Monuments in and around East Delhi

Delhi –The focal point in Golden triangle tour packages offers a variety of sightseeing and experiences .The city of Delhi has evolved over centuries and as a tourist one just is amazed by the contrasting lifestyles that co exist in Delhi.

Modern Delhi has turned its back on the River Yamuna. But the waters played a crucial role in the sitting of some earlier cities. Landlocked forts stand amid offices, stadia and modern memorials. The main thoroughfare, Mahatma Gandhi Road, is a major dual-carriageway, so it is worth setting off early to explore the north end first.

Start outside the back walls of Lal Qila—this was where the public congregated to check on Shah Jahan’s well-being each morning; the emperor’s balcony juts out from the marble palace facades. North of it, the ramparts and bastions of Salimgarh Fort (1545-54) were built by Sher Shah’s son Islam Shah Sur, who failed to consolidate his able father’s achievements.

The first stop in Delhi Sightseeing Tour by Car organized by Swan Tours is the Red fort or lal Qila.

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Information about Lal Qila

Lal Qila has lost its riverside views to a large tract of new land where some of India’s recent heroes are remembered. It is an oasis of peace. First of the memorials is Vijay Ghat dedicated to Lal Bahadur Shastri, India’s second prime minister (died 11 January 1966); then Shanti Vana (forest of peace) where Jawaharlal Nehru (died 27 May 1964) and his daughter Indira Gandhi (assassinated 31 October 1984) were cremated, and where her sons Sanjay and Rajiv are remembered. Finally, Raj Ghat is at the south end, a serenely peaceful place. This is where Mahatma Gandhi was cremated (died 30 January 1948) on the memorial platform which is now set in a sunken psquare garden surrounded by caves and high ramps, the design of Vanu G Bhuta. The Gandhi Memorial Museum is nearby, where the Mahatma’s life and achievements are movingly remembered with photographs, descriptions and quotes such as ‘I shall work for an India in which the poorest shall feel that it is their country in whose making they have an effective voice’.

The Red Fort

Built by: Shah Jahan

Built: 12 May 1639 – 6 April 1648; (8 years 10 months & 25 days) (Source: wikipedia)

The next city is Feroz Shah Kotla, really just the riverside (now landlocked) citadel of Feroz Shah Tughluq’s vast and wealthy city that stretched from the North Ridge of Old Delhi down to Haus Khas in south Delhi. In its heyday the palaces, mosques, hunting-lodges, reservoirs, hospitals and colleges buzzed with princely and intellectual life. Then, in 1398, Timur (Tamburlaine), ancestor of the Mughal conqueror Babur, sacked and laid waste this fifth great Delhi city, leaving with elephants, stone masons and such booty that, according, to one account, ‘they could scarcely march four miles a day’. Today, hoopoes hop about the blossoming gardens which link the ruins of a mosque, palace, living quarters and baoli (step-well); the entrance is on the west side, on Bahadur Shah Zafar Marg.

Information about Feroz shah, Delhi

Feroz Shah (ruled 1351-88) was the third sultan of the Tughluqs (1320-1413). Son of a Rajput princess and cousin of the previous, madcap ruler Muhammad, he was politically weak but a great builder, intellectual and antique collector. He had translations made of Sanskrit texts into Persian and Arabic. And here, on top of his Kushk-i-Firuz (Feroz’s place) he put one of the two remarkable Ashoka pillars (273-236 BC) he found, transporting them from Meerut and Topla to Delhi down the Yamuna (the other is up on the North Ridge). When the Mauryan emperor Ashoka’s ancient Brahmi script, a forerunner of modern Devnagari, could not be unravelled (that was James Princep’s feat in 1837), Feroz Shah was told it was a magic charm used in religious ritual. In fact, it bears Ashoka’s messages and promotes dhanna (the Buddhist teachings) and the welfare and happiness of the people.

The National Rose Garden, glorious in February-March, is in the south-east corner of Feroz Shah Kotla, while by the entrance stands Khuni-Darwaza (bloody gate), possibly a gate to Sher Shah’s city, the next to see downriver. Mathura Road, the royal route to Mughal Agra, leads down to it and has several good buildings either side. Not far along, the Abdu’n Nabi’s Mosque (1575-6) on the right was built by Akbar’s ecclesiastical registrar who went to Mecca to distribute money to the poor but failed to account for it on his return, for which he was finally murdered. On the left, a parade of concrete newspaper offices ends with the charming International Dolls Museum. Under Tilak Railway Bridge, modern Pragati Maidan opens on the left. Here is the Crafts Museum, an essential stop if you are interested in India’s cultural, village and craft life (see page 98). Charles Correa designed the museum buildings; Raj Rewal’s pyramidal engineering feat, the Hall of Nations (1970-2), rises behind. Closed Monday.

To the south there are splendid views of Purana Qila. Closer to it, the great walls belie a chequered history. This is not one city site but several. The earliest may well have been the sacred site of Indraprastha (city of Indra, Hindu god of rain and thunder), founded by Arjun, one of the Pandav brother heroes in the epic Mahabharata. Excavations on the southern slopes are now revealing the reality behind the myth. Next, the second Mughal emperor, Humayun (ruled 1530-40, 1555-6), returned from Agra to the traditional capital and in 1533 founded Dinpanah (shelter of the faith), Delhi’s sixth city. Its surviving two kilometers (1.2 miles) of walls pierced by three giant, double-storey gateways were surrounded by a wide moat opening into the Yamuna. Although he dreamt of ruling a liberal empire with Dinpanah as a cultural capital to rival Samarkand, the aesthete Humayun was too self-indulgent and politically indecisive to consolidate

Mughal power. After crushing defeats at Chaunsa (1539) and Kanauj (1540), he was ousted by Sher Shah.

This remarkable Afghan was a talented organizer and skilful general who, before his death in 1545, was encouraged by Persian renaissance thought to set up an administration which was in effect the blueprint for Akbar’s Mughal government. He enlarged Purana Qila and extended his prosperous city northwards, calling it Shergarh; one gate is thought to be near Feroz Shah Kotla. Two buildings inside /* Purana Qila survive: Qal’a-i-Kuhna-Masjid (old fort mosque, 1541) whose five great arches, decorated mihrabs and marble-inlaid sandstone facade mark the change from Lodi to Mughal architecture; and the octagonal Sher Mandal, possibly built as a pleasure house but soon to witness tragedy.

Qal’a-i-Kuhna Masjid, Purana Qua Humayun had wandered India and then taken refuge at Shah Tahmasp’s court in Persia for ten years, paying for his keep, it is said, with the Koh-i-Nur diamond and other jewels. In 1555, when Sher Shah’s followers were split into warring factions, he won Delhi back. The next year, having made the Sher Mandal his library, he was standing at the top of its steps directing his astrologers to watch for the transit of Venus, an especially auspicious moment, when he heard the muezzin’s call. He tripped on his robe, fell and died three days later. Looking past the south gate of Purana Qila, you can see his tomb in the distance.

white-Tiger-Delhi-Zoo

Between Humayun’s city and tomb there are several good things to see. Delhi Zoo fills most of the space, its entrance right beside the Purana Qila gateway. This is India’s biggest and most important zoo. Beautifully landscaped grounds house a few of the world’s rare white tigers as well as one-horned rhinoceroses from Assam, Asiatic lions from Gujarat, crocodiles, a ravishing assortment of exotic birds, storks, elephants and a rogue Mughal pavilion perfect for picnicking in and enjoying the swum squeaks and soaring views up to Purana Qila. Its ravishing setting and bird-watching opportunities do not make up for the zoo’s unsatisfactory management. (Closed Friday and government holidays). As you go back onto Mathura Road, you will espy a Shergarh gate opposite. Next to it is Khairu’l-Manazi-

Masjid (the most auspicious of houses, 1561), built for Maham Anga who, as wet-nurse to Akbar, became head of the harem and achieved almost royal stature and influence—her son became an army general (see page 105). Steps lead up to good rooftop views. On the way down to Humayun’s tomb the Sundar Nagar antique shops are on the left.

information about Humayun’s Tomb

Humayun’s tomb (1562-75) is the first great Mughal garden tomb. This is the blueprint which reached maturity in the Taj Mahal at Agra. His senior widow Bega Begum, known as Haji Begum, probably built it, although new arguments suggest Humayun’s son Akbar was involved. Its architect was a Persian, Mirak Mirza Ghiyas, who had worked in the Timurid tradition at Herat and Bukhara. Here in Delhi, he used local materials and carving skills, together with the mixture of red sandstone and marble found in some Sultanate buildings. These he used to realize a design inspired by the monumental but simple Timurid tombs and by the ancient Persian idea of the spacious, formal royal garden and the Qur’an’s description of paradise. He also added a new element: a double dome whose two skins made possible a lofty exterior and a well-proportioned interior. The huge size and formality of Humayun’s tomb proclaim the newish dynasty’s might.

Humayun’s Tomb

Together, widow and architect achieved ‘one of the most arresting examples of the building art in India’ and ‘an outstanding landmark in the development of the Mughal style … the synthesis of two of the great building styles of Asia—the Persian and the Indian’ (Percy Brown).

Successive gateways finally open into a charbagh (four garden, see page 134) where the domed memorial sits on a high plinth. Clamber up onto it for more good views back to Purana Qila and to more monuments scattered nearby.

Inside the mausoleum, the emperor is not alone. Other Mughals here include Bega Begum, Shah Jahan’s son Dara Shukoh and Mughal emperors Farrukh-siyar (ruled 1713-19) and Alamgir II (ruled 1754-9). The last emperor, Bahadur Shah II (ruled 1837-58), was found hiding here during the mutiny. outside the gateway, the aptly named Sabz-Burj (green dome) on the roundabout gives an idea of how luxurious the Mughal buildings looked when first built, as does the tiled Nila-Gumbad (blue dome, 1625), at the south-east corner of the tomb walls. On the way there, you will pass Bega Begum’s so-called Arab-Serai, which probably housed the Persian craftsmen working on the tomb. Near here is another Mathura Road monument, the massive square tomb of Khan-i-Khanan (died 1627). It has lost its exterior decoration to Safdar Jang’s tomb (see below), but held onto its delicate incised and painted plasterwork inside.

Nizamuddin is opposite, a medieval Sufi village replete with Muslim atmosphere, living on quietly in the Imistle of India’s capital. Stalls lining the lanes sell kebabs, Qur’ans, rose petals, lace caps and the latest cassette tapes of qawwalis to the visiting faithful. The village heart is the dargah (shrine) of the Sufi saint Shaikh Nizam-ud-din Chishti (1236-1325), whose royal followers included two Tughlucts, Muhammad and Feroz Shah, and several Mughals. (The Akba-rnama recounts how, after Akbar’s visit, an assassin’s arrow failed to kill the king ‘as the Divine protection and the prayers of the saints were guarding him.’ This shrine was one of the reasons Shah Jahan chose Delhi for his new city). The sacred land surrounding the shrine attracted other important tombs including those of court poet Amir Khusrau (died 1325), who contributed much to the qawwali form of singing; Shah Jahan’s daughter Jahanara, who laid out Chandni Chowk; and emperor Muhammad Shah (ruled 1719-48). Humayun’s tomb is significantly close, too. The daily qawwalis at the dargah continue all night during the Urs festival.

For tourists to explore Delhi in the right manner it is important to involve an expert , Swan Tours – one of the leading travel agents in India offers different travel packages to chose from which offer an insight to the experiences in Delhi.

 

The most interesting facts about Delhi | Swan Tours

As the seat of power of successive dynasties that ruled India, Delhi has always attracted great painters, musicians, dancers and craftsmen from all over the country, but perhaps never more so than today. When the princely states and great landed estates were abolished after Independence, Indian artists lost their traditional patrons, and ever since then have found their new patrons — politicians, government cultural institutes, broadcast media, industrialists and diplomats —concentrated in Delhi. As a result Delhi offers the most varied cultural life of all Indian cities, with the best of court and local traditional styles in dance, music and theatre.

The best way to find out what’s on in a particular week is to look at the cultural pages of the newspapers — the Indian Express on Saturday and the Times of India on Friday carry comprehensive listings, as do the listings magazines the Delhi Diary and The Delhi City.

Delhi’s cultural hub is in the centre of town, between Barakhamba Road and Ferozeshah Road, concentrated around Mandi House Chowk. Here are located the Kamani and FICCI auditoriums and the Shriram Kendra, venues of major cultural performances. Nearby is the Triveni Kala Sangam with its art galleries and theatre; and Rabindra Bhavan, the government-funded cultural academy, which holds art exhibitions and festivals of dance, theatre and music.

Among the big annual events that Delhi stages are four “classical” music and dance festivals —the Shankarlal and Dhrupad festivals in February and March, the Vishnu Digamber festival in Au-gust, and the SPIC-MALAY festival in September. The greatest musicians in India, representing the different gharanas (schools) of Hindustani (North Indian) music, participate. The concerts often beginning late and continue into the night, way beyond the schedule, as the musician warms up and the audience responds. The music most often heard is that derived from the music performed at the North Indian courts.

The gharana (male lineages of musical instruction, usually hereditary) of the court musicians generally traced their ancestry back to Tansen, a musician at the court of Akbar (1556-1605). He is said to have been one of the greatest performers of dhrupad, a vocal genre held by many musicians to be the “purest” form of raga music. Although initially very popular at the courts, during the time of Muhammad Shah (1719-48) dhrupad was sup-planted by khayal. Muhammad Shah’s court musician, Niyamat Khan, is usually credited with popularizing the form (which legend says was invented by Sultan Husain Shargi in the 15th century). – Enjoy Golden Triangle Tour – Including Delhi, Jaipur, Rajasthan

Khayal is now the vocal genre most commonly heard in the concert hall. A khayal composition (bandis or ciz) comprises two short sections, known as sthayi and antara, which are in contrasting registers. Usually two compositions are presented, the first in a slow tempo, known as a “big” (tiara) khayal, the second, a “small” (chota) khayal in a faster tempo, which speeds up towards the end of the performance. A khayal concert starts with a short unmetered section introducing the raga (mode or pitch collection), followed by the ciz, which is in tala (rhythmic cycle), the most common of which is the 16-beat tintal. It is accompanied by the tabla (paired kettledrums) and, traditionally, the bowed lute, sarangi (this is now usually replaced by the harmonium, a small hand-pumped organ introduced to South Asia by French missionaries). The dronelute tambura provides a constant background, sometimes played by a supporting singer and usually tuned to sa and pa (roughly corresponding to the Western doh and soh). The compositions are explored in 0 series of elaborations and improvisations.

Another popular genre often performed on the concert stage, particularly by female vocalists — is thumri. This is a “light-classical” form which developed at the courts of Avadh (present-day Lucknow), consisting of a sung poem performed in a slow tempo with a highly melismatic melodic line. The Hindu texts are highly charged and devotional—even though the singers were usually Muslim — and often mildly erotic and written in a dialect of Hindi called Braj Bhasa. The accompaniment is the same as for a khayal performance.

Instrumental music, particularly of the sitar and sarod (both plucked lutes), follows a slightly different pattern, and draws on both khayal and dhrupad traditions. Compositions are known as gat (analogous to those of khayal); they are preceded by a long alap section, an unmetred presentation of the raga introducing each note in turn, in a similar fashion to that of dhrupad singers. The soloist then uses a variety of improvisational techniques to explore the material presented in the gat, and will usually present two different compositions, the second of which is faster. Instrumentalists usually consider themselves part of the Seniya gharana, which is traced back to Tansen.

Leading dancers of all the main “classical” styles — bharata-natyam, kathak, kathakali, kuchipudi, manipuri, mohiniattam and odissi —give regular concerts in Delhi. Delhi society turns out in force at these events, to see and be seen, and afterwards to catch up on all the gossip and intrigue of the cultural world.

The dance-style you are most likely to see advertised is bharata-natyam. Although it originated in Tamil Nadu, it is now taught and performed across India as well as overseas. It is derived from Tamil temple dance and has been a concert form since the early 20th century.

The female hereditary temple dancers (devadasis) took part in rituals in praise of the temple deity and were considered “married” to the god. This made them auspicious women as they could never become widowed. They would also be the sexual partners of the temple priests and local king (sponsor of the temple). It was this aspect of their duties that outraged Victorian sensibilities and an “anti-nautch” (from the Sanskrit naca, “dance”) was started, culminating in the banning of temple dancing. At the same time, growing Indian nationalism was seeking to legitimise claims for independence by presenting elements of South Asian culture as evidence of a strong national identity. Led by the Brahman dancer and teacher Rukmini Devi, moves were made to establish a “pure” form of the dance on the stage, the result was present-day bharata-natyam. Explore Delhi Sightseeing Tour by Car

It is a solo dance, still performed largely by women, with an accompaniment of Karnatak (South Indian) music played by an ensemble known as the cinna melam and led by the nattuvanar, who keeps time with a pair of cymbals and calls out the dance patterns, or jati. The dancers wear pellet bells (ghungru) around their ankles which add to rhythmic texture of the music. A bharata-natyam performance ideally consists of seven pieces: the introductory alarippu which is a prayer to the presiding deity; a jatisvaram, a technical piece using nrtta (abstract movement); the sabda, which introduces nrtya (movement expressing emotion); a complex dance known as varnam, that uses both nrtya and nrtta; a padam, a piece expressing love through nrtya; a technical and fast tillana; and a concluding sloka (rhythmic recitation of a religious verse).

The other “classical” dance-style widely per-formed in Delhi is kathak. The origins of kathak are closely linked to the rise of Hindustani music at the North Indian courts, particularly khayal, thumri and dadra. Traditionally danced by courtesans, it is characterized by its fast pirouettes and rhythmic patterns created by pellet bells (ghungru) worn on the ankles. Regular concerts are held by the Kathak Kendra in Bahawalpur House on Bhagwan Das Road.

Theatre in Delhi offers a variety that ranges from Moliere and Brecht translated into Hindi, to the best of contemporary regional theatre selected and brought to the capital — experimental plays as well as traditional forms, like puppet theatre from Karnataka and Rajasthan.

The Pragati Maidan exhibition ground is another hub of cultural activity, from art cinema to regional plays and performance by the most promising young dancers.

For more information about Delhi contact Swantours one of the leading travel agents in India.

 

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اردو میں دہلی کی سیاحت کے بارے میں معلومات

India Gate Delhi

Information about Delhi Tourism in Urdu

اردو میں دہلی کی سیاحت کے بارے میں معلومات

مقدس کے کناروں پر واقع دریا دریائے جمنا، نئی دہلی اور بھارت کے دارالحکومت شہر ہے اکثر سب سے زیادہ دیکھے گئے متعدد سیاحوں سے دنیا بھر میں سب کی طرف سے؟ بہت سے عظیم سلطنتیں اور طاقتور سلطنتوں کی طرف سے حکومت کی تھی، اس شاہی شہر ہمیشہ سیاسی، ثقافتی، سماجی اور مذہبی، ارتقاء جیسے مختلف شعبوں کا مرکز ہو رہا ہے ۔

Also Visit – Delhi Jaipur and Agra with Fatehpur Sikri Tour

دہلی بذات خود ایک عظیم تصویر حیرت انگیز فن تعمیر، کثیر ثقافت اور مذہب کے ساتھ امیر کی عکاسی کرتا ہے ۔ آپ بہت گہری تاریخ، یادگاروں، خوبصورت آرٹ گیلریوں، ثقافتی ورثے، عجائب گھروں، باغات اور مختلف غیر ملکی شوز میں بھی شروع کر سکتے ہیں ۔ مشہور فوڈ سٹال کے دارالحکومت شہر کی پرپیچ گلیوں سے تمام قابل مسافروں میں بڑے پیمانے پر رقم ہر سال ہے ۔ دہلی میں ایک پرسکون طور پر ساتھ ساتھ ایک سجیلا محاذی پرانی روایت اور جدیدیت کی بلا شبہ ہے ۔

Tourism in Delhi
دہلی میں سیاحت

دہلی میں ایک میجر ہے اور لاتعداد سیاحوں کی دلچسپی کے ساتھ نقطے دار اور کشش ہے جو سب سے بڑا تجارتی مرکز کے مفادات کا رکھتا ہے ۔ ہر سال ہزاروں آنے والوں کی اس غیر ملکی تاریخی شہر کی مختلف رنگین پہلوؤں باہر تلاش کرنے کے لئے آنے سے دنیا بھر میں دہلی میں سیاحت کی ایک بڑی تعداد اللوراس ۔ دٹدک، دہلی ٹورازم ڈویلپمنٹ کارپوریشن میں اہم کردار ادا کیا اور دہلی کی غیر معمولی بنیادی ڈھانچے، بچاؤ اور یادگاروں وغیرہ کی حیرت انگیز بحالی کی ترقی پر مشتمل میں سیاحت کی مجموعی ترقی کے لئے ذمہ دار ہے ۔ ایک پریشانی کے طور پر دہلی کی خاطر آزاد شہر جہاں ایک کر سکتے ہیں مسافروں کو آسانی سے ۔

Red Fort Delhi

Also Visit – Delhi Agra Jaipur Luxury Tour

دہلی سیاحت اب بہت سے سیاحوں کو فراھمی معلومات کے مراکز میں ہوائی اڈوں، ریلوے اسٹیشنوں اور دارالحکومت شہر کے تجارتی مراکز کے بارے میں سب کو کھول دیا ہے ۔ ان سیاحت بیوروز کی حمایت کرتا ہے سیاحوں کے لیے دہلی سے متعلق قیمتی معلومات کے کسی بھی قسم کے لئے اور یہ بھی دعوت دہلی نقشہ جات, متعلقہ دہلی سیاحت گائیڈ ہے ۔

Best Time to Visit Delhi
دہلی کا دورہ کرنے کا بہترین وقت

سرما کے مہینوں میں جو عام طور پر اگست سے شروع کرنے کے لئے سب سے خوشگوار موسم بہار موسم جو فروری سے اپریل کے آخر اور نومبر کے دوران دہلی کے سفر کرنے کا بہترین وقت ہے ۔

Nightclubs in New Delhi

Tourist AttractionsiIn Delhi
سیاحوں کو فراھمی اٹریکٹاونساان دہلی

جو ایک غیر معمولی سیاحتی مقام مثلاً قطب مینار، انڈیا گیٹ، لال قلعہ،، جانتر مانتر، اکشردم مندر، لوٹس مندر، ہمایوں کا مقبرہ، دہلی مشہور پرکشش مقامات میں سے کچھ مقدس دل گرجا، جامع مسجد، چندانا چوک، سفدآرجانگ مزار، راشٹرپتی بھاوان، بارلہ مندر، بنگلہ صاحب ۔ اس کے علاوہ بعض دوسرے قابل ذکر دہلی کا سفر قومی عجائب گھر، نیشنل سائنس سینٹر، پارلیمنٹ ہاؤس، کوناوگہٹ جگہ، نہرو افلاک نما اور راجگحٹ جیسے مقامات ہیں ۔

Humayun Tomb

Monuments in Delhi
دہلی میں عمارتیں

دہلی میں ایک امیر اور قابل ذکر تاریخ ایک یونین کا علاقہ ہے ۔ یہ مغلوں اور انگریزوں کی طرح بہت سے حکمرانوں کی طرف سے ماضی میں کئی تاریخی عمارتیں اس شہر پر مشتمل حکومت کیا گیا ہے ۔ یہ پرانا قلعہ (پرانا قلعہ)، قطب مینار یا تغلق آباد قلعہ، ہو ہر ایک اس امیر تاریخی پس منظر کی وجہ سے اس کی اپنی اہمیت ہے ۔ ہیں جو انگریزوں کے زمانے میں تعمیر نئی دہلی میں کئی یادگاریں حکومت اس طرح کے طور پر-پارلیمنٹ ہاؤس، صدر کے گھر اور انڈیا گیٹ ۔ کہ دہلی میں یادگاروں کی معماری فضیلت کی ایک حقیقی تصویر عکاسی یہ کہنے میں کوئی شک نہیں ہے ۔ یہ بھی کہ دہلی میں کچھ یادگاروں کی خوبصورتی ان کا دورہ کر کے لئے تو بہتر الفاظ میں بیان کیا جا سکتا اور ان کی خوبصورتی کی گواہی ہو سچ ہے ۔

Also Visit – North India Luxury Tour

ان کی اہمیت کو جانتے ہوئے، آثار قدیمہ سروے آف انڈیا ان قدیم یادگاروں بالکل محفوظ ہے ۔ بہت سے سماجی کارکنوں اور مقامی لوگ یادگاروں میں شہر کی تزئین اور آرائش و زیبائش کے لئے سختی سے ان کی آواز کے متلاشی ہیں ۔ یہی وجہ ہے کہ; علاقے کی یادگاروں میں سے بیشتر بہت گزرتے سال کے ساتھ تبدیل کر دیا ہے ۔ اب میں زیادہ سکون اور سبزہ نظر اور خوبصورتی کی تعریف کرنے کرنے والوں کو ایک خوشگوار وقت فراہم یادگاروں کے ارد گرد اور اس میں غالب رہا ہے ۔

Jama Masjid

Let’s understand the rich heritage of Delhi in brief
چلو دہلی کے امیر ورثے میں مختصر علم:

اکشردم مندر: اکشردم دہلی کی سب سے نمایاں پرکشش مقامات میں سے ایک ہے ۔ یہ 20، 000 مجسمے، فلوریسنٹ motifs اور پتھر کی پرکشش بنا ستونوں پر مشتمل اس شاندار ساخت کے لئے جانا جاتا ہے ۔ دولت مشترکہ کھیل خیل گوان میں نئی دہلی کے قریب نیشنل ہائی وے 24 پر واقع ہے، اس شاندار مندر زائرین میں کافی مقبول ہے ۔

ہمایوں کا مقبرہ: مغل ہندوستان کی تاریخ کی ایک تصویر ریفارم ہمایوں کا مقبرہ مقبول ترین اس شاندار مغل فن تعمیر کی وجہ سے غیر ملکی مہمانوں کے درمیان رکھ دیا جاتا ہے ۔ یہ ایک قبر کے ساتھ نیلے گنبد جو کہ مغلوں کے لیے بھارت آنے کے بعد میں کافی مشہور رہے ہیں فارسی ٹائل کے ساتھ تیار کی شِق ہے ۔

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لال قلعہ : دریا دریائے جمنا کے کناروں پر تعمیر، لال قلعہ اپنی منفرد ساخت اور تاریخ کے لئے جانا جاتا ہے ۔ اس کی طرف سے مغل شہنشاہ، شاہ جہاں، جس نے بھارت میں تاج محل قرار دیا ۔ دنیا کے عجائبات میں سے ایک بھی تعمیر کیا تعمیر کیا گیا تھا ۔ جب وہ اپنا دارالحکومت آگرہ سے دہلی منتقل لال قلعہ نئے دارالحکومت شاہ جہاں کے لیے بنا ہے ۔ شاہ جہاں اسے یورو Mu’alla کہا جاتا ہے ۔

لوٹس ہیکل (بھائی مندر): لوٹس مندر بھائی کے عقیدے کی نمائندگی غیر معمولی فن تعمیر کی علامت ہے ۔ کالکاجاماندیر پر اور نہرو کی جگہ کے قریب واقع ہے، لوٹس مندر اس نام سوگگاسٹ کے طور پر استعمال سنگ مرمر، سیمنٹ، ڈولو اور ریت کے ساتھ کنول کے پھول کی شکل میں تعمیر کیا جاتا ہے ۔ تمام مذہب، کمیونٹی اور عقیدے کے لوگ اس مندر کو دیکھ سکتے ہیں ۔ 1986 ء میں تعمیر کی، لوٹس ہیکل اورتم ماحول میں اور اس جگہ کے ارد گرد مراقبہ، امن اور حکمت کے لئے پیش کرتا ہے ۔ اس حیرت انگیز فن کی وجہ سے سیاحوں میں خاصی مقبول ہے ۔

Lotus Temple Delhi

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قطب مینار: اس تاریخی یادگار اس کی اونچائی کی وجہ سے دہلی کے بہت سے حصوں سے دیکھا جا سکتا ہے کہ اس لمبی عمارت کے لئے جانا جاتا ہے ۔ یہ اپنے مخالفین پر اپنی فتح و غلبہ کو دکھانے کے لیے مغلوں سے تعمیر کیا گیا تھا ۔ زائرین کی ساخت اور اس یادگار کی بلندی کی طرف سے ہمیشہ مرعوب ہیں ۔ اس احاطے میں ‘اشوک کے ستون’ بھی ہے ۔ یادگار تاریخ انتہائی بھرپور اور یہ گہرائی سے زائرین زیادہ تجسس قطب مینار کے بارے میں بنانے والا جاننے والا ہے ۔

جامع مسجد: پرانی دہلی لال قلعہ (لال قلعہ) کے قریب میں واقع ہے، جامع مسجد ملک میں سب سے بڑی مسجد ہے ۔ 1656 ء میں یہ عظیم مغل شہنشاہ شاہ جہاں کی طرف سے تعمیر کیا گیا تھا ۔ یہ 5000 مزدوروں اور گودیوں کی ایک ٹیم اس تعمیراتی شاہکار کی تعمیر ملوث تھا کہ کہا جاتا ہے ۔ مسجد میں ایک وقت میں 25000 عقیدت مندوں کو ایڈجسٹ کرنے کی صلاحیت ہے ۔

انڈیا گیٹ: 1931 میں ایڈون لوٹینس کی طرف سے تعمیر کیا، انڈیا گیٹ ایک جنگ کی یادگار ہے ۔ اس کا اصل نام سب بھارت جنگ کی یادگار ہے ۔ یہ بنیادی طور پر پہلی جنگ عظیم میں، افغان جنگ شمال مغربی سرحدی کارروائیوں کے دوران مرنے والے فوجیوں کو خراج تحسین پیش کرتے کے لئے تعمیر کیا جاتا ہے ۔ باریک بینی سے دیواروں پر تلاش، ایک نام 90، مل جائے گا 000 شہیدوں کو جنگ کے دوران ہونے والے ہیں ۔ یہ راجپیٹہ کی نئی دہلی میں واقع ہے ۔

سافدارجونگ مزار: مزار کے مرزا موقام ابو منصور خان صفدر جنگ (عیسوی 1739-54) حق کے طور پر یہ اصل کہا جاتا ہے ۔ مقبرہ مقبرہ مغل کی آخری معماری ترتیب ہے ۔ ہمایوں کا مقبرہ کے ساتھ اس کے مزار کی تعمیر کا آغاز ہوا ۔ یہ محمد شاہ (عیسوی تک-48) کے تحت سلطنت اودھ کی فتح کی علامت بھی ہے ۔ مقبرہ مغل باغات کے چارباغ اسلوب کی ایک خصوصیت مثال ہے ۔

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