Endowing Queens - A Reflection of Women's Agency and Power

The Rani Ki Vav, or the Queen’s stepwell at Patan, the medieval capital of Gujarat, was built in the last decades of the eleventh century by Queen Udayamati as a memorial to her husband Bhimadeva I(1022-1063) of the Calukya (Solanki) dynasty. (Mankodi, 1991).

The dominant theme that emerges seems to be Vaishnavism, however, some scholars have argued that it has Buddhist influences; the panels also depict various forms of Shaktis (Female energy) Parvati, Laxmi, Mahisasurmardini (Durga) and also the prominent Gods of Hindu Pantheon –Shiva, Ganesha, Brahma. The monument does features Buddha, among its many sculptures, but it could be because in Vaishnavism he is considered to be one of the Avtaras (incarnation) of Lord Vishnu. The Panels at Vav depicts all the Dasavtaras (Ten incarnations) of Lord Vishnu. Among Semi-divine beings, sculptures depict Apsaras (Nymphs), Dakinis (Sorceresses), Yoginis (Semi-divine, semi-demonic) and Male Ascetics.

Divine couples and Apsaras. Lord Ganesha and Lord Shiva, seated with their consorts respectively.

A view of the Lowest level of the well.
Lord Vishnu can be seen resting on a Sheshnag. On his left , a Nymph can be seen playing a flute.

A general view of the brackets. There were eight pairs of brackets in two tiers, thick stone slabs would have been placed on these brackets, and water hauled up through the rectangular opening. (Mankodi,1991:81)

Parvati's Penanace

Parvati, can be seen in a penance pose, standing on one leg and holding a rosary in one hand. It is a well known fact that she incurred severe penance in order to please Shiva in marrying her. Some scholars surmise that this may infer that the queen Udyamati, her self was going through a penance after her husband's demise, in order to reunite with her husband in another birth. Along side her are the two Nymphs, with left one touching her breasts, which may infer a tendency of motherhood, as she is offering her breasts.

Apsaras (Nymphs) in various moods and poses.

Two Apsaras, adjusting their earrings. A Tantric Yogi can be seen standing in the corner, crossed legs on lotus pedestal.

The first time use of Pietra Dura technique, are some of the distinctive features of the monument. The tomb of Itmad-ud-Daula, marks a major transition in the history of Mughal architecture as it is the first tomb to be built of White marble rather than the signature red sandstone of earlier Mughal monuments.

The tomb bears testimony to Nur jahan’s (Light of the world) power and prestige at the Mughal court. It also reflects the power she channelized towards her own family members by recruiting them at highest posts at the court.

Mirza Ghiyas Begh, was a Persian noble who came to India to seek greater fortunes. His excellent service made his assume the honorary title of 'Itimad-ud-Daula' meaning, 'The Pillar of the state'. Here we can see some beautiful depiction of Vases and cutlery, perhaps inspired from Persian culture and imagery.

The Tomb, has a garden which was made on the principle of 'Char- Bhagh' i.e Islamic architecture which is considered similar to the Gradens of Haven (Janat). Here we can see a panel depicting the greenery and trees, with a fruit laden basket at the top of the panel.

‘Legend has it that Nur Jahan proposed the erection of a mausoleum of pure silver but was persuaded to adopt the more durable marble’. (Beni Prasad, 1962:299)

A view of the beautiful Mosaic work in the white marble.

A view of the ornate Jalis (screens) and beautiful mosaic work.

Percy Brown, the renowned Art historian, praises the monument as "There is no building like it in the entire range of Mughal architecture, the delicacy of treatment and the chaste quality of its decoration placing it in a class by itself. The tomb of Itimad-ud-Daula was an innovation in many ways. It marked a transition between the Indianised red Sandstone and marble Constructions of Akbar and Jehangir [sic.] and the Persianized pure marble creations of Shahjahan.” Here, we can see the interior of the mausoleum and the two graves.

In the words of the famous art-critic James Fergusson, ‘It is situated on the left bank of the river, in the midst of a garden surrounded by a wall measuring 540 ft. on each side. In the centre of this, on a raised platform, stands the tomb itself. It is two storeys [sic.] in height and at each angle is an octagonal tower, surmounted by an open pavilion. Its real merit consists in being wholly in white marble and being covered throughout with a mosaic in the ‘pietra dura’- the first, apparently, and certainly one of the most splendid, examples of that class of ornamentation in India.’ (Fergusson, 1910:306-7)

The mausoleum ‘bears in every part of it, the imprint of the refined feminism of this remarkable queen. With much of its ornamentation of inlaid semi-precious stones (pietra dura), it conveys the impression of a rich article of jewellery magnified into architecture’ (Percy Brown as quoted by K.S Lal, 1988:75). That is why it has been remarked as ‘mini-jewel box’ by some scholars.

The Junta of Nurjahan, comprised of her father Ghiyas Beg –also known as Itmad-ud-daula-brother Asaf Khan and to be Emperor Shah Jahan. ‘With her usual boldness, she tore the convention which relegated her sex to seclusion… she came out of the purdah, saw things with her own eyes, ruled and commanded in public.’ (Beni Prasad, 1962:171)

The Endowment of the structures by the Queens also reflects the vast resources at their disposal and the power to utilize them in the way they wanted. Nur jahan, had the right to collect Octroi duty at Sikandrabad on the merchantize coming there from the eastern parts of the country. (Mukherjee, 2004:30) The royal ladies had various sources of income and wealth. This provided them immense authority to channelize the wealth in varying forms of patronage of architecture, literature, cultural and religious endowments.