The Khanqah-e-Moulah is popularly known as the Khanqah mosque or the Shah Hamdan Masjid. This mosque is located on the banks of the river Jhelum1. It is surrounded by River Jhelum on the West, hammam on the North, the shrine of Baba Wali on the South, and dressed stone platform and the main entrance gate on the East. The khanqah was originally built in 1395 A.D. but got destroyed during a fire(s) in 1479 A.D. and 1731 A.D. whereafter it was rebuilt, keeping with the original building character. The building was renovated in 2001 A.D2. This mosque was constructed by Sultan Shah Sikander in the year 1395 to honour Mir Sayyid Hamdani, popularly known as Shah Hamdan who used to visit Kashmir for meditation3.
Mir Syed Ali Hamdan popularly known as Amir-i-Kabir or Shah-i-Hamadan was the son of Syed Shahab-ud-din, the Alawi Governor of Hamdan, a province of Iran. Mir Syed Ali was responsible for introducing the Kuburwi Sufi order in Kashmir. Syed Ali visited Kashmir for the first time in 1372 A.D. and thereafter in 1379 A.D. and 1383 A.D., during the reign of Sultan Qutub-u-din. The third visit of Syed, when he was accompanied by 700 Syeds and missionaries, was caused by the invasion of Persia by Timur. On reaching Srinagar, Mir Syed Ali took up his residence in an inn at Ala-ud-din pora. He constructed a sufa (raised floor) for performing prayers. Leaving Kashmir the Syed fell ill and passed away in 1385 A.D. and was buried in Kopab (Tajakistan). The influence of Mir Syed Ali can be felt in the life of Kashmiris even today after a lapse of more than six centuries. It was during Sultan Sikander’s reign that a hospice known as Khanqah-i-Mualla (the Great Kahnqah) was built on the site of the sufa constructed by Mir Syed Al Hamdani at Ala-ud-din pora. The locality, thereafter, became popular by the name of the shrine Mohalla Khanqah-i-Mualla or simply as Khanqah-i-mualla4. The word Khanqah basically means a lodge or resting place for Sufi saints5. The support for the maintenance of this shrine used to come from a royal jagir and this is only one of the 30 or 40-odd shrines devoted to Hamdani spread across the valley. For approximately the first hundred years, free food was distributed here in a langar (charity kitchen) to popularize the shrine6.
The khanqah is one of the best examples of traditional monumental wooden architecture entirely constructed of solid wooden blocks used as headers and stretchers with brick infill. The khanqah consists of a two-storeyed building square in plan, standing on a well-dressed stone masonry foundation. The building has rectangular extensions (dalans) with carved woodwork on all sides. The central dalan on the eastern side leading into the main chamber has a vaulted khatamband ceiling. The inner chamber on the ground floor consists of a double-height hall measuring around 63 ft. x 43 ft. with a series of seven small cloisters on both sides. A small square building has been added on the northwestern corner of the building. The ceiling of the chamber, which is supported by four multi-faceted wooden columns, is covered with a decorative khatamband pattern. Two straight-flight staircases on either side of the hall give access to the balconies above, which look down into the main chamber. Access to the second floor which consists of a large open chamber is through a staircase accessed from the side galleries (dalans). The second floor is supported by four massive wooden columns. Adjoining each column is a small square room. The whole structure is surmounted by a multi-tiered pyramidal roof with an open square pavilion (brangh) in the centre. The brangh is crowned by a spire. Corbelled logs have been used for heavy eaves cornices. The western facade of the building overlooking the River Jhelum has a square double-height extension in the centre supported on narrow wooden columns, which serves as a portico7. The back of the khanqah building is treated in lime plaster (guch), probably executed in the Sikh period. The entire surface is painted with a variety of designs, the most prominent being stylized flowers in a vase8.
Over the doorway hangs a metal medallion suspended on three chains. This is a haankal that many believers hold onto and rub before they enter. It is a symbolic representation that the devotee is seeking the support of Hamadani. People come here with their own murads (wishes), and they often carry with them a dash, a piece of cloth they tie to the screen surrounding the relic in the extreme right-hand corner. If their murad comes true, they must return to unite it or it is seen as inauspicious9.
The extension to the rear of the main building allows women to enter for prayer. Directly opposite on the other bank of the Jhelum, behind a recently constructed wall, stands the grey limestone mosque, Pathar Masjid10.
The khanqah is one of the most beautiful examples of traditional Kashmiri craftsmanship. The ceiling and the walls of the main hall are covered with a decorative khatamband pattern. Four lofty multifaceted wooden columns supporting the ceiling are beautifully decorated and carved. The overall appearance, especially of the interiors, is very attractive and colourful. Carved eaves board pendants, vaulted khatamband ceiling in the entrance portico and papier mache ceiling in the dalans make this building a classical representation of Kashmiri architecture11.
1 S.Luckvinder Singh Sodhi, Monuments and Temples of Jammu Kashmir and Ladakh (Kashmir, 2011), 80.
2 Shehar-i-Kashmir, Cultural Resource Mapping of Srinagar City (2004-05), Volume 1 (J&K: Indian National Trust for Art and Culture Heritage, J&K Chapter, 2010), 368.
3 S.Luckvinder Singh Sodhi, Monuments and Temples of Jammu Kashmir and Ladakh (Kashmir, 2011), 80.
4 Shehar-i-Kashmir, Cultural Resource Mapping of Srinagar City (2004-05), Volume 1 (J&K: Indian National Trust for Art and Culture Heritage, J&K Chapter, 2010), 366.
5S.Luckvinder Singh Sodhi, Monuments and Temples of Jammu Kashmir and Ladakh (Kashmir, 2011), 80.
6 An Architectural Legacy by Feisal Alkazi
7 Shehar-i-Kashmir, Cultural Resource Mapping of Srinagar City (2004-05), Volume 1 (J&K: Indian National Trust for Art and Culture Heritage, J&K Chapter, 2010), 368.
8 An Architectural Legacy by Feisal Alkazi
9 An Architectural Legacy by Feisal Alkazi
10 An Architectural Legacy by Feisal Alkazi
11 Shehar-i-Kashmir, Cultural Resource Mapping of Srinagar City (2004-05), Volume 1 (J&K: Indian National Trust for Art and Culture Heritage, J&K Chapter, 2010), 368.