Chauburji is one of the most famous monuments among the structures and buildings of the Mughal era in the city of Lahore, Punjab, Pakistan. In the historic city of Lahore, on the road that led southwards to Multan, the Chauburji gateway remains of an extensive garden known to have existed in Mughal times. The establishment of this garden is attributed to Mughal Princess Zeb-un-Nisa,
1646 AD, which appears in one of the inscriptions on the gateway. The
gateway consists of four towers and contains much of the brilliant tile
work with which the entire entrance was once covered. Architecture
Chauburji represents a strong blend of Mughal architecture with
ancient Muslim style of building. Its distinguishing features are the
minarets which expand from the top, not present anywhere in the
sub-continent. Some, however, believe that there were cupolas upon these
minarets which collapsed with the passage of time. Arches are of the
so-called 'Tudor' style, adapted to Islamic architecture, particularly
in Mughal mausoleums and mosques. The red brickwork is typical of the
Muslim buildings of the sub-continent; the doorways and windows running
through the interior corridors are examples of the living style that
characterised the Mughal buildings. However, the main purpose of
building Chauburji appears to be strictly monumental. The decrepit
building, which has not lost its elegance, stands alone surrounded by
hoardings and bustling traffic on the busy Multan Road.
Resemblance to Charminar of Hyderabad
Dr. Ajaz Anwar wrote in an article published in The Pakistan Times in April 1985: “But the real prototype of Chauburji is the Charminar (meaning: four minarets) of Hyderabad Deccan
constructed in 1591 by Muhammad Quli as a triumphal arch at the
junction of four roads, leading to the four quarters of the old city.
Octagonal minarets were later used along the corners of the Tomb of Jahangir
itself. This became a motif and was incorporated in the Taj where the
minarets flank the corners of the platform... The Charminar, though it
comes closest to Chauburji, has a striking contrast and a sense of
negation between the very simple lower portion and the heavily decorated
upper portion. In the tomb of Akbar, the white marble and variegated
stone give the feeling of having been added later... Chauburji, because
of the colour of the brick adorned with glazed tiles having the look of
flowering creepers, retains a distinctive unity.”
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