The restoration of Batashewala Complex neighbouring Humayun’s Tomb can be a significant case study to follow for conservation purposes in future. It uses the craft-based model to provide an opportunity to artisans and conserve architectural heritage. By Divya Kaushik
A few kilometers walk through the Government Sunder Nursery will lead you to that part of history, which suffered neglect for years but is suddenly glistening and gleaming. Thanks to the well-planned restoration work at the Batashewala Complex, the three structures with sprawling garden around them have now regained their glory.
The restoration of Batashewala Complex neighbouring Humayun’s Tomb can be a significant case study to follow for conservation purposes in the future. Conservation and landscape restoration works here have aimed at establishing a model for conservation process by utilising the skills of craftsmen. The multidisciplinary team worked towards reversing the damage through a painstaking, craft-based effort aimed at restoring the historic architectural character of the site.
“Through this project we want to demonstrate that the right way to do conservation in India is by making the craftsmen the centerpiece, not the architects or engineers. These buildings were so mutilated that to restore them we had to use the same craft techniques, materials and tools that original builders did 500 years ago. The craft skills in India, except for the tile work, have survived. Employing them only requires multidisciplinary supervision.
The four major craft used in the conservation process of Batashewala Complex are stone masonry, stone carvings visible in jaalis, lime plaster work and tile making. The only skill that died out here was tile making and for that we started getting Uzbek craftsmen in the beginning. After the initial work, our craftsmen took over it. Through this restoration we want to spread the message that craftsmen should be given an
opportunity. For conservation to be meaningful in the future, it is important that we utilise our own craft skills. Getting the craftsmen together is not difficult in India,” says Ratish Nanda, projects director, Aga Khan Trust for Culture (AKTC).
India is fortunate in its building craft traditions, which have been passed down through many generations and over a number of centuries. Craftsmen here still take great pride in replicating the work of their forefathers, using tools and building techniques as seen in Mughal miniatures. Craftsmen clocked over 1,00,000 man-days of work to complete the conservation work at Batashewala Complex.
The other noteworthy factor about the conservation here is the use of traditional materials. The use of traditional materials, especially lime plaster, will appear new in the beginning but over time, the patina, comprising organic growth, will return on account of jaggery, lentils, egg whites, pulp of bael fruit that have been used as additives in the lime mortar. The use of traditional material will ensure the long-term preservation of the site.
The restoration of the 11-acre complex was undertaken by the Aga Khan Trust for Culture (AKTC) in collaboration with Archaeological Survey of India (ASI) with the grant from the US Ambassador’s Fund for Cultural Preservation. The complex includes three 16th century garden tombs, including the tomb of Mirza Muzaffar Hussain, grand nephew of emperor Humayun and son-in-law of Akbar. The complex, which is adjacent to Humayun’s Tomb world heritage site, had suffered from decades of neglect and inappropriate development. Portions of the structures and the enclosure walls, demolished in 1989 to create a camp site, were reconstructed as part of the restoration. The Mughal char-bagh landscape design of the two enclosed gardens was also restored. Trees favoured by the Mughals — mango, neem, citrus — were planted.
Batashewala Complex stands to the north of Humayun’s Tomb and includes two Mughal era tomb garden enclosures within which stand three tombs — Bada Batashewala, Chota Batashewala and the unknown tomb. The tomb of Mirza Muzaffar Hussain or Bada Batashewala is the principal tomb in the complex. “The Chota Batashewala and the domed Mughal tomb can be considered contemporary because of their location in the complex and their architectural character.
They are a significant part of the 16th century Mughal necropolis adjacent to the dargah of Hazrat Nizamuddin Auliya. The conservation effort, since 2011, has aimed at recovering the architectural integrity of the monuments. Urgent repairs were required on all three structures to ensure that no further loss of the architectural fabric takes place. The eastern wing of Mirza Muzaffar Hussain’s Tomb — the fort-like enclosure of the domed Mughal tomb — and almost all of the Chota Batashewala, had been lost in less than three decades,” says one of the conservation architects from AKTC.
Parts of the striking plaster ornamentation have survived on some of the internal wall surfaces, providing the evidence required to restore missing portions. Ornamental plaster medallions and the intricate muqarna patterns on the half-domed arched entrance bays symbolise the highest craft traditions of the period. The central grave chamber, several feet below the ground, is surrounded by eight rooms, making this an interesting example of the ‘hasht-bisht’ plan, which represents the eight spaces of paradise as described in the Quran. The domed ceiling of the central chamber, as well as the walls inside, is ornamented by floral and geomentric patterns intermingled with Quranic inscriptions in incised plaster.
With the completion of conservation works, a proposal to UNESCO for inclusion of the Batashewala Complex in the expanded Humayun’s Tomb World Heritage Sites will be submitted this year.