Meerut has become famed as the 'City of Freedom', with its living heritage testament to the Great Uprising – the Mutiny of 1857 – against the British rule in the subcontinent. One such monument that played a pivotal role during the Uprising, as a hideout for the mutineers, is a 17th-century mausoleum, Abu ka Maqbara. The tomb was built in 1688 for Abu Mohammed Khan Kamboh, the Nawab of Meerut and is depicted in archival photos as a precinct that rivalled the size of the Safdarjung Tomb.
Colloquially called the 'Mutineers Mosque' by historians, it not only provided sanctuary but also served as a strategic military base during the Uprising. However, the single greatest tomb in Meerut which was once a symbol of resistance and resilience against colonial rule now lies on the verge of collapse, due to administrative neglect and urban encroachment
Abu: A Visionary Who Shaped the Historic City
Abu Mohammad Khan Kamboh, often hailed as the visionary behind Meerut's foundation, emerge[a]d during the 17th century, a period marked by the reigns of Jahangir and Shah Jahan. As some historians would argue, Abu Mohammad was also the Wazir at the Royal Court during the reign of Alamgir I, Aurangzeb. While the precise date of his birth remains shrouded in historical ambiguity, his influence on the city's development is undeniable. As mentioned in ‘the memoirs of Meerut’, he held the title of Hazari in the royal court suggesting his command over an impressive contingent of 1,000 soldiers and skilled cavalry. Hailing from the community of Kamboh or Kambojs (cultivators), his grand vision for the city encompassed massive infrastructure projects that have left a lasting imprint.
Abu, as we would address him henceforth, is historically remembered for his efforts to bring a freshwater source within the city of Meerut from Kali Nadi; the city being originally situated on its riverbank.
While this effort could not fully materialise, it was later during British rule that the canal was reimagined into an immense conduit for sewage water. Situated along the banks of this canal, lies the bustling market, Abu Lane, a significant urban landmark at the heart of the city, founded by and named after Abu. Abu Lane— the traditional Mughal-era bazaar is till date a thriving high street. Another notable landmark, Ghantaghar (clock tower), as seen in Bollywood movies, is a heritage structure attributed to Abu. Formerly known as Kamboh Gate—the gateway to the Nawab’s palace, the clock tower has been renamed as Subhash Chandra Bose Dwaar, commemorating the celebrated freedom fighter.
Abu Ka Maqbara: Through the Archives
It was inevitable that a visionary ruler who contributed to the development of the city would be buried with valour. Abu ka Maqbara, bequeathed by the family of Kamboh Nawabs of Meerut, became the final resting place for Abu. Conceived in 1688 as a quintessential example of a Mughal-era mausoleum in Kesarganj, now locally known as Maqbara Diggy, Abu ka Maqbara originally sprawled a precinct of around 250 bhigas.
From the archives of the British Library in London and the memoirs documenting the Great Uprising of 1857, the mausoleum – an arcaded square pavilion housing the graves – could be seen standing tall over an intricately ornamented rectangular plinth overlooking the city. The rectangular plinth with deceptive arches concealing the concealed staircases likely served as the very ground where military barracks could have stood during the tumultuous times of the Sepoy Mutiny.
The mausoleum is recognised as exceptional, largely owing to its impressive ten-tomb layout – an elegant arrangement of nine smaller domes encircling the central dome, at the heart of the main tomb pavilion. In total, eight chhatri or smaller pavilions with hemispherical domes circumscribe the central pavilion. Sources further reveal that sangemarmar, the finest of marbles, once graced the floors of the red stone tomb pavilions, and colourful ornamented frescos adorned the ceiling of the pavilions.
Mohammad Farhan Fazli, a Professor of architecture, researching the mausoleums of North Indian, underscores that Abu ka Maqbara encapsulates the typical Mughal architectural style prevalent throughout the 17th-century subcontinent. He elucidates, “With pointed bell arches, colonnaded pavilions, and the hemispherical dome crowned on an octagonal base, it embodies the architectural essence of that era”.
Expanding upon this, Excellent Hansda, an architectural researcher from Liverpool University, identifies a subtle hint of Hindu trabeated architecture within the design of Abu ka Maqbara.
“The inverted lotus finial gracing the central dome, the delicate drooping eaves held by intricate brackets and the inclusion of kangoora motifs all align with the distinctive elements of Hindu trabeated architecture”, Hansda explains. These insights from archival analysis collectively signify Abu ka Maqbara as a splendid fusion of various architectural styles, crafting a legacy that transcends the temporal-cultural boundaries. Thereby making it a heritage site of symbolic significance embodied by shared heritage and architectural syncretism.
Abu Ka Maqbara: An Insight Into the Present
Regrettably, the present state of the mausoleum is far from pristine. Archival photographs of Abu ka Maqbara reveal a stark reality when compared with present-day photo documentation. A significant portion of the mausoleum has crumbled due to negligence, providing a distressing opening for locals to invade this heritage precinct.
With the passage of time, major portions of the mausoleum have succumbed to residential expansion – whether sanctioned or illicit. Consequently, the sprawling grounds of 400 bhigas have now reduced to paltry 2 bhigas with a significant chunk of its land being converted into a squatter's colony. Seven out of the eight meticulously crafted chhatris (smaller pavilions) have fallen victim to local encroachment or unplanned development. The roof supporting the central pavilion is sagging, and bagh gardens have vanished with time, only to be replaced with encroachment.
Encroachment has been so rampant that tin huts are now on top of the tomb itself. People have built multistoried houses on the grounds and apart from kutcha houses, the tomb has also become a grazing ground for goats from local dairies. Even the space that remains today is slowly shrinking and ultimately cries for restoration and conservation.
The sangemarmar that adorned the floors is left to be pilfered by paddlers and vagabonds who spare not even the graves themselves. The once-vibrant frescoes and intricate mosaics adorning its ceilings have been lost to obscurity. The distressing sight of scattered ornamented red-stone pieces upon the ground is testament to the lost artistry that once graced the tomb. Ideally, these fragments would have been preserved, and the expertise of an art and architectural conservator enlisted for their restoration.
However, the remnants of the mausoleum – cultural as well as material layers – have been overshadowed by centuries and covered by a patina of age.
The once-majestic mausoleum currently stands – as a poignant reminder of the inevitable march of time – in the dire need to be preserved, restored and conserved for generations yet to come. While in 2015, the Meerut Development Authority (MDA) recommended the tomb be enlisted in the ASI-listed monuments on account of its rich history spread across 350 years, the efforts for its conservation could not materialise.
Consequently, Abu ka Maqbara, now lies among the shanties of Maqbara Diggy, precariously poised on the brink of collapse. Historians and heritage practitioners fear the remaining parts of the tomb will be demolished or illegally encroached to build houses in the next few years.
A Tale of History, Heritage and Hysteria
The loss of a historic shared heritage site, Abu ka Maqbara, could eventually result in a heritage amnesia resulting in loss of memory associated with it, leaving room for hysteria. The preservation of the material-immaterial fabric of built heritage, we argue, would eventually build trust between people and administration. But cultural heritage can also undermine trust when it is threatened, left to decay or deliberately destroyed thereby damaging its associated values.
However, "Meerut's greatest monument can still be saved, but the authorities need to act quickly as there isn't much time left", posits Sam, who has extensively documented Abu ka Maqbara this summer. The rich urban historic fabric of the city that narrates a tale of history and heritage, collectively underpins a sense of belonging and shared heritage for the people. As we reflect upon Meerut's heritage, let us also contemplate the urgency to preserve its historical treasures. The legacy of the Mutiny of 1857 lives on through these edifices, urging us to honour the sacrifices made for freedom and to safeguard the heritage that shaped the destiny of a whole nation.
(Sabine Ameer is an architect-urban planner based out of Delhi. Shah Umair is the founder of Noon Social, a creative agency exploring art & craft through digital media. Ameer Ahmad is a lawyer based out of Meerut.)
(At The Quint, we question everything. Play an active role in shaping our journalism by becoming a member today.)