Sheesh Mahal (Urdu: شیش محل, “Crystal Palace”) deserves its name well. The Palace of Mirrors was originally built under Shah Jahan from 1631-1632, and is emblematic of Mughal opulence and luxury: ornate white marble, complex glasswork and mirror mosaics, and intricate inlaid stonework called parchin kari. The resulting structure is grandiose and overwhelming, and highlights the extravagance of the Mughal Empire as much as its dedication to craftsmanship. It is said to have been a gift from Shah Jahan to his wife, Mumtaz Mahal. But while construction began in 1631, Mumtaz Mahal died before she could ever see the building–indeed, she is buried in the Taj Mahal, the last dedication of Shah Jahan to his beloved partner. It would later become a favorite site for Sikh Maharaja Ranjit Singh, who is said to have constructed a harem above the Sheesh Mahal and displayed the Koh-i-noor diamond from his seat.
It’s clear to see the reflection (no pun intended) even in Bollywood. While the most famous depiction of Sheesh Mahal was in 1960’s Mughal-e-Azam, a set that took two years to build and cost about ₹1.5 million (~$200 million today), the palace was once again brought to life in 2015’s Bajirao Mastani. Director Sanjay Bhansali’s take on the Palace of Mirrors is as eye-catching as the real thing, and at least feels as expensive. According to an interview with Hindustan Times, the set is made up of 20,000 mirrors over 12,500 square feet, drawing on Mughal-e-Azam‘s take on the iconic Hall of Mirrors is infused with Gujarat’s own Aina Mahal. The result is a feast for the eyes, the ears, and the voice in the back of the head asking how on earth none of the cameras got caught in the mirrors. (From a totally biased perspective, this movie is great and “Deewani Mastani” is my favorite overall performance in a movie filled with spectacle.)
Today, Sheesh Mahal is considered the crown of Lahore Fort. Declared a UNESCO World Heritage Site in 1981 as a symbol of Pakistani history and culture, Lahore Fort is a sprawling complex of the walled city with 21 UNESCO-recognized structures, including not only the palace, but Badshahi Masjid, Jahangir’s Picture Wall, and the Diwan-i-Khas. The complex has undergone extensive renovations between 1990 and 2012, and restoration continues at the Painted Wall as of 2016. With Pakistan seeing upwards of 1.9 million tourists in 2018 and Lahore high on the list of places to go, Sheesh Mahal and Lahore Fort are more popular than ever.
Sheesh Mahal, and Lahore Fort more broadly, are taken as examples of Pakistani national heritage as much if not more than their historical connections to the opulence of the Mughal Empire. It’s so easy to consider a national monument as national identity: it’s even got the national right in the words. And UNESCO World Heritage Monuments are a statement to how a nation-state wants itself to be seen on an international stage. For Pakistan, we could read this as a moment of triumph, of connection to a wealthy and beautiful past. But I also wonder at the connections of the Mughal Empire, which spanned most of modern South Asia. The Taj Mahal was built by the same emperor who finished the Sheesh Mahal, but is today a symbol of India even more than Lahore Fort is a symbol of Pakistan. How do these monuments negotiate a contested and shared past? Or is it too simple to think this way?
Perhaps, rather than thinking about Sheesh Mahal on a national or international level, it will be more beneficial to look at it locally. How do Pakistanis, and more importantly, how do residents of Lahore, think about the citadel overlooking the city? What do they value in a hall of mirrors?
For more information on Lahore Fort, check out Islamic-Arts.org. Or check back here in 6 months! Hopefully I’ll have been there myself and can add to this brief overview.
