Ahata-e-Jahangiri or Jahangir's Quadrangle This quadrangle, although named after Jahangir, was in fact the creation of emperor Akbar and contains some of the earliest Mughal structures in the fort. The area is part of a belt of quadrangles

and suites lining the northern periphery above the Mughal fortification wall, and was dedicated to strictly imperial usage. Jahangir's Quadrangle, a quad consisting of royal apartments and a harem sera, was placed in a secure corner of the citadel to ensure the safety and security of the zenana. Also, since the river Ravi once flowed at the foot of the north fortification, the view from the royal quads, overlooking the vast countryside beyond, would have been spectacular.

Most of the buildings around this quad are built upon subterranean chambers, particularly those bordering the quad's northern, eastern and western peripheries. From the recent studies carried out by us, it can be inferred that the east and west huans (suites) were built at the same time as the teh khanas below them, pointing to Akbar as the architect of the imperial chambers.

The iwans represent the best of Akbari architecture in the region that is now Pakistan. In fact in the rendering of the sculpted imagery in the struts, they surpass the elements found anywhere else in the subcontinent. While there are many elements that are evocative of those employed in Agra or Fatehpur Sikri, there is little doubt that as the last capital built by Akbar, Lahore represents the high point of Akbari architecture in view of the experience gained by Akbari architects and crafts persons while building the earlier capitals.

Ahata-e-Jahangiri, 372' x 245' in size, is the largest of all quads, except the Maidan Diwan-e-Aam discussed above. In the rectangular quadrangle is set a chahar bagh (paradisical garden) with parterres and walkways, cooled by an enormous hauz (tank) and an array of fountains. The central chabutra (mahtabi) or platform, accessed by narrow causeways provides a delightful seat elevated above the water reservoir to enjoy the amiable surroundings. A wonderful fairy tale scene setting decorated with oil lamps (diyas) and candles, was witnessed as late as 1843 by the Prussian Von Orlich when he visited the Sikh durbar.

During the British period the suites in the quad were converted into officers' accommodation, and greatly altered with additions made to cater to military requirements. At the time, the vast space of the original roya 1 quad was utilized to build several new structures consisting of 'cook rooms' and school rooms.

Palace of Kharrak Singh/Archaeological Library

The southeast corner of Jahangir's Quad is occupied by a twostorey structure referred to as the haveli or palace of Kharrak Singh, the heir to Ranjit Singh. No doubt it was due to its having been utilized by the heir to the Sikh throne that after the British occupation the first floor was considered suitable for the 'Commandant's Quarters', while the ground floor was used as 'godown and servants' house.

The first floor is presently used by the Archaeological Survey offices and ground floor accommodates the Archaeological Library, a remarkable storehouse of antiquarian books. If you have time, it is worth entering the library, since you are allowed to browse through the collection. The whole southern periphery of the quad would also have been lined with suites similar to the Mashriqi and Maghribi iwans detailed later. Today, the surviving red stone seh-dara alone provides the clue to the ancient lineage of the structure.

Mashriqi and Maghribi Iwans (West and East Chambers)

The most spectacular quad buildings are the symmetrically arranged Mashriqi and Maghribi Iwans (East and West attached chambers) of Akbar, which define the quad's eastern and western borders. Originally lined with five iwans or suites on each side, each unit is identified by original distinctive features—the red sandstone seh-dara (three-doorway unit) dalan porticoes. The seh-daras carry exquisitely carved columns and the roof chajja is supported by striking sculpted struts composed of the much-acclaimed figures of elephants, griffins and peacocks. Although the seh-dara is a trabeated structure—using beams and struts of stone—the rooms themselves demonstrate arcuate construction techniques in red Lahori brick which were utilized with great effect to produce lofty vaulted spaces and arched apertures.

Some rooms show simple fresco decoration, though in view of the damage inflicted upon these chambers by various rulers, including present-day custodians, it is difficult to distinguish and identify the original elements.

Mashriqi and Maghribi Suites

The identical two-storey, detached graceful mansions located at the northeast and northwest corners deserve special notice, being of greater height and carrying greater refinement in the execution of architectural elements. Although they are placed in continuity of the remaining iwans on either side, from their unique character and elaborate ornamentation of structural elements, it is evident that these mansions were reserved for the more illustrious members of the royal household—the queen mother or a favourite empress—or a favourite daughter such as Shahjahan's eldest Jahan Ara Begam (Shahjahan's wife Mumtaz Mahal having died before he visited Lahore in 1634). Surely these mansions were the place where edicts andfarmans would have been brought to be stamped with the royal seal, which was always in the custody of the most powerful royal lady of the day.

To experience the most exquisite carving of the Akbari period, these mansions provide a delightful opportunity. The polyfaceted, double-storey columns on multifoil bases of the deep set portico, and the moulded and carved brackets supporting the soffit of the deep sloping chajja (overhang or projection), are all incised with a delicate overall pattern. The most stunning of all are the flamboyant, 2-stage highly figurative struts, based on animal imagery, to support the deep eaves.

In each of the mansions, flanking the seh-dara are two projecting semi-octagonal balconies, with their bases elaborately fashioned out of innovative brick corbelling. Faint traces on the muaarnas of these provide evidence of the once highly decorative, embellished and gilded fresco work.

It is worth entering the seh-dara portico of the east suite (Mashriqi Iwan) since you will find an interesting two-level mezzanine arrangement in the portico. From the portico you can view the vaulted rear chambers, and gauge the splendour and loftiness of the accommodation.

Khwabgah-e-Kalan (Bari Khwabgah)

This detached single-storey arcaded palace building located in the centre of the chahar bagh, overlooks the north aspect of the fort. Through its rear openings could once be viewed the verdant surroundings bordering the river Ravi. Today, the Ravi, having receded, is no longer visible, while the Khwabgah-e-Kalan (Bari Khwabgah, lit. Great Chamber of Dreams) is a much disfigured version of the original building attributed to Jahangir.

In view of the evidence of historical sources regarding Jahangir's habit of rebuilding on the foundations of buildings constructed by his father. Emperor Akbar, the Jahangiri palace itself is likely to have been built upon the walls of an earlier palace or khiuabgah, below which lie the subterranean chambers attributed to Akbar.

Thus the building presents a 19th century remodelled veranda in the front, while the 3-chamber arrangement in the rear with thick walls, vaults and squinches is indicative of original construction. During the British occupation of the fort, new constructions totally camouflaged the original structure and for a time, the building was thought to have been constructed by the Sikhs. However, after the removal of various additions, the building was taken in hand and was 'restored'. The pointed arches as part of the reconstruction effort were believed by the 'restorers' to be Jahangiri architectural expression, but really have no affinity with Jahangiri architecture.

You may not be able to view the interior of the building, since it is utilized as a museum and is open during fixed hours only. However, it is worth timing your visit to the fort so that you are able to view the collection (for details of the museum see Chapter 12). The interior is also worth a visit to examine the original arcuate construction of the chambers, in which evidence of fresco work on qalib kari (stalactites) can also be seen.

Bangia Pavilion

Flanking the Khwabgah-e-Kalan were once two 3-chamber structures, also likely to be of Jahangiri origin, carrying bangladar roofs. Only one of the pavilions is now extant. Its echo, the western pavilion having been lost during the 19th century, its location in dotted lines is indicated on maps prepared by H.H. Cole in the late 19th century.

Although the Bangia pavilion is often mentioned as a Sikh structure, it is more likely to have been of Jahangiri origin. In the absence of any recorded evidence, these pavilions could well have been among the 'sitting places' that Jahangir mentions in his memoirs with evident enthusiasm.

The location of these pavilions, in close proximity of the royal Chamber of Dreams, the khwabgah, overlooking the north fortification wall as well as enjoying a view of the chahar bagh of the Quadrangle, confirms their significance as royal apartments. The large hall has a seh-dara arrangement on the south, although the architectural vocabulary is disparate from the seh-daras seen in Akbari iwans, described earlier. The columns are simple and are similar to the ones noticed earlier in the Makatib Khana east arcade.

The bangladar roof of the pavilion is also worth noticing, since the central unusual roof line is combined with flanking shallow domes—a treatment disparate from the other bangladar roof we will notice when we traverse the Shah Burj and Shahjahan's famous Naulakha Pavilion.

Although most of the decorative features are lost, traces of fresco, mainly consisting of floral themes and human figures influenced by European imagery, will be found that are indicative of Jahangir's artistic preferences.

It is unclear how the pavilion was utilized. Historical sources are silent on the usage of these pavilions. Were they belvederes for enjoying the cool evening breeze, or did Jahangir utilize these as Jharoka-e-Darshan (or Bangla-e-Darshan) as he did at Agra? If Jahangir did build the khwabgah and the two bangia pavilions, it is likely that his famous rassi-e-adal (the chain of justice) consisting of pure gold 30 yards long carrying sixty small bells, would have been attached to the domed kiosk of the adjacent bwj (tower). He might well have appeared for darshan (public viewing) in the lost bangia pavilion.

Zenana Hammam

The southwest corner of the quad is occupied by a structure which is in a highly damaged state. A Sikh-period map identifies it as a bath (hammam). It is likely that this is the hammam that was built for the use of the imperial female entourage of the emperor—the imperial zenana.

Diwan-e-Aam Quadrangle

Moti Masjid Quadrangle

Jahangir's Quadrangle

Shahjahan's Quadrangle

Paien Bagh & Khilwat Khana Quadrangle

Shah Burj or Royal Tower