Through rigorous training, continuous hard work and self-confidence, Insha Taskeen has turned her childhood dream into reality. She has now obtained her commercial pilot licence, earning the distinction of being the first woman commercial pilot from Udupi taluk.
Insha Taskeen is the daughter of Ikhlaq Ahmed and Syed Tabassum from Bailur in Udupi city. Her brother serves as a senior executive for Air India at the Delhi airport.
Insha Taskeen completed her education from LKG to Class 12 at Little Rock Indian School, Brahmavar. Afterwards, driven by her dream of becoming a pilot, she underwent training at Redbird Flight Training Academy. At Redbird’s institution in Delhi, she attended ground classes and prepared for the required exams over a period of one year, passing all exams successfully on her very first attempt.
As the next phase of her training, she successfully completed 200 hours of flight training at the Belagavi flying base and obtained her commercial pilot licence.
Insha Taskeen’s achievement of fulfilling her childhood dream through dedicated training, persistent effort and confidence serves as an inspiration to the young women of Udupi district, especially those aspiring to build a career in the aviation sector.
“Initially, I had no interest in becoming a pilot. While studying in SSLC, we once went to Delhi. Seeing the airport there sparked a desire in me to become a pilot. With the support of my family, I was able to make my dream come true. In the coming days, I aim to work as a commercial pilot and dream of achieving even more in the aviation field,” says Capt. Insha Taskeen.
source: http://www.english.varthabharati.in / Vartha Bharati / Home> Karavali / by Vartha Bharati / September 21st, 2026
Nahida Manzoor, Kashmir’s first woman to scale Mountain Everest at the age of 23, says that she does not see many women in India interesting in mountaineering and she wants to change that.
Speaking to Awaz-the voice, Srinagar-based Nahida, says that women don’t have to necessarily scale major peaks like Everest. “Mountaineering is meant to give one the experience, test one’s mental and physical stamina and discover their own capabilities.”
Nahida taking a troop on a trek
“Adventure is not primarily about profit”, Nahida said.
“I believe India needs more trained mountaineers who are take encouraging people to experience the mountains as a personal responsibility. I regularly lead expeditions and longer treks involving groups of varying experience levels. Such trips can be challenging because participants differ considerably in speed, endurance and confidence”, Nahida shared.
Nahida heads Pampori and Daughters Adventure, a company through which she organises trekking, expeditions and outdoor activities.
Nahida Manzoor at Mt. Mahadev
“My approach is simple: nobody gets left behind”, Nahida believes. While leading a trek, she deliberately stays at the back of the group so that she can keep an eye on the slowest participants.
For her, the people accompanying her are her responsibility, and safety takes precedence over speed or reaching a destination quickly.
For Nahida Manzoor, mountains are not merely destinations to be conquered. They are spaces where courage is tested, limits are pushed and possibilities are expanded. A trained mountaineer from Srinagar, Nahida has transformed her childhood fascination with the hills into a career dedicated to adventure, trekking and encouraging more young people, particularly women, to enter mountaineering.
Her own journey demonstrates what becomes possible when training, family support and determination come together. From trekking around her Srinagar neighbourhood as a child to becoming the first Kashmiri woman to stand on Mount Everest, Nahida has often entered spaces where women remain underrepresented.
Nahida Manzoor at Mt. Sunset Peak
Her work has also extended to promoting adventure tourism in Kashmir. In 2024, she launched a paragliding venture in Barsoo village in Pulwama’s
Awantipora area, with the stated aim of creating employment opportunities for local residents.
Recently, she has climbed Sunset Peak, (4,745 metres), Shyn Mann Peak (4,300 metres) and Mount Harmukh, one of Kashmir’s most prominent mountains.
Nahida Mazoor at Mt. Sheen Myean Peak
In October 2025, Nahida recorded a scaled Mount Harmukh. A mountaineering summit registry records her ascent on October 17, 2025, at an elevation of about 5,142 metres.
Then came Mount Everest. In 2019, Nahida became the first woman from the Kashmir
Valley to summit Mount Everest. She reached the 8,848-metre peak with Sherpa guide Nima Kancha during her maiden Everest attempt. The expedition was not simply a physical challenge. Funding the climb itself was a major obstacle.
With the expedition estimated to cost around Rs 30 lakh, Nahida launched an online crowdfunding campaign after struggling to find sufficient sponsorship. Contributions from several supporters, government officials and organisations eventually helped make the expedition possible.
Nahida Manzoor at Mt. Friendship Peak
Her Everest achievement turned her into a symbol of determination for young women in Kashmir. But Nahida did not regard the summit as the end of her journey. Instead, it became the beginning of a larger mission.
Before it, she had already climbed peaks including Mount Deo Tibba in Himachal Pradesh, Friendship Peak, Mount Mahadev and Tatakooti Peak in Jammu and Kashmir.
Nahida’s journey as a mountaineer began when she joined the Nehru Institute of Mountaineering (NIM) in Uttarkashi, Uttarakhans to get trained in mountain climbing. She completed an advanced training, along with courses in skiing and rock climbing.
Her training taught her that climbing is as much about mental endurance and discipline as physical strength. This way Nahida, the girls amid Kashmir’s mountains turned her fascination for peaks into a profession.
Nahida Manzoor at Mt. Harmukh (5070 Mts.)
In an earlier interview, Nahida recalled deliberately carrying heavier loads during training to build stamina. The demanding preparation eventually helped her take on some of the most challenging mountains in the region and beyond.
Nahida’s latest expedition was Mt. Koh-e-Noor (South-West) which is 5146 mts. “This expedition was not only challenging but also meaningful and unforgetable for all of us. I am deeply honoured to become the first female climber to sucessfully summit Mt. Koh-e-Noor (SW) an add my name to the history of this mountain”, Nahida shared.
Nahida Mazoor at Mt. Koh-e-Noor
Her relationship with the mountains began early. Nahida started trekking when she was around 10 years old, exploring the hills around her home. During her school years, she was an all-rounder and participated in several sports, including badminton, volleyball and table tennis.
She was even selected for a national-level table tennis championship but could not participate. Eventually, it was mountaineering that captured her imagination completely.
The second of three daughters, Nahida grew up in Zewan on the outskirts of Srinagar.
Her belief that “there’s nothing that a girl cannot do” was strengthened by a family that encouraged all three sisters to participate in sports and pursue their ambitions. Her father, Manzoor Ahmad Pampori, played an important role in supporting her sporting interests. Nahida has often credited her parents for giving her the freedom to chase unconventional dreams.
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Stories / by Vidushi Gaur, New Delhi / September 22nd, 2026
MLA pays homage at Tipu Tomb, releases Urus Shariff invitation
Mysore/Mysuru:
MLA Tanveer Sait, along with several others observed Tipu Sultan Martyr’s Day at a Fatha Khawni programme organised by Hazarath Tipu Sultan Shaheed Welfare and Urus Committee Secretary Afroz Pasha at Tipu Tomb (Gumbaz), Ganjam in Srirangapatna recently.
Hazarath Moulana Syed Inayathur Rehaman Razvi Saheb, Khateeb-o-Imam of Masjid Aqsa, Tipu Tomb, performed Fatha Khawni while Afroz Pasha and MLA Tanveer Sait spread the Flower Mat (Chadar) on the tombs of Tipu Sultan Shrine and his parents. Moulana Mohd. Inayath Ur Rehaman Razvi read Duwa supplications for the welfare of all.
Afroz Pasha distributed sweets (Tabruk) and felicitated the MLA by offering shawls.
Invitation, posters released
On the occasion, MLA Sait released the invitation and publicity posters of the 234th Annual Sandal Urus Shariff of Hazarath Tipu Sultan Shaheed.
The annual Sandal Urus Shariff will be celebrated on May 16 in city during which a public meeting will be held and a procession will be taken out.
Industrialist M.F. Jamsheed, Senior Congress leader Syed Iqbal, Waseem, Radiulla Khan, Member of the College Development Council of Government Girls’ Pre-University College Khwaja Mohammed Musheer Chishti, Syed Younus, Majeed Ahmed, Afroz Khan and a host of devotees were present.
source: http://www.starofmysore.com / Star of Mysore / Home>News / May 08th, 2026
The 234th Urs-e-Sharieff of Hazarath Tipu Sultan Shaheed, organised by Hazrath Tipu Sultan Shaheed Wakf Estate, Ganjam in Srirangapatna, will be held on May 16 and 17 at Gumbad-e-Shahi at Ganjam in Srirangapatna.
The Sandal procession will commence from Masjid-e-Ala in Srirangapatna at 3 pm on May 16 and will reach Gumbad-e-Shahi at 5 pm.
Special programmes will be held from 7 pm at Gumbad and will continue the whole night till next morning.
For details, contact Hazarath Tipu Sultan Shaheed Wakf Estate on Ph: 08236-252786 or Mob: 97390-58786, according to a press release.
source: http://www.starofmysore.com / Star of Mysore / Home>In Briefs / May 05th, 2026
The marble throne of Bahadur Shah Zafar, the last Mughal emperor, symbolizes a collapsed dynasty, now housed in a museum near Humayun’s Tomb in Delhi.
Delhiwale: The ultimate Mughal souvenir
Behold this marble throne. Preserved inside a glass case at the Humayun World Heritage Site Museum in Delhi, it was once the stately seat of Bahadur Shah Zafar. As the last Mughal sovereign, the poet-king is likely to have sat on this throne while reflecting on the dissolution of his 300-year-old dynasty. The throne is, in fact, less ostentatious than the throne-like sofas found in the drawing rooms of Delhi’s wealthy today. Yet it is far more elegant. The armrests are supported on latticework, and faint flecks of colour cling to the marble like the last glimmers of extinguished stars. The fragile-seeming relic assumes truly epic proportions as the viewer connects it to the legend of a collapsed empire whose layered legacy continues to resonate in our republic (vividly chronicled in this newspaper yesterday).
The Mughals spanned over 18 rulers. Their kissa-kahani began 500 years ago in 1526, when Babur defeated Delhi Sultan Ibrahim Lodi in a field 80 kilometres from Delhi. Soon after, Babur entered the city and visited the shrine of the mystic Hazrat Nizamuddin Auliya. At that time, nobody would have guessed that this pilgrimage would recur across generations of Mughals, binding them to the city’s sacred, grave-dotted topography.
Truth be told, Delhi surpasses the dynasty’s other great centres, Agra and Lahore. Shahjahan may have built the immortal Taj in Agra, but his creation of Old Delhi throbs more with real life. For Delhi’s pre-eminence in Mughal India, we must first credit Babur’s son, Humayun, who established his capital, Dinpanah—today’s Purana Qila—near the shrine of Hazrat Nizamuddin. His son Akbar later built Humayun’s mausoleum close to the same shrine.
Over time, Humayun’s Tomb came to be known as the “dormitory of the Mughals.” This 16th-century complex contains 160 graves of kings, princes, and princesses, representing a broad cross-section of the dynasty. Seven Mughal emperors are buried here: Humayun, Azam Shah, Jahandar Shah, Farrukhsiyar, Rafi ud-Darajat, Rafi ud-Daulah, and Alamgir II. It was here, at Humayun’s Tomb, that Bahadur Shah Zafar took refuge after the collapse of the 1857 uprising against the British. He was captured at this very site, marking the end of the Mughal Empire.
The aforementioned museum, which houses Zafar’s throne, is across the road from Humayun’s Tomb. In the lead-up to its inauguration two years ago, a significant moment was the installation of the throne, personally overseen by museum curator Ratish Nanda—see photo. A conservation architect, Nanda had earlier helped restore the garden around the first Mughal emperor’s tomb in Kabul.
As for the last Mughal, the unfortunate Zafar had intended to be buried in Delhi, but the British exiled him to Rangoon, where he was finally laid to rest. As a consolation, his ill-fated throne may be seen as a symbolic substitute for his Delhi tomb. Indeed, as the tomb of his dynasty itself.
source: http://www.hindustantimes.com / Hindustan Times / Home / by HT Correspondent / May 04th, 2026
In the bustling streets of Jaipur at Haldio Ka Rasta, Johari Bazar, time suddenly seems to stand still. Amidst ancient stone walls, arched doorways and the stillness of history, stands the Salim Manzil, a majestic building which is a living legacy of more than two centuries.
The mansion houses a relic – a cap of Imam Hussain, the grandson and son-in-law of the Prophet Muhammad; it adds to its importance.
The story behind the ‘blessed cap’ reaching the haveli is interesting and part of its rich history.
The entrance to Salim Manzil
In the early 17th century, an ancestor of today’s inmates of Salim Manzil treated an Iranian king. The King wanted to reward him with gold, silver and valuable gifts, but he declined the offer and instead requested the cap of Hazrat Imam Hussain.
The King presented the relic and a certificate with the royal seal to him as a reward.
Since 1876, this blessed hat has been preserved in Saleem Manzil in a special glass-framed box kept in a hall called “Kala-e-Mubaraq”.
Every year on the 9th and 10th of Muharram, it is opened to the public. In those days, Salim Manzil is turned into a pilgrimage centre, and its air filled with spirituality.
People viewing the Blessed Cap of Hazrat Imam Ali
Today, Moinuddin Khan, 33 and his younger brother, Hussamuddin Khan, 27, are living in the mansion. The two brothers are not only maintaining this legacy, but also modernising its upkeep and display of artefacts.
Moinuddin Khan says that his ancestors came to Jaipur from Delhi around 1812 AD. At that time, Maharaja Jagat Singh of Jaipur State granted them a fiefdom and honour to his elder brother, Hakim Wasil Ali Khan.
This honour was for Wasil Ali Khan’s academic and medical expertise, and he was admitted to the Royal Court. One of the ancestors was the head of the intelligence department of Jaipur State, a sensitive position. He was responsible for the State’s security, political activities and gathering information needed for administration.
Bharion Singh Shekhawat with the inmates of Salim Manzil
Later, his son, Salim Ali Khan, worked in the same position.
The construction of Saleem Manzil began in 1867, and it was completed within three years. Spread over an area of about a bigha, the building was gifted by the Maharaja of Jaipur. Even today, the haveli’s traditional Rajasthani carvings, arches, high ceilings and lattice windows are a testimony to the architectural craftsmanship of that era.
Over time, many havelis were converted into commercial hotels, but Saleem Manzil retained its original identity. The family also received offers to convert it into a hotel, but they preferred to preserve the spirit of the heritage rather than market it.
Visitors inside the Salim Manzil
The mansion has been used as a set by many filmmakers for movies and web series. Moinuddin says he acted for the role of Sri Krishna in one of the web series. “We have a strong foundation in religion, but we also remain connected with art and dialogue.”
A large hall is decorated, the rooms are filled with the fragrance of perfume and roses, and the pilgrimage begins with Milad Sharif.
Devotees from Gujarat, Maharashtra and other parts of the country also arrive here. In those days, Shia Muslims read prayers and distribute Tabarak.
Moinuddin says that we consider it more of a trust than an inheritance. It is both an honour and a responsibility for us.
Many important persons have visited Salim Manzil. They include President Giani Zail Singh, Chief Ministers Haridev Joshi and Shiv Charan Mathur, Bhairav Singh Shekhawat (Vice President), Natwar Singh (Minister), Najma Haibabullah (Rajya Sabha Chairperson), and Supreme Court Justice Gyan Sudha Mishra.
Head of the family, late Naseemuddin Khan, popularly known as Pyare Mian, founded the All-India Hakeem Ajmal Khan Memorial Society to perpetuate his family’s legacy of Unani medicine and social service.
Today, Moinuddin and Husamuddin Khan are trying to connect this heritage with modern dialogue. They are planning to build a new hall for better management of the pilgrimage during Muharram.
They are sharing information about this heritage with the world through social media and digital means for transparency.
Amid myriad historic monuments of Jaipur, Salim Manzil is unique since it not only preserves the relics of history but is also a pilgrimage centre.
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Stories / by Farhan Israeli, Jaipur / February 21st, 2026
This haunting historical site in Vijayapura deserves better conservation efforts from Archaeological Survey of India as well as deeper research from historians to understand the legends swirling around the monument.
Saath Kabra, the cluster of 63 tombs, in Vijayapura (Photo | Express)
Vijayapura :
Far from being just another tourist destination, ‘Saath Kabra’ in Vijayapura stands out as one of the most haunting historical sites in the region. Often described as a silent witness to a tragic past, ‘Saath Kabra’ is a cluster of 63 tombs arranged on a raised black stone platform, that has generated legends, scholarly debate and enduring curiosity.
The most widespread legend surrounding ‘Saath Kabra’ is linked to the period of Ali Adil Shah II of the Bijapur Sultanate, who is also credited with commissioning the unfinished ‘Bara Kaman’ monument. During his reign, the Bijapur Empire faced a serious challenge from the Maratha leader Chhatrapati Shivaji. To counter this threat, Ali Adil Shah appointed his powerful general Afzal Khan to confront Shivaji.
Afzal Khan, originally from Afghanistan, was known as a formidable warrior. Historical narratives also describe him as deeply superstitious, placing great faith in astrology and spiritual predictions. In 1659, before leaving to face Shivaji, Afzal Khan is believed to have consulted a Sufi Pir, who foretold that he would not return from the campaign. According to local legend, this prophecy deeply disturbed him.
Folklore claims that Afzal Khan, fearing defeat and dishonour, killed more than 60 of his wives by pushing them into a well and later constructed tombs at the site. The alleged motive was to prevent them from remarrying or falling into the hands of enemies and facing humiliation or violence in the event of his death. This story has long been used to explain the existence of the mass graves at ‘Saath Kabra.’
The cenotaph of Afzal Khan
Afzal Khan later travelled to Pratapgarh in the present-day Maharashtra to confront Shivaji. Instead of a direct battlefield encounter, negotiations were arranged. Historical records state that Afzal Khan planned to assassinate Shivaji during a peace meeting. Shivaji, aware of the plot, took defensive measures by wearing armour and concealing iron tiger claws on his fingers. During a traditional embrace, Afzal Khan attempted to overpower Shivaji, but failed. Shivaji retaliated and killed Afzal Khan. Afzal Khan’s body was subsequently buried at the foothills of Pratapgarh Fort.
There is no evidence to support the claim that Afzal Khan murdered his wives or that ‘Saath Kabra’ is their burial site. Vijayapura-based historians Abdul Gani Imaratwale and Krishna Kolhara Kulkarni dismissed the popular narrative as baseless, stating that no credible historical text mentions such an act by Afzal Khan. They emphasised that, in the absence of documentary evidence, the story must be treated as legend rather than history, and that research is required to determine the true origins of the graves.
Dr Imaratwale likes to call the 60 women as ‘half-wives’ as though they were not legally wedded wives, however they enjoyed almost the same privileges that of wives. He said that Khan had four legally wedded wives.
Dr Imaratwale says that such women were accorded considerable respect and were not buried in public graveyards. Separate land was often chosen for their burial, which could explain the clustered graves at ‘Saath Kabra.’
Dr Imaratwale says that it is not credible that a general, who commanded an army of around 40,000 soldiers, would be so fearful of his enemy that he would drown his women one by one in an open well.
Dr Imaratwale suggests alternative possibilities. He said the deaths could have occurred due to mass poisoning or as a result of an accident, such as the collapse of a large structure where the women may have been residing. However, he acknowledged that no information is available to establish the exact cause.
The historians say there is no clear record to confirm whether the women died while Afzal Khan was in Bijapur or during his military campaign. They believe it is more likely that their deaths occurred when Afzal Khan was fighting in Maharashtra. Afzal Khan himself died there, and his body was never brought back to Bijapur. As a result, his cenotaph exists in Vijayapura, built in accordance with his wish to be buried there, a wish that ultimately remained unfulfilled.
Tourists largely confine their visits to prominent landmarks such as the Gol Gumbaz, Bara Kaman and Ibrahim Roza while dozens of other monuments remain overlooked. Located in Navarasapur on the outskirts of the city, ‘Saath Kabra’ is difficult to access. The site includes 63 black stone tombs, an ancient well now filled with silt. Many tombstones are broken or missing, and the entire complex is in a dilapidated state. Poor road connectivity, lack of signboards and absence of maintenance have further contributed to its neglect, with little effort made by the tourism department or the Archaeological Survey of India to promote or preserve the site.
Owing to its eerie atmosphere and disturbing legends, local residents often avoid the monument. Whether it represents a misunderstood burial site, a tragic episode lost to time, or folklore layered over fragments of history, ‘Saath Kabra’remains one of Vijayapura’s most enigmatic monuments, underscoring the urgent need for serious research, preservation and historical clarity.
source: http://www.newindianexpress.com / The New Indian Express / Home> Bengaluru / by Firoz Rozindar / February 08th, 2026
The imposing walls of both the Taj Mahal and Aligarh Muslim University’s Jama Masjid have Quranic verses crafted onto white marbles in black paint.
Jama Masjid on Aligarh Muslim University campus. Photo: Author provided.
Constructed nearly 250 years apart, the Taj Mahal in Agra and Jama Masjid at the Aligarh Muslim University (AMU) have an interesting connection.
The construction of the Taj Mahal began in 1632 and was completed in 1653, while the construction of Jama Masjid at AMU began in 1879 and was completed in 1915.
While the Taj Mahal, which is the tomb of Mughal emperor Shahjahan and his wife Mumtaz Mahal, attracts millions of visitors every year, AMU’s Jama Masjid is the main mosque of the university. AMU’s Jama Masjid is, perhaps, the last enduring symbol of the Mughals, constructed when the Mughals lost their kingdom during British rule.
A surprising connection
As one enters the Taj Mahal, beautiful calligraphy adorns all four corners. Several verses from the Holy Quran crafted in black calligraphy on white marble can be seen. This is a unique form of calligraphy, and expert artisans from Persia were involved in creating it. Similar calligraphy can be seem inscribed at the tomb of Mughal King Akbar at Sikandra, Agra, and also at the AMU Jama Masjid.
A closer look at the white marble with Quranic verses in black colour adorning the walls of Jama Masjid in Aligarh Muslim University. Photo: Special arrangement.
In fact, it is believed that the artisan responsible for the calligraphy at the Taj Mahal also brought his expertise to AMU’s Jama Masjid.
Since there is a difference of nearly 250 years between the construction of both architectural wonders, it is interesting to study how this was possible.
During Shah Jahan’s regime, several buildings were constructed, including the Taj Mahal and Delhi’s historic Jama Masjid. The calligraphist used was the same.
Professor Nadeem Ali Rezavi of the Centre of Advanced Studies, Department of History, Aligarh Muslim University, says that the master calligraphist in most of the buildings constructed during Shah Jahan’s regime is the same person.
“His name was Abdul Haq, and later due to his craftsmanship, his rank was elevated. He was given the title of Amanat Khan. In fact, he even signed the bands on this calligraphy with dates,” says Rezavi.
Still, there is a gap of over two centuries between these two buildings, Taj Mahal and AMU’s Jama Masjid.
The connection between the two monuments becomes clear with the involvement of Akbarabadi, one of Shah Jahan’s queens. Her original name was Aiza-un-Nisa. She, in 1650, commissioned the construction of a mosque situated in Daryaganj, Delhi, during the same period. In that mosque, Quranic calligraphy was done by the same artisan in black paint on white marble. This was around the same time as when the Taj Mahal was built.
After nearly two centuries, the Daryaganj mosque was demolished by the Britishers following the 1857 revolt. This was when Britishers gained control over the Red Fort, and the last Mughal emperor Bahadur Shah Zafar was sent in exile to Rangoon. They destroyed many buildings which were supposed to have harboured the rebels. At the site of the destroyed Akbarabadi Mosque, a park was developed and came to be known as Edward Park in 1911, which is now called Subhash Park.
During the same period, Sir Syed Ahmed Khan, the founder of the Mohammadan Anglo Oriental College (which later became AMU) felt the oppression against Muslims after the revolt. He nurtured the idea of setting up an educational institution to try and uplift the community.
A visionary man, Sir Syed had the taste for collecting things, particularly artefacts which had archaeological and historical importance. He was aware of the demolition of the Akbarabadi Mosque in Delhi.
As per the AMU Gazette, the scraps generated at the demolished Akbarabadi mosque were sold to a dealer and later purchased by Sahabzada Suleman Jah Bahadur. These remains were thus sold after over 200 years. These were presented to Sir Syed Ahmed Khan, who planned to use them in the Jama Masjid of the educational institution.
A closer look at the white marble with Quranic verses in black colour adorning the walls of Jama Masjid in Aligarh Muslim University. Photo: Special arrangement.
The white marbles with black calligraphy now present in the Jama Masjid of AMU depict Surah Fajr from the Holy Quran. Thus centuries apart, the two buildings carry the work of the same artisan.
“Even if you compare, it is the same thing and the only difference is in the scale. The artisans are the same who have shown their skills in the construction of the Taj Mahal,” says Prof. Rezavi.
Thus AMU’s Jama Masjid is, perhaps, the last enduring symbol of the Mughals, constructed when the Mughals lost their kingdom during the British rule. On the other hand, the domes of AMU’s Jama Masjid employed techniques of the Mughal era: they are “true domes” as they were built using lime mortar and vousseurs (wedge cornered stones/bricks).
“It is a brick structure, guava-shaped, carrying white marble with black stripes. This is the last true dome. After this, the particular technology faded out, and the buildings constructed after them have concrete domes,” said Rezavi.
Later, in 2016, AMU authorities began the conservation of the Jama Masjid. Now revived at the cost of Rs 90 lakh, the Jama Masjid has a Hauz in the courtyard, three domes, seven arches and two lofty minarets cornered by a Cricket Pavilion at its rear end. Sir Syed, the founder of the institution, was also buried in the same compound.
Faisal Fareed is a senior Lucknow-based journalist.
This article went live on June fifth, two thousand twenty one, at zero minutes past seven in the morning.
source: http://www.thewire.in / The Wire / Home> History / by Faisal Fareed / June 05th, 2021
Tushar Goel’s film, ‘The Taj Story’, has reignited controversy over the Taj Mahal’s origins, claiming it is a Hindu temple rather than a mausoleum built by Mughal emperor Shah Jahan. The film’s debut highlights debates about the interplay of history and ideology in contemporary India.
Scaffoldings are pictured as restoration work goes on at the dome of the Taj Mahal in Agra on October 17. | Photo Credit: AFP
A little over 60 years ago, Purushottam Nagesh Oak slept and dreamt. He woke up and claimed that the Taj Mahal in Agra was actually a Hindu palace going back all the way to 4th century. Friends of Mr. Oak, an English teacher-turned-lawyer-turned-journalist but never a historian, told him that the Taj Mahal couldn’t have been a fourth century structure as the technology employed in building the Taj in the 17th century didn’t exist back then. The fantasist turned a pragmatist, and Oak brought his argument forward by a few centuries. The Taj was now claimed to be a Hindu temple. This was in 1989. He wrote articles and a book too, but found no support from historians. Even the Supreme Court dismissed his claims as “a bee in his bonnet” in 2000.
But post-2014, history is like a revolving door, you enter and exit at your ease and pleasure. You pick and choose, you circumvent and invent. Dress it up as a movie and claim you are looking at history anew. That is how we get a movie like Tushar Amrish Goel’s The Taj Story, starring former BJP MP Paresh Rawal; just like we had The Kashmir Files and The Bengal Files, starring Anupam Kher and Mithun Chakraborty, all ideological partners of the Bharatiya Janata Party (BJP).
With The Taj Story, Goel goes where no historian has gone. Proof, evidence and knowledge amount for nothing as the director makes a case for the Mughal monument being actually a Hindu temple, much like the BJP leader Sangeet Som who called it alternately a Shiva temple and a monument built by a man who incarcerated his father. Mr. Som obviously couldn’t make out a Shah Jahan from an Aurangzeb and hence got mixed up. Much like Oak, oops, Goel, who sees no difference between history and mythology, facts and fantasy.
Recorded history
Talking of facts, the Taj Mahal was built by the Mughal emperor Shah Jahan after his favourite wife Arjumand Bano Begum breathed her last after bearing the last of their 14 children. Its chief architect was Ustad Ahmed Lahori. The land for her last resting place was procured from Mirza Raja Jai Singh of Amber who had inherited it from Raja Man Singh, a celebrated general of Akbar, who was Shah Jahan’s grandfather. Shah Jahan compensated Jai Singh with four havelis from the royal property for the massive haveli in which rests Mumtaz Mahal. His firman to Jai Singh, the latter’s agreement and the Mughal emperor’s subsequent letter of granting him four havelis in lieu of one, are all part of history; unlike the claim of The Taj Story which talks in terms of a massacre and genocide of the locals for fulfilling the wishes of an emperor and his consort!
The work on the tomb started in 1632 with the finest craftsmen from across the country and West Asia. The chief mason was Mohammed Hanif from Baghdad who earned ₹1000 a month for his efforts. The pinnacle was built by Qayam Khan of Lahore and its Quranic inscriptions were done by Amanat Khan Shirazi. The mosaic work was done by local Hindu workers. Above all, some 20,000 workmen toiled for 22 years to build the monument to love. Its white marble came from Jaipur, lapis lazuli from Sri Lanka, crystal from China and coral from Arabia. The monument uses the double dome technique, previously seen only in the Humayun’s tomb in Delhi, and never seen in the country before the arrivals of the Turks.
Not the first time
Over the years, many have tried to appropriate credit for its beauty and majesty. In the 17th century, it was claimed by many in the West that the architect of the Taj was Venetian Geronimo Veroneo, a jeweller by profession. Then came the claim by Mughal Beg in Tarikh-e-Taj Mahal that it was designed by Muhammad Effendi, an architect supposedly sent by the Sultan of Turkey. Effendi though was as much an architect as Oak was a historian. In the mid 19th century it was claimed that the monument was the result of the genius of Frenchman Austin de Bordeaux, a jeweller. However, Austin died in 1632, the year the work on the Taj began. With his death all claims of Austin being the Taj’s architect were buried. And facts began to be raised.
As for fantasy, well there is Goel’s film, never mind its claim of presenting the “untold history of the Taj Mahal”. The film, replete with stereotypes of kohl-lined, skullcap-donning Muslims aims at building a nation’s memory on unreasoned mythology, far removed from the well argued debates of history. Much like Oak’s view that Christianity was nothing but Krishan-Niti. Not game for any ridiculous claims in an insipid film which opened with a mere 14% attendance in the first show? Watch M. Sadiq’s 1963-saga Taj Mahal. Sure, you would remember its song, ‘Jo wada kiya woh nibhana padega’, penned by Sahir Ludhianvi and sung with much love by Mohammad Rafi and Lata Mangeshkar. Sadiq’s film with Pradip Kumar and Bina Rai in the lead cast, made no effort at replacing history with mythology.
source: http://www.thehindu.com / The Hindu / Home> Entertainment> Movies> In the limelight / by Zia Us Salam / November 07th, 2025
Diners at Sheraton Hyderabad were recently introduced to the rarely seen Bhatkali cuisine, thanks to home chef Fatima Riyaz. Through an exclusive pop-up, Fatima presented dishes rooted in the coastal town of Bhatkal in Karnataka, highlighting its Nawayathi heritage and centuries of cultural exchange.
Bhatkali food is known for its unique blend of spices, coconut, and rice. “Five out of six dishes have rice in some form,” Fatima explained, noting how coconut adds sweetness and depth to most preparations. Spice levels are high, but carefully balanced with caramelised onions. Signature to the cuisine is Loli, a red chilli-based spice paste slow-cooked in coconut oil and used across dishes.
The Sheraton menu included Mudkale, rice balls with prawns cooked in coconut oil, and seasonal desserts like Chibbad, a local melon served with coconut milk and lime. While seafood dominates the cuisine, Fatima also created vegetarian versions to suit diverse diners.
Her food is deeply personal, drawn from family traditions and her community’s layered history. “Our cuisine reflects Islamic influences, Jain touches, and coastal Indian roots,” she said. The language of her community, Nawayathi, similarly borrows from Marathi and Konkani, echoing cultural ties along the western coast.
Fatima began cooking professionally after the pandemic, inspired by people reviving traditional recipes. Since then, she has taken Bhatkali cuisine to cities through curated pop-ups. “I only cook this cuisine,” she noted. “It is Indian, but with a sweetness that is ours.”
Story by Deccan Chronicle
source: http://www.radiancenews.com / Radiance News / Home> Features> Latest News> Report / by Radiance News Bureau / September 20th, 2025
