History of Lucknow
The antiquity of the origin of Lucknow is associated with the era of the Suryavanshi dynasty, the city was an integral part of the ancient Mahajanapada of Kosal, who was ruled by the Suryavanshi (Ikshvaku) dynasty, whose capital was Ayodhya and then Shravasti. According to the traditions, the city was named Lakhanpuri in honor of Maryada Purushottam Lord Shri Ramchandra’s dutiful and affectionate brother Lakshmana, and eventually its current name became Lucknow. The presence of Laxman Tila located in the north-west of the city provides credibility to this story. However, due to lack of fixed records, the exact date of its formation in the present form of the district remains uncertain.
Starting from the year 1350, with the broader territory of Awadh region, Lucknow city was gradually dominated by many royal institutions, which are prominent: Delhi Sultanate, Sharki Sultanate, Royal Mughal Empire, Swadeshi Nawab of Awadh, Entrepreneur British East India Company and Finally the British Raj, each of whom left an indelible mark on the rich cultural and historical background of the region.
The Awadh Empire was formally grabbed by the East India Company in 1856 and was subjected to the British Empire, after which a brief agreement was reached by the first freedom struggle of 1857, and which also destroyed all the important records. Gave. Ain-e-Akbari, a contemporary historical description is known that the importance of this historical city began to appear in 1580 AD, when the Mughal Emperor Jalal-ud-Din Mohammad Akbar established the administrative province of Awadh. The appointment of Shaukat Jung (1680–1739) in 1722 as Nawab Wazir marked the establishment of the descendant of the Nawabs. The capital of Awadh was initially located in Faizabad, however, then Nawab Asaf-ud-Daula decided to transfer the capital to Lucknow in 1775, which led the city to gain a special place as the capital. The glorious past of Lucknow is rich in mythology and historical sites, which attract visitors and tourists from various fields.
The city’s architectural landscape has great buildings that presents evidence of the Nawabs’ ignorance. The Looting by Nadir Shah, the invasion of Sikhs, Marathas and Rohillas and occupation of Delhi in 1803 caused the Mughal power to decline, leading to the emergence of provincial governors and increased the concomitant freedom of Awadh province. As a result of this situation, the migration of artists and cultural veterans from the Mughal court became easier, which got protection in the rising court of Awadh,
Which led to a unique cultural ethos with court courtesy and sophistication. The rulers of Awadh, especially the Nawabs, dedicated a lot of resources and energy to the efforts of architecture, embellished their capital Lucknow with the royal structures that lived on the test of time. In a century interval, the city turned into a treasure of grandeur of architecture, including many palaces, memorial entrances, mosques, Imambara, Karbala and other influential monuments. Nawab Asaf-ud-Daula (1775–1797) and Nawab Saadat Ali Khan (1798–1814) were Vipul producers who left behind their predecessors under the patronage of religious architecture, resulting in more than a hundred monuments built within the city, Most of which are now under the protection of the Archaeological Survey of India. The reign of Asaf-ud-Daula marked the peak of the artistic grandeur of Lucknow and Awadh.
Inspired by the desire to overtake his contemporaries, he spent a lot of money on architecture works and built a grand palace and religious buildings to express the grandeur of his dynasty. The resulting architectural landscape, characterized by grand palaces, mosques and mausoleums, creates the beauty and stylistic identity of the Awadh Empire. This specific style took inspiration from the Mughal architecture tradition, which included European elements. Notable examples of Asaf-ud-Daula’s architectural heritage include Bada Imambara (1785–1791), Rumi Gate (1784), which is believed to be on the model of the magnificent port of Istanbul (Bab-e-Humayun) Was built, and Bibiyapur Kothi, which was designed by General Clade Martin as Nawab’s hunting ground. The legend of the generosity of Asaf-ud-Daula is contained in the poetic phrase of “whom I don’t give it, give it asaf-ud-daula”, which outlines his mantles for the construction of Bada Imambara.
The process of Europeanization began during the reign of Asaf-ud-Daula, as is evident from his request to the British resident John Bristo to design a house in the European style. Major General Clade Martin played an important role in designing the blueprint. The subsequent integration of European elements in the architecture of Awadh gave birth to a specific style that synthesized regional and European traditions. During the reign of Saadat Ali Khan, this trend was particularly relevant, who appointed Captain McLeod as his advisor, and Ghaziuddin Hyder, along with William Tick, promoted a similar cultural exchange.
The architect journey of the rulers of Awadh symbolizes the complex dynamics of cultural exchange and synthesis that defines the region in this period. During the reign of Saadat Ali Khan, Ghaziuddin Hyder and Wajid Ali Shah, Shanai: Shanai: Vastushilapi styles were hybridized, in which European elements were included in traditional designs, which was confirmed in traditional designs, which was confident The construction of buildings can be seen, which reflects a unique combination of different styles.
During the reign of Ghazi-ud-Din Hyder, significant development took place in the architectural view of Awadh, with small umbrella floor, parts of the Moti Mahal complex and monuments such as Shah Najaf Imambara. In addition, Nasiruddin Haider strengthened this trend by completing the Chhatar Manzil campus and constructing Kothi Darshan Bilas. The construction of Wajid Ali Shah, including the Sikandarbagh Mahal, the Kaiserbagh Mahal complex and the tomb of his father Amjad Ali Shah, display the climax of this hybrid style.
Awareness of European architectural influences in the region, especially through the functions of Claud Martin, had a profound impact on local manufacturers and egyptians, which were able to include these elements in their designs. As a result, the monuments prove the rich cultural heritage of the region, and provide a glimpse of an unforgettable past. The remains of these structures, despite the malfunction over time, still reveal the grandeur of the Nawabi era, marked by the generosity of Asaf-ud-Daula and the freedom of Wajid Ali Shah.
Swami details, such as William Howard Russell, by an Irish journalist who visited Lucknow in 1857, provides evidence of the city’s unique beauty and architectural splendor. Russell’s views, which match the 19th -century author Parrot Ram Shiyance, Th, who documented Royal monuments in North Lucknow, outlines the importance of Awadh’s architectural heritage, most of which was destroyed in 1857. These details remind the fleeting of cultural heritage and a poignant reminiscent of the importance of protecting historical monuments for future generations.
From ancient times to the reign of the Nawabs, Lucknow has seen a deep change, which has evolved into a vibrant, global city by combining the Mughal and Indo-European architecture. At one time of Awadh, the quiet capital has now blossomed in a rich metropolis, which adopts modernity and preserves the essence of its historical past.
In the current scenario, there are detailed secretariat, Vidhan Sabha and many government institutions in the capital of modern Uttar Pradesh, Lucknow. The city’s visible shopping mall has been converted by the arrival of high -class residential complexes and efficient metro rail system, which has streamlined contact and facilitates development. As a center of commerce, education and culture, Lucknow attracts visitors from across the country and residents from all over the country. The famous hospitality art of Lucknow, which lies in its traditional Awadhi cuisine and warm reception, still hypnotize travelers and tourists.
From the greatness of the big Imambara to the modern architecture of the Gomti Nagar river bank, the sky of Lucknow is evidence of its adaptation and progress. Despite the mandatory challenges of urbanization, the cultural heritage of Lucknow is intact, for which efforts are being made to preserve the workshops of its historical monuments and traditional chicken artisans through conservation efforts. In the midst of the rapid progress of the city, its rich heritage reminds the unbeatable power of cultural synthesis and the indomitable spirit of its people.
In this contemporary era, Lucknow is established as a vibrant example of the urban renaissance of India, where ancient traditions and modern aspirations consist of unique identity of this city uninterruptedly that honors its past and a bright future life Reflections
La Martinier College
The Contestia Bhawan has been adorned for two and a quarter centuries on the west bank of the Gomti River. This impressive collection of historical buildings, which now operates La Martinier College, Major General Clad Martin, H.E.C.S. The French began as a native residence in the baroque style. He was a French citizen living in Lucknow as an important person of the European elite class in this part of the country. The main structure of this building, the nine -storey high, which was different due to the subtle gap in colors from other buildings, Martin was known as Kothi (residence of Martin). Since its construction, it has been a favorite destination for artists and photographers.
Clade Martin, the founder of schools in three cities internationally, is buried in the secret place of Constantia. A memorial tower or lot near the Contentia building exists at a symmetrical distance, built in an artificial lake. This architect is established as a counterpower to balance inequality. On the detailed instructions of Martin, semi-Golacar columns were formed to provide expansion of the river view. The columns were decorated with life-size sculptures in the Greco-Roman tradition, many of which collapsed in the 1931 earthquake.
The inner parts of the building, carefully restored, added the finest selection of plaster plates and the floral traditions of the local design. The themes of plaques are different: from Bible subjects to mythological characters. The fourth floor roof has extended versions of Apollo and the Muse, designed by Joseaiah Vejwood, a contemporary Martin’s contemporary Martin. Each room has artefacts of esoteric stuCo plaster (embossed), which is carefully preserved. Three distinguished Roman bathrooms heated by furnaces in the lower cellars have recently been detected, causing the Terra Cotta water-supply pipe and a drainage system that is emptied in deep wells submerged in the river loam, On which this huge building is standing.
A broad structure of stairs leads to the East Terrace of the building, now decorated with a Central cannon, known as The Lord Cornwallis, and its name is the Governor-General of the East India Company, before Cornwallis It is kept in honor of Margis, which Martin served. An ancient bell established by Martin in the Lucknow arsenal, which he was superintendent, stands down on each idol in this building. Two field guns of the Victorian Vintage are installed next to the central cannon.
On the instructions of Martin, the largest hall of the palace was converted into a chapel, where daily divine religious services are held. The walls are covered with memorial straps and the stalls of divine hymns are separated from carved wooden curtains. Brass Eagle Pulpit beautified in the chapel is an excellent distinctive, while the pipe piano (organ), built in 1895, rings every morning. Other rooms have been converted into display rooms and formal reception rooms. The statue of the founder by the sculptor Thomas Banks was installed in 1796. It is in the Memorial Hall and around it has straps of alumni of the famous Lamartinier and their special contribution during the wars from 1857 to Kargil.
The Clade Martin Museum located in the palace Sarai of the building, has been designed extremely excellent with six galleries highlighting the life of the founder and college history. The museum is a painting of Johann Zofni of special importance to depict his favorite partner Bolon Lease with Clade Martin and child James Zulfikar. Battle Honors given to the school by Edward VII have been displayed.
All Sentus New Garrison Church
The All Sentus New Garrison Church, which is located on the 209 Mahatma Gandhi Road in Lucknow’s Cantonment, is an important historical and architectural site. The church was originally built in 1860, but over time, with the expansion of the Cantonment of Lucknow and the increase in the number of English platforms, the need for a large church was felt.
In 1908, it was decided to rebuild the church and it was named All Santus New Garrison Church. In the construction of this new church, a British engineer named Jones Rainsam played an important role, who designed it. Its construction cost 91,000/-, which was borne by the British government at that time.
In the architecture of this church, the effect of the style of Megadaleen College, Oxford can be seen. Its building is extremely huge and grand, which has an elevated tower, which has an hour of church. There is a message written on a stone at the main gate, which is an inspiration for every devotee who comes for prayer.
Some changes were also made in the structure of this church, such as the height of the tower was reduced and the side walls were also made small and thin. Despite this, the church building was prepared in a grand form. This church has the most seats compared to other churches of Lucknow and its yard is also quite huge.
A feature of this church is that grooves are made to keep guns on the back upper part of each bench. This arrangement was made so that the soldier is on duty or returning from duty, he can come and attend the prayer including real.
Another reason is also stated that during the revolution of 1857, the revolutionaries had attacked the British officers by entering many churches during prayer, as a result, many British lost their lives. Therefore, the British had given permission to take weapons at the time of prayer in the churches located in the cantonments for this fear.
The All Sentus New Garrison Church is an important part of the historical and cultural heritage of Lucknow, which reflects the golden history and architecture of the city. This church was taken care of under Lucknow Diocese and North India Church. This church is a vibrant monument where every Sunday is the presbyter incharge rave. A prayer meeting takes place under the leadership of Abhay Soons.
Hanuman Mandir Ali Ganj
The ancient Hanuman Temple of Lucknow is located in the Aliganj locality, which was settled by Alia Begum, the grandmother of Nawab Shuja -ud -Daula, Nawab Wajid Ali Shah. This temple is a vibrant example of social harmony, where every Tuesday of Jyeshtha month, followers of all religions and sects consider reverence, offer, offer offerings and receive prasad. This fair is known as Bada Mangal Ka Fair, which is one of the main fairs of Lucknow.
The importance of this temple is so high that not only in Lucknow, but from far and wide, where a new temple of Hanuman ji is built, dress, vermilion, diapers, hours and umbrellas etc. for the idol of the place are presented without paying value from here. They go and then the idol installation is considered certified. According to mythology, this temple was in Islambari near Hewett Polytechnic in the Metropolitan Colony during the Ramayana period. It is said that when Lord Shri Ramchandra Ji decided to renounce Mother Sita ji and was going to leave Shri Lakshman ji, Shri Hanuman ji and was going to leave Shri Sita in the forest of Bithur in Kanpur district, then near the present Aliganj By the time he came, it became very dark and there seemed to be a need to rest on the way overnight. So all three of them stopped for thinking on the way.
There are many legends behind the construction of this temple. According to a legend, Begum, the then Nawab Mohammad Ali Shah of Awadh, was advised to go to Baba of Isababari to wish her child. After his desire was fulfilled, he has a legend that he had a dream during pregnancy, in which his fetus told him that the idol of Hanuman ji was buried in Islambari, which should be removed and distinguished in a temple. As a result of this dream, Rabia Begum sent the Nawab’s Karinds there and dug the mound and the idol was taken out. Later, the idol was cleaned and placed on an elephant sitting on a cipher with gold and silver and diamonds and jewels.
When this elephant was passing through the road of Aliganj, he refused to move forward. Despite the millions of efforts of Mahavat, the elephant remained adamant. In the end, Rabia Begum took off Hoda, then he started walking, but when the Houda was kept again, he sat again. Then the monk said that Hanuman ji does not want to go beyond Gomti, because it was the area of Laxman ji, on which Begum installed the idol at that place and built a temple on it. At the same time, the monk was appointed as the Mahant of the temple at government expense. Most of the surrounding land for the temple was given free by the princely state of Mahmudabad.
But the fair had not started yet. According to a legend, two-three years after the temple-establishment, the plague epidemic spread in that area, and hundreds of thousands of people went to the temple of Hanuman ji of the old temple to avoid this fatal disease. Then the priest had a dream, in which Hanuman ji said that these people not here, go to that new temple, I live there, my power is in the idol there. As a result, the entire crowd came to that new temple, and many of them got health benefits. Since then a fair started on this new temple.
According to another legend, Alia Begum, the grandmother of Nawab Wajid Ali Shah, fell very ill and prayed, which ended the disease. As a result, he celebrated a huge festival here, distributed bailout of millions, and since then the tradition of the fair started. Along with this, the entire locality was named Aliganj after Alia Begum.
Even today, in this well -known temple, lakhs of devotees come and attend various events on the occasion of big Mars in the Jyeshtha month every year and receive the blessings of Lord Shri Hanuman.
Saadat Ali Khan’s tomb
Three centrally protected monuments are located in the same campus in the grand and beautiful surroundings of Kaiserbagh, that is, Saadat Ali Khan’s Tomb, Musirajadi’s Tomb and Safores Samadhi.
In the glorious and beautiful region of Kaiserbagh, Awadh’s fourth Nawab, Saadat Ali Khan’s tomb, is a lively evidence of architectural beauty. This huge monument built by his successor and son Ghazi-ud-Din Hyder, stands on a green mound. This tomb is a great example of Awadh architecture. The magnificent roof of the mausoleum and dome is its specialty.
Originally, the site was part of the palace of Ghazi-ud-Din Hyder, where he lived as Yuvraj. When sitting on the throne, the prince, inspired by the spirit of retaliation, ordered his palace to demolish his father’s eternal comfort. The impressive structure of the mausoleum is reflected in a glorious dome, and the mausoleum has a wonderful performance of the board design of black and white marble chess.
Saadat Ali Khan’s grave is located in the basement of this tomb. In this tomb, Saadat Ali Khan also has three begs and samadhis of his daughters and other family members. At the eastern end of this courtyard, there is a small tomb with a tomb of his wife and Ghaziuddin Haider’s mother Khurshid Zadhi.
This historical heritage saw extremely opposite time during the freedom struggle of 1857. The cannons from above the mausoleum continued to rain destruction, causing a constant obstruction in the efforts of General Havellock to conquer. Next to the main mausoleum is a stone-based souvenir, known as Sappers Tumb, is safe from railing. Here, officials and soldiers of the 23rd Company of Royal Engineers of the British Army, fell victim to gunpowder on 17 March 1858 by revolutionaries. A plaque of white marble gives evidence of this historical fact.
These three monuments are preserved by the Archaeological Survey of India notification number UP 1645-M/1133 dated 22 December 1920, which ensure its maintenance and renovation.
Nadan Mahal
In the beautiful roads of Old Lucknow, Nadan Mahal, established in Yahiyaganj area, is an excellent tomb of historical importance. It is called the ‘Tomb of Mukti’, which was built in memory of Sheikh Abdur Rahim. Sheikh Abdul Rahim was the Subedar of Awadh during the reign of Mughal Emperor Akbar (1556–1605 AD). Sheikh Abdur Rahim is still respected and respected today. Legend has legend that his mausoleum is called ‘Diadan Mahal’, because devotees prayed for liberation (diagnosis) in his holy presence and diagnosed his problems.
This ancient monument, one of the oldest monuments of Lucknow, is an excellent example of the Mughal style architecture, whose red stone walls are proof of the greatness of that era. The central chamber of the mausoleum, a beautiful square structure that rises from a high platform, is surrounded by a dome platform, within which the two marble graves are adorned with the verses of the holy Quran and covered with a red stone headstone. Its nearest is the famous mausoleum of sixteen pillars, standing on a high platform, with five tombs of different sizes, showing the grandeur of the era of Jahangir.
The historical monument, which is surrounded by square chambers and corridors, is with excellence of stone pillars and brackets, supporting overhanging stone slabs, a unique combination of form and activity. The page of history, as Abul Fazal has recorded in Ain-e-Akbari, gives proof of the greatness of Sheikh Abdur Rahim. Sheikh Mohammad Ajmat Ali tells Akbar’s amazing story of Akbar’s love for Sheikh-astrologers warned Akbar for two inauspicious days, so that he tells Akbar for two inauspicious days, so that he is temporarily a temporary form It was motivated to hand over the throne. As a destiny, a highly poisonous serpent was found among the royal garments, which appeared a few seconds before the said inauspicious period ended.
The umbrella of sixteen pillars located near the tomb of Sheikh provides the basis for the series of unnamed samadhis by its sixteen rock pillars. These tomb of the Nadan Mahal, unique example of the architecture of the East-Mughal Afghan style, stand as a rare remains of a past era, whose aesthetic glory is partially tarnished by the influence of time. This treasure of historical importance has been preserved through notification number up 1279/367m on 15 July 1910 in the patron umbrella of the Archaeological Survey of India, which provides guarantee of its safety and protecting it for the upcoming generations.
Sikandarbagh
An unmatched evidence of the rich culture of Sikandarbagh, Lucknow is located between the offices of the Central and State Government on the main road of Lucknow-Hazratganj. Built by Awadh’s last king Wajid Ali Shah, this huge garden complex was dedicated to his beloved Sikander Begum.
Built at a cost of Rs 5 lakh in 1853, Sikandarbagh had amazing architecture, including a central house, mosque and three dome mosque, but its grandeur was soon blooded. During the independence movement of 1857, Sikandarbagh became a strong stronghold for Indian soldiers. On November 16, 1857, British forces led by Sir Colin Campbell launched a cruel attack, and hurled the walls of Sikandarbagh and killed more than 2,000 freedom fighters at the same place. This site is witness to the destructive consequences of war. Today, Sikandarbagh honors the memory of those who fought and died for their country, including courageous Ud Devi, a Dalit warrior woman who played an important role in the rebellion. This monument reminds India’s unforgettable history and struggles for freedom.
Imambara Sibtainabad: Tomb of Nawab Amjad Ali Shah
Located in Hazratganj, Hridayasthali in Lucknow, Sibtainabad Imambara, “Amjad Ali Shah’s Tomb”, the rich cultural heritage of the city and the architecture of the Nawabs of Awadh presents as a strong evidence. The huge memorial built by Amjad Ali Shah for his funeral site and Muharram events started in the year 1847 and was completed by his son Wajid Ali Shah. Imambara is named after “Sibtainabad”, the prestigious grandson of Prophet Muhammad, Imam Hassan and Imam Hussain called “Sibtain”. Imambara was structured by well -known architect Hussain Ali Khan, and its main architecture is inspired by Asafi Imambara and that is why this Imambara is often addressed as “Chhota Imambara”. The maximum of the structure reveals the stability of the traditional Imambara design.
As a tomb of Amjad Ali Shah, this architectural attraction was declared a Central Protected Monument in the year 1919, and in 1921, Lucknow Improvement Trust (Later LDA) went into the hands of, which gave many parts of its grand courtyard to Anglo-Indians to Anglo-Indians Allocated, whose families still reside in its huge campus. This monument is not only a vibrant Imambara, but also an important historical site that reflects an intensive struggle with its destiny from pre -renovation to the present time.
As soon as it enters the Imambara campus, its inner part is visible with Islamic motifs allowed in various colors. Ingredients used in the manufacture of Imambara – small Nawabi -type bricks and embossed artifacts give this huge monument a unique beauty. As a mausoleum and holy site, Sibtainabad also preserves the tombs of Imambara Nawab Amjad Ali Shah, his grandson Mirza Javed Ali and Queen Nisan Nisan Begum, the queen of Wajid Ali Shah. After years of neglect and decadence, the tireless efforts of Advocate S Mohammad Haider Rizvi ensured its spectacular restoration by the Archaeological Survey of India, which is included in the list of its protected monuments.
Today, this monument stands as a vibrant proof of conservation, its beauty and glory attracts all. This huge monument remains an essential destination to experience the rich cultural heritage of the city. As Dr. Banmali Tandon, a talented writer and historian have mentioned that “Imambara’s mouthmotable standard shows the stability of the Imambara design. . The infinite part is highly decorated. ” Sibtainabad is a proof of the power of revival of Imambara, which will protect its glory for generations to come.
Kothi Bibiyapur
On the right bank of the Gomti River, this royal building located in the south-eastern part of the city was constructed by Nawab Asafuddaula (1775–97 AD) and its format was prepared under the direction of General Claud Martin. This building is manufactured by Lakhauri bricks and lime spices in a rectangular floor and it has a thick plaster of lime.
Although this bilateral building appears to be simple, its appearance is attractive. It has wide chambers, high shadow, curved stairs and grand double pillars etc. A chamber on the ground floor is fully equipped with blue and white tiles. The Nawabs used this building for the hospitality of their European guests. After the death of Nawab Asafuddaula, in a court held in 1797 AD, Sir John Shor declared Saadat Ali Khan as a valid heir of the throne. After the merger of Awadh in 1856 AD, the site was used for various festivals etc. by the British, especially by military officials.
The architectural design of Bibiyapur Kothi is a wonderful mix of simplicity and beauty, with wide halls, wooden beams and rafers adorned with high and large roofs, spiral stairs and impressive double columns. The detailed main hall was beautified with white and blue European tiles, adding a blessing air to the atmosphere. Built on a rectangular ground scheme, the Lakhori bricks of the building were laid in lime mortar and coated with thick lime plaster, which is a proof of the intelligence of its manufacturers.
Currently, Bibiyapur Kothi is protected by the Archaeological Survey of India as a protected monument, whose notification number is UP 448/924, dated 05.04.1917, which instills confidence to preserve this cultural treasury for eternity.
Dilkusha Mahal
In the Green region of Lucknow, Located to the south of La Martinier College, Dilkusha Mahal is a proof of the glorious past of the region. The name of this grand building is “Dilkusha”, which means “the person who enjoys the heart”. It was accessible from the corridor of a huge trees, which used to go to a semi-creator gate, which was decorated with beautiful pilasters. The palace itself is now a beautiful ruins, which was built by a visionary Nawab Sadat Ali Khan as a hunting lodge and a Royal Retreat during his reign from 1798 to 1814. There was a huge park around the palace, which had various wildlife including deer, providing a peaceful stay for the elite.
In the historic complex of the palace, where memories of the past are alive, a historical balloon ascendant took place in 1830, which was performed by a courageous English aircraft in the presence of King Nasir-ud-Din Hyder, among the state’s prestigious nobility. In addition, the palace was a favorite place for women of Haram, who often found peace of mind in its quiet and safe place.
However, after the fiery and distraught events of the first freedom struggle of 1857, the status of the palace departed towards decline. After a long occupied by General Commanding of Awadh Division, its structure was partially demolished by considered to be unsafe, which left only the glimpse of its original splendor. The silent aspect of these vibrant ruins, virtually milded by the surrounding green lawn, is decorated with beauty in the form of a vibrant flower garden.
Near the southern end of the palace are tomb of British officials and soldiers, who lost their lives in the historic war. Major General Henry Havelock also breathed his last here on 24 November 1857.
Keeping in mind its historical significance, this monument was formally nominated as a national mission on December 22, 1920 through notification number UP 1645-M/1133, and currently it is maintained by Indian Archaeological Survey Is in
Chhota Imambara or Hussainabad Imambara
Hussainabad is a breathtaking architecture made by the third king Mohammad Ali Shah (1837–1842) of Imambara Awadh. This magnificent structure has the tombs of the king and his mother, and its grandeur is a proof of the rich history of the region. There are two gates to reach Imambara at the center of Hussainabad region of Lucknow.
On entering, visitors are welcomed by a magnificent white entrance that opens into a beautifully designed courtyard, filled with greenery and vibrant flowers decoration. A calm raised tank passes through the center, which is crossed by an ornate iron bridge, while two impressive bronze sculptures guard both sides of the portico. The quadrilateral twins are surrounded by maids with white dome, which is equally excellent and beautifully maintained.
There is also a small, exquisite ornate mosque nearby, which increases the eloquence of the premises. An elevated platform at the southern end of the courtyard supports Imambara, the last resting place of the king and his mother. The delicate, palace -like structure of the mausoleum is equipped with a golden dome and high peak, which is adorned with a bright semi -focused and star. The inner part is a miracle of splendor, with widespread gold water mounted, mirrors and magnificent Belgium Crystal Joomers, published during Muharram and other important religious rituals. The king’s tomb is in the west and his mother’s tomb is located in the east, both are surrounded by a silver railing and are surrounded by long glass candelbara. Imambara also has a treasure of artifacts, including the king’s embossed silver throne, the queen’s Diwan and two ancient, excellently published copies of the Holy Quran. During the royal era of Lucknow, Hussainabad was the center of activity during Imambara Moharram, and during this season it remains grand light.
The permanent legacy of Muhammad Ali Shah is ensured by the trust established by him, which gave thirty -six million rupees for the maintenance of Imambara, which is a proof of his devotion to his people and his faith. It is protected by the Archaeological Survey of India and is preserved by ASI which performs its repair and conservation activities throughout the year. Asafi Imambara is a prestigious site in Lucknow, Asafi Imambara was built between 1784 and 1791, it was the period when there was a devastating famine.
The purpose of the visionary initiative of Nawab Asaf-ud-Daula was to launch this grand project to provide livelihood to the victim population, which became a proof of their generosity. In particular, the design of the structure was not done wooden work except internal galleries, and it contains the world’s largest domed hall. There are two ascending courtyards in the front of Imambara, which transfers into a magnificent mosque surrounded by twins, which offer panoramic views around the city and its surroundings. Adopted as a famine relief measure, this magnificent building was designed to cross all known buildings in grandeur, the Nawab invited architects from all over India to compete to honor the preparation of its blueprint. .
