Buried in Paradise: Humayun's Tomb in Delhi

Huge, old sacred figs form a calm, shady oasis at an intersection of the huge grid of walkways and water channels in the garden around Humayun's Tomb.
*

Entering the paradise gardens surrounding the second Mughal Emperor Humayun's tomb in Delhi is like life in India crystallized. From the trash-filled misery of the begging poor lining the streets of Delhi, you walk through a shady enclosure lined with glossy sacred ashoka trees (Saraca indica) and step via a towering gate into the light, to the 'abodes' of a few chosen who continue to inhabit an earthly paradise even long after their deaths. Contrasts and more contrasts everywhere.
*

The towering entrance gate, as seen from outside the walled garden, and from the platform of the huge tomb. In Farsi, the walled garden is called "pairi daeza", which evolved into "paradise" in English and to many related words in other European languages.

While Sikandar Lodi's Tomb from early 16th century (see earlier post) was the first walled garden tomb in the Indian subcontinent, Humayun's Tomb was the example for later Mughal rulers to follow. Commissioned by Emperor Humayun's devoted wife Hamida Banu Begam in 1562, it took eight years to complete. The design was so successful that when the fifth Mughal Emperor, Shah Jahan, lost his beloved wife Empress Mumtaz Mahal, he used Humayuan's Tomb as a basis for his design of Taj Mahal, that was to be the crowning glory of huge Mughal mausoleums in India. I find the symmetry here rather lovely: one built by a loving, favorite wife to her husband, the other by a devoted husband to his favorite wife...

View from the gate, and then from the square fountain midway to the tomb. Even without the surrounding four minarets, it is easy to see that Taj Mahal was inspired by Humayun's magnificent mausoleum. Despite being an UNESCO World Heritage site, there were relatively few visitors at the gardens and mausoleum, a complete opposite to the huge crowds by the Taj Mahal.

Built in red sandstone and marble on the bank of river of Yamuna that has since changed its course, this large tomb in its 26-acre garden is surrounded from three sides by high walls (originally, the river formed the "wall" on the fourth side). The tomb forms the centre of this charbagh (or chahar bagh) garden that is divided into four quadrants by four wide pathways. Narrower pathways, with water channels representing the Quranic paradise, further divide each quadrant into grids of eight squares, the ninth being occupied with the enormous tomb on its platform. The central water channel looks like it disappears under the tomb and reappears on the other side, according to a line from the Quran:

But they who believe and do things that are right. We will bring them into garden beneath which rivers flow. Forever shall they abide therein. Truly it is the promise of God.

Details from inside the tomb; carved stone lattice screens called jalis let the wind flow through, the first one shows the direction of Mecca. Two tombs of female family members - tombs of females have a writing tablet on the top of them as here, and tombs of males have a pen case (see last picture of this post). The domes inside were all beautifully decorated and are still being restored after years of neglect. Here, a palm leaves together with lotus flowers form the motif.

The Akbarnāma, or the Book of Akbar, the official chronicle of the reign of Akbar, Humayun's son and the third Mughal Emperor (r. 1556–1605) describes what originally grew in the garden. Hibiscus, a popular plant with the Mughals, formed large clusters along the pathways. Mangoes, that have been cultivated in India for centuries, grew also together with pomegranates, one of the four trees mentioned to grow in the gardens of paradise together with figs, olives and date palms according to the Holy Quran. Humayun's father, the first Mughal Emperor Babur who was a great lover of gardens, mentioned eight different species of citrus in his writings, and it is highly probable that at least some of the species were also grown in the garden grave of his son.
*

I would have needed a wide-angle lens for these pictures... but they still show a part of the huge grid design of the garden. Some of the intersections have platforms where tents were raised (the first picture above, now a tree grows in the middle of the platform), and some have water ponds.

Today, the plantings are restored after long periods of neglect - at some stage, they were even used as kitchen gardens by the poor of the surrounding villages (now part of Delhi), which is understandable, but certainly destructive for an architectural work of art as this. Large trees, such as neem (Azadirachta indica) and sacred fig (Ficus religiosa) stand in the intersections of the waterchannels. Some handsome palm trees stand in attendance near the platform of the tomb and cypress trees flank the walkways. Only an occasional hibiscus and citrus offer a discreet note of color in this otherwise solemn garden that still so well conveys  reflection of the (at least imaginary) paradise beyond our earthly existence.

 Even the platform contains tombs for the lesser members of the family; this is a tomb of a deceased male, as it has a pen case on the top. Despite being a UNESCO World Heritage site, Humayun's Tomb is a serene, magnificent site which is very much worth visiting while in Delhi.

Gardens at the Amber Fort, Jaipur

Early morning sun lighting up the magnificent Amber Fort on the hills behind the Maotha Lake near Jaipur in north-east India.

 

While in India, I got get a glimpse of a couple of magnificent gardens that I'd so far only seen in books. The Amber Fort in Jaipur was one of the most beautiful, even if the gardens there are only a shadow of what they must have been when they were built to please their original owners. The name Amber Fort (also spelled as Amer Fort) honors the Hindu goddess Amba and has nothing to do with its namesake gemstone, even if that definitely springs to one's mind when the fort glows in the soft morning light.

 

The Dil-e-Aaram Garden that leads to the entrance route; landscape as seen from an elephant's back on the entrance route to the fort.

 

Construction of the fort and palace was started in 1592 by Raja Man Singh I, a Kachhawa King of the Rajput clan of the Amber (later Jaipur) state, who also was a trusted commander in Mughal emperor Akbar's army. The work didn't stop until two centuries later, resulting in a huge, magnificent red sandstone and white marble bastion, filled with skillfully painted murals, stained-glass windows, and walls with intricate, inlaid stonework filled with precious stones and cut pieces of mirror. The gardens of the fort and palace are a fusion of Indo-Indian garden art, marrying the Islamic design traditions and iconographies of the Mughals with the corresponding Hindi ones of the Rajput clan. Jodh Bai, a Rajput princess who was one of Akbar's wives, is often mentioned as the creative force behind the gardens, but this is probably a more romantic than true version of their origin.

 

Elephants working their way up to the fort; they are allowed to make maximum 6 trips up to the fort in the winter, and 3 on hot summer days.

 

The Amber Fort stands on a steep hillside and rises above the waters of the Maotha Lake, an artificial lake that also worked as a water reservoir for the dry months. Access to the fort goes  through the Dil-e-Aaram Garden, which is - like all the other gardens in the Amber Fort - built in the traditional Mughal style based on the Islamic concept of chahar bagh (originally from Persian and also spelled charbagh), a "four garden" that represents the Islamic paradise garden with its four waterways. These gardens are defined by their central water source and their quadripartite design, in which each section is further divided into a series of geometric beds. 

 

The elaborate Kesar Kyari saffron garden with its planted star patterned terraces clearly visible from the Fort.

 

Climbing up the road to the fort, the Kesar Kyari (saffron garden) slowly comes visible, floating like a huge Persian carpet on a large stone terrace rising up from the center of the lake. According to our guide and other sources, the Kesar Kyari was planted with saffron (Crocus) plants so that their scent could waft up to the palace - a strange story for a gardener, as crocuses don't have especially strong scent, and the season of such a planting would have been only very few weeks a year...

 

Inside the palace, behind a a series of corridors and archways, lies another chahar bagh garden with parterresi built in n white marble that form hexagrams and other complicated patterns. Even here the most dominant motif is a star, a symbol of intellectual powers and life itself for the garden's ancient Mughal and Rajput inhabitants.

 

The chahar bagh paradise garden inside the palace. Unfortunately, the water works were under maintenance; usually, four sprouts of water rise from the central fountain.

 

According to our guide, the gardens are under restoration and will some day be planted with vibrantly colored, scented plants are they were long ago. Today, they are filled with low-maintenance shrubs in the most common hues of grey, lime green, darker green and purple. But even as like that, they are magnificent enough to make one's imagination fly to the splendor of the olden days, when the Mughal Maharajahs held their court in the Fort with their countless wives.  

The magnificent landscape seen from the Fort; a wall with several watch-towers on the high hills around circles the gardens in the lake, forming a well-suited, majestic frame for them. 

Sikandar's Tomb in the Lodi Gardens of New Delhi

The tomb of Sikandar Lodi, the second ruler of the Lodi dynasty who reigned from 1489 to 1517. His elaborate tomb is situated in the Lodi Gardens in New Delhi, in an elaborate enclosure surrounded by high walls and several pavilions.  

 

Quite befittingly, this "year of travels" ended on the same note with a tour to New Delhi, Agra, Ranthambhore and Jaipur in northern India. From Mowgli and Secret Garden to Midnight's Children, A Fine Balance, Half a Life  and A Suitable Boy, (an imaginary) India has played a role in my favorite readings, and had an irresistible draw on me that screamed to be satisfied at some point. This Christmas season was the perfect time to finally fulfill that yearning. 

 

Views of the battlements surrounding Sikandar Lodi's tomb. Walkways meander through the large park that includes several tombs and mosques from different historic eras. The chhatris (second picture above) and the interior of the tomb were originally decorated with intricate tiles with green and blue mineral pigments and incised plaster work, some of which still remain.

Back home since two days ago, I'm still amazed by how my expectations were such an exact fit with the actual experience. India was everything I had imagined: poor, dirty, miserable - with desperately needy families lining the busy streets, living in makeshift huts among their own trash. And at the same time, the country is filled with glorious historic buildings, magnificent landscapes, decorative arts and handicrafts painstakingly produced by highly skilled artisans, all which appeared even more heartbreakingly beautiful against the background of poverty and filth.

 

Wall mosques (second picture above) surround the octagonal tomb in the middle of the enclosure. Four pathways edged with (struggling) roses lead to east, west, south and north and large, old trees stand in the four corners.

 

Mother India is a strict mother, indeed. History, economical factors, traditions, social patterns - so many reasons I'm neither learned nor experienced enough to analyze why life still needs to be so unimaginably hard for so many in India today. The inequality of income and related lack of possibilities are both screamingly unfair towards those on the lowest steps of the social ladder. Where and to whom one is born rules how one's life unfold to an all too high degree. With over 1.2 billion inhabitants, all reforms must understandably be hard to carry through, but there are no excuses for not trying. Yes, I did enjoy the journey immensely, but as you see, not without apprehension. More coming soon.

Last but not least - Yì Pǔ Yuan, my Suzhou favorite

 Entrance to the Yì Pǔ Yuan, the Garden of cultivation. Climbing roses and hibiscus add softness to the strict, rather heavy architecture.  

 

Yì Pǔ, or the Garden of Cultivation, was the last of all eight gardens I visited in Suzhou. Unexpectedly, it also became my favorite of them all, despite a slight garden-induced coma and a pair of heavily aching feet. After an early morning visit to the Liu Yuan, I had walked to it over seven kilometers, first having unsuccessfully tried to get a taxi to drive me there, and then been ripped off by a naughty rickshaw driver, who instead of the promised ride to Yì Pǔ pedalled me to a distant "pearl factory" that added at least two kilometers to my walk. But being a Finn, I should have sisu - kind of primeval determination - so I didn't let these small setbacks keep me off from my last treat.

 

View from the other, inner side of the same gate as above.

One of the inner courts between the buildings, with a small penjing arrangement and a potted lady finger palm. Beautiful paving made of small stones, and all the roof tiles end in a small one decorated with a bat for good luck.

 

When I finally arrived to the quiet residential area in the middle of which Yì Pǔ is nested, I understood the taxi drivers who had shook their heads on my request. This relatively small garden is located at No.5 Wenya Nong and only accessible by feet, bikes or mopeds through a labyrinth of small alleyways. Several times, I had to stop to ask for directions from the the locals, while trying to navigate the narrow streets with my map. The neighborhood was old, and houses and streets were well-tended, which didn't seem the case in many other areas I had wandered through during my week in Suzhou.

 

The central pond, as seen from the Ru Yu Ting - Pavilion of New-Born Fish. A moon gate on the other side leads to an inner courtyard and to the rockery "mountain area".

 

 

The rockeries on the south bank - in many of the gardens I visited, young couples were getting their engagement or wedding photos taken wearing traditional Chinese costumes.

 

The Ru Yu Ting - Pavilion of New-Born Fish - is a perfect place for reading and observing the koi fish in the pond. A soft clatter of tea glasses bears from the gazebo on the opposite side of the pond.

 

Yì Pǔ was originally laid out in 1541 by Ming Royal Academician (according to my Chinese guide) Wen Zhenmeng in the reign of Tianqi under the Ming Dynasty. It is one of the best preserved gardens of this era with many elements still intact, so it is very precious both historically and artistically. Three revered scholars have owned it through the centuries, which adds tremendously to its cultural value for the Chinese visitors.

 

Another inner courtyard with a small visitor. Small children were accompanied mostly by their grandparents - very few seemed to own prams in the city, most babies and toddlers were carried around instead. 

  From the tearoom, which is housed in the Shui Xie waterside gazebo. Card games and discussions over endless cups of green tea went on for hours here...

 

Quite small in size - the total area is only 0.38 hectares - so this garden feels very intimate compared to the larger Suzhou gardens, like the Lingering Gardens in my previous post. The central pond is surrounded by corridors that connect the buildings and pavilions, and lead to a large stone rockery representing a mountainous wood area with bamboo forests and several old trees on the southern bank of the pond. Courtyards and skywells planted with bamboo or bananas feel like they are scattered between the corridors and halls, adding their own little, refined still lifes to the whole. Occasional flowers dance in the wind - a pink hibiskus here, a rose there - adding a playful note to the garden, that felt quite relaxing after all strictly green gardens I'd seen during the week (of course, if I had visited in the spring, this would have been different, but still...).

 

The famous double moon gate leading to the courtyard of Yu'ou Pond - Gull Bathing Pond.

 View from inside the courtyard with Yu'ou Pond - Gull Bathing Pond, the name comes from a game that was popular among "maidens" during the Ming period.

 

I spent almost four hours in this little garden, first resting my feet in a pavilion on the top of the rockery mountain, listening to soft rattle of bamboo around me. After that, I ordered a local special green tea in the tea house, which came with extra warm water a large pink thermos. Just sitting there, looking over the pond to the garden and listening to all discussions and card parties around me, was one of the most fullfilling moments of my whole trip to Suzhou. If you go, do not miss this garden.

My favorite picture from my favorite Suzhou garden - one of those moments that etch themselves into your memory...

A misty morning in the Lingering Garden

"The protagonist scene" of the Lingering Garden; the central lotus pond towards the Hanbi Mountain Hall. A perfectly still morning, not even the slightest breeze stir the clear mirror of the water.

 

On my second last day in Suzhou, I was getting a bit exhausted by the intensity of my visit... Trying to cram all the famous jewels of garden art into one trip takes its toll, however enthusiastic garden lover one might be. Still, determinate and with slightly aching feet, I refused to give up and set off to Liú Yuán, the Lingering Garden, on the early morning hour when a soft mist was still hanging in the air. Being one of the four most famous gardens in China, the crowds soon arrived, but just for a moment, I could get a beautiful glimpse of what a peaceful, elaborate garden this was before it had to endure the trampling feet of countless visiting groups. (post continues below after pictures...)

 

Another view of the Hanbi Mountain Hall; a wisteria-covered stone walkway on the right leads to the other side of the pond.

 

Luyin Gallery, the Gallery of the Green Shade on the left. It was named by an ancient maple that used to cover it with dense shade. To the right, Ming Se Lou, Brilliant and Refreshing Tower.

 

Simple stone bridges leading over tiny ravines connect the different parts of the "wilderness".

 

View from the ''mountain wilderness", north from the buildings shown above. Elaborate rockeries with winding paths and greenery fill this area, reminding of the mountainous landscapes of China.

The Lingering Garden is located outside the huge Changmen Gate to the old city of Suzhou, and with its 2.3 hectares, one of the largest classical gardens in the city. It was originally built in the 21st year of the reign of Wanli of Ming Dynasty, with translates into year 1539 on the western calendar. The name, Liú Yuán, is later, given after Liu Su, a 18th century owner of the garden, but as often the case with Chinese names, the homophonous word also can read as meaning leisure.

 

An astonishing 700 meters of winding, covered walkways lead through the Lingering Garden.

 

 The Study of Enlightenment, with mounds of soft bamboo planted above rock arrangements.

  

The Lingering Garden is extremely rich in its design, which is divided into four main parts. The middle part of the garden features a verdant hill and a pond, enclosed in several elegant halls. The eastern part contains many smaller buildings and famous rocks from Lake Taihu. The northern part has a fruit forest and a bamboo forest, with pavilions sprinkled out into the landscape. The western part is built as a 'natural wilderness' on woody hill, reminding of the mountainous landscapes of China. It is often said that the Lingering Garden displays all wonders in Chinese garden construction techniques, and represents the gathered wisdom of the ancient architects and artisans. (post continues after pictures...)

 

 A magnificent, undulating wall separates the woods in the western part of the garden from the pond and rockeries in the middle area. Arrestingly beautiful.

  

This garden fell into severe disrepair a century ago in 1911, when an owner who had inherited it didn't have neither interest nor resources for its upkeep. It was only in mid-20th century that it was restored by resources allocated by the People's Republic of China. It opened to the public in 1954.

 

A moment of rest and contemplation - at 7:30 in the morning, a gentleman took out his flutes and started playing in one of the pavilions. A garden path sweeper immediately dropped his broom, and took a short break from his monotonous work to to enjoy the music. 

The same pavilion as above (with the sound of flute still filling the air) seen from the penjing garden below.

 

Penjings, both small and large, fill the northern part of the garden, forming their own miniature sceneries within the scenery.

 

 Another, larger "miniature mountainscape" by the walkway leading to the penjing garden...

 

Just like the Humble Administrator's Garden, the Lingering Garden is one of the four most famous gardens in China, a UNESCO World Cultural Heritage site, and one of the Cultural Relics of National Importance under the Protection of the State as well as a Special Tourist Attraction (grade AAAAA) of China. The fame leaves its marks, and to be able to enjoy the garden in peace is a rare treat. Still, this is an extraordinary garden to see, and an excellent reminder of the highly sophisticated achievements of the ancient Chinese culture.

 

A couple of rocks, an old vine and a calligraphy forming the focal point of a corridor leading out from the garden. So simple, so visually effective.

By the entrance of the garden - luckily, I was already on the way out from the Lingering Garden when the huge groups arrived. As I wrote earlier, try to time you visit so that it doesn't clash with the major Chinese holidays... everything will be so much easier and calmer.