoleum as well as that of his mother, who is buried beside him here.

It is a beautiful amalgam of Charbagh, Indo-Islamic and Persian structural and architectural designs. The exterior is complete with Quranic verses which are written in Islamic calligraphy on the walls of the monument. It is an amalgamation of the elements of Persian and Indo-Islamic styles of architecture.
The Imambara is beautifully adorned with decorations and chandeliers, this 19th-century building is also referred to as the ‘Palace of Lights’. The interiors decorated with delicate Arabic glass work and calligraphy. Ornately designed with a gilded golden dome, chandeliers from Belgium, colourful stuccos and gilt-edged mirrors.

The five doorways of the Chhota Imambara emphasize the significance of ‘Panjetan’ or the holy five. The Imambara comprises of two halls and a Shehnasheen, which is a platform where the Zarih of Imam Husain is kept.

The monument houses the tomb of Muhammad Ali Shah and is  a small-scale copy of the majestic Taj Mahal. The Husainabad Mosque which can also be found inside the main monument is constructed on a raised platform with two grand minarets on the edge of the platform. The fish, the symbol of the Nawabs at the entrance is designed to be a weather vane.