Chowmahalla Palace

History

While Salabat Jung initiated its construction in 1750, the palace was completed by the period of Afzal ad-Dawlah, Asaf Jah V between 1857 and 1869.

The palace is unique for its style and elegance. Construction began in the late 18th century and over the decades a synthesis of many architectural styles and influences emerged. The palace consists of two courtyards as well as the grand Khilwat (the Darbar Hall), fountains and gardens. The palace originally covered 45 acre, but only 12 acre remain today.

Southern courtyard

This is the oldest part of the palace, consisting of four palaces: Afzal Mahal, Mahtab Mahal, Tahniyat Mahal and Aftab Maha, built symmetrically opposite each other in Neoclassical style. The forecourt between the palaces is adorned with a pond and a garden.

The neoclassical palaces have double-height verandahs or façades lined with European style columns. The columns in the Aftab Mahal and Mehtab Mahal are of Ionic order whereas the Afzal Mahal and Tehniyat Mahal have Corinthian columns.

Northern courtyard

This part has Bara Imam, a long corridor of rooms on the east side facing the central fountain and pool that once housed the administrative wing; and Shishe-Alat, meaning mirror image.

It has Mughal domes and arches and many Persian elements such as the ornate stucco works that adorn the Khilwat Mubarak. These were characteristic of buildings built in Hyderabad at the time.

Opposite the Bara Imam is a building that is its shishe or mirror image. The rooms were once used as guest rooms for officials accompanying visiting dignitaries.

Khilwat Mubarak

This is the heart of Chowmahalla Palace. It is held in high esteem by the people of Hyderabad, as it was the seat of the Asaf Jahi dynasty. The grand pillared Durbar Hall has a pure marble platform on which the Takht-e-Nishan or the royal seat was laid. Here the Nizams held their durbar and other religious and symbolic ceremonies. The 19 spectacular Chandeliers of Belgian crystal were recently reinstalled to recreate the lost splendour of this regal hall.

Clock tower

The main gateway to the Chowmahalla Palace on the western hand has a clock tower also known as a Khilafat clock. The tower is three storeys high and consists of balconies and jharokha of Mughal style same as the style of half domes. It has been ticking since 1750. An expert family of horologists winds the mechanical clock every week.

Council hall

This building housed a rare collection of manuscripts and priceless books. The Nizam often met important officials and dignitaries here. Today it is a venue for temporary exhibitions from the treasures of the Chowmahalla Palace Collection of the bygone era.

Roshan Bangla

The Sixth Nizam, Mir Mahbub Ali Khan, is believed to have lived here and the building was named after his mother Roshan Begum.

The former Nizam (Barkat Ali Khan Mukarram Jah) and his family decided to restore the Chowmahalla Palace and open it to the public in January 2005. It took over five years to document and restore the palaces of the first courtyard to its former glory. The palace also has a collection of vintage cars, including the Rolls-Royce, which the Nizam kings used.

Museum

The displays in the museum depict the origin and evolution of Hyderabad, achievements and valuable contribution of the Nizams towards the development of the state, and the social lifestyle of the royal family.

The museum is divided into parts arranged around two quadrangle courtyards in North and South. The entrance to the museum in through the Northern courtyard. Durbar Hall or Kilawat Mubarak is the most spectacular portion of the complex and its grandeur and intricately ornamented surfaces with magnificent chandelier make it an object of exhibit in itself.--

Conservation

Conservation works were initiated in Chowmahalla Palace from 2000, where several conservation architects and experts were involved in more than a decade long journey. The initiative was undertaken by Princess Esra Birgen. Before commencement of the works, the place had fallen into disuse for a prolonged period and had deteriorated over the time. The vision for the restoration project was to rescue the exemplary palatial complex and to establish a contemporary civic use as a museum showcasing the splendour and valour of the erstwhile Nizams.

The restoration process was divided into three stages, first stage involved thorough mapping, a fabric survey, and the development of conservation plans for the buildings' restoration as well as alternative re-use scenarios that might help assess the practicality of these historic buildings. In the second stage, structures that were in danger of collapsing had to be stabilised, and other urgent repairs like waterproofing and propping had to be made to prevent further damage. The complex's physical restoration as well as the addition of amenities to encourage the reuse of these structures were part of the final phase.

In order to preserve the integrity of these ancient structures, their conservation was carried out using traditional craftsmen and techniques, and several building components were saved from demolition. Many architectural features, including granite arches, elaborate lime plaster work, and terracotta balusters, were restored carefully in their original design in addition to structural repairs and stabilisation. Apart from bringing back the past glory of the palace complex and reviving traditional materials and craftsmanship, the project also created a cultural oasis in the heart of the city.

The project was awarded the UNESCO Asia Pacific Merit award for cultural heritage conservation on 15 March 2010. UNESCO representative Takahiko Makino formally handed over the plaque and certificate to Princess Esra, former wife and GPA holder of Prince Mukarram Jah Bahadur.

References

References

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