The tombs of Mohammad Ghaus and Tansen were built in the 16th Century to pay homage to Tansen and Mohammad Ghaus in the Hazira region of Gwalior. Hazira means ‘the old city core’ in Hindi, and was chosen as the location for this particular building. Tansen is considered the greatest musician in the history of Indian classical music. Legends say he could make lamps light up and cause clouds to pour down rain through his music. Mohammad Ghaus was a renowned Sufi saint believed to have magical powers. According to local folklore, Tansen was born deaf and dumb in Behut, a small village near Gwalior. His parents then took him to Mohammad Ghaus, who magically gave him extraordinary musical abilities in addition to curing his disabilities. Tansen became his student and looked up to him as his teacher in a sacred guru-shishya parampara, an ancient Indian tradition based on respect and discipline, where the guru is regarded as a God, and the shishya must fully submit to him. Tansen wished to be buried beside his guru after his death as a mark of gratitude. He desired his guru’s tomb to occupy the central position and his dome to be of a smaller magnitude beside it. King Akbar commissioned Tansen’s tomb. Tansen was one of the Navratnas (nine gems in a king’s court) in his darbar (royal court).
A Design Steeped in History
The tomb of Mohammad Ghaus is an excellent example of Islamic architecture in India. It has a square plan with four hexagonal towers on its sides surmounted by small domes. The interior of this magnificent building consists of a large square room with pointed arches on which rests a Pathan dome. In the center of this room lies the grave of Mohammad Ghaus. A verandah enclosing jhilmili jali work (lattice screens) with the most elaborate and intricate patterns surrounds this room. These jalis are the most striking features of the tomb. Visitors who come to pay homage to Tansen and his guru are fascinated by the delicate jali work and sophisticated architecture. Records of an ancient traveler, Alexander Cunningham, who visited Gwalior in the 19th Century A.D., mention that the central tomb is built of a yellowish-grey sandstone which has lasted very well. Still, the outside of the dome, once covered with blue glazed tiles, is now nearly bare. He also mentions the Tansen tomb, describing it as a small open building, 22 feet square, supported on 12 pillars, with four central pillars surrounding the sarcophagus. It is located close to the southwest corner of the larger tomb.
A Legacy Beyond Stone: Music and Social Harmony
Tansen’s tomb transcends its architectural form. It stands as a symbol of the transformative power of music. Legends abound about Tansen’s mastery, his ability to evoke emotions through his melodies, and even his influence on the natural world. The tomb becomes a pilgrimage site not just for music lovers but also for those seeking blessings and inspiration.
Furthermore, Tansen’s life story embodies the spirit of religious tolerance that Akbar actively fostered in his court. Born into a Hindu family, Tansen converted to Islam under the tutelage of Sufi saint Mohammad Ghaus, whose tomb lies adjacent to his. This physical proximity reflects the harmonious co-existence of religions during the Mughal period, a message that resonates even today in a world often grappling with religious strife.
A Legacy Beyond Stone
Today, the tombs are still in the same condition as described by Cunningham. However, the Tomb complex has expanded over the years and now includes four Mughal gardens inspired by the Charbagh garden style in the front. The tombs of other students of Mohammad Ghaus have also been constructed behind the central tomb. As people’s faith in these tombs increased, various practices developed that illustrated the spiritual bond people shared with this complex. Dr. Hunter’s account in 1790 mentions a tamarind tree near the Tansen Tomb that locals believed could give an extraordinary melody to the voice when its leaves were chewed. The original tamarind tree died due to the continuous stripping of its leaves, and only a degenerate seedling of the original melody-bestowing tree can be found today. This association of people with the tree demonstrates how the cultural values of the people were merged into the landscape of the building.
A Beacon for Tourism and Cultural Preservation
The Archaeological Survey of India currently looks after these tombs, which have become a popular tourist destination. In addition to tourists and musicians, the residents of Hazira frequently visit the complex as a peaceful retreat away from the crowded city life.
The classical music community of Gwalior hosts the Tansen Samaroh in this complex every year in collaboration with the state tourism management to keep the traditional spirit of music alive. The Tansen Samaroh is a four-day program organized for three days in the tomb complex every year. During the Samaroh, the tombs of Mohammad Ghaus and Tansen are beautifully decorated with lighting, a stage is constructed in front of the central dome, and the audience is accommodated in the Mughal gardens. The Samaroh witnesses performances by various national and international musicians. The festival has not only cultural significance but also generates a livelihood for the classical music community associated with it. Indigenous musicians are allowed to showcase their talents on stage and curate.
