Chowmahalla Palace : A Jewel in Hyderabad

Compared to the slow-moving Nizam era, modern Hyderabad is a fast-paced, vast, and high-tech city, yet it nevertheless retains some of the courteous and aristocratic characteristics that have made it known as the ‘jewel city of India’. The city's older neighborhoods still exude an old-world charm and are home to several stunning historical landmarks. One of such magnificent gems is without a doubt the Chowmahalla Palace (also known as Chowmahallatuu or Chowmahallah).

The Chowmahalla Palace. Photographed by Lala Deen Dayal in 1887. From the collection of the J. Paul Getty Museum (Courtesy: Getty’s Open Content Program) 

The sprawling Chowmahalla Palace is an amalgamation of different architectural styles, including Persian, Indo-Saracenic, European, and Rajasthani. It is located southeast of Laad Bazar, in the center of old Hyderabad, and only ten minutes' walk from the more famous and significantly older Charminar. In Persian-Arabic, the term ‘Chowmahalla(चौमहला)’ refers to a grouping of four palaces. 

The magnificent Chowmahalla complex, which was built over 200 years ago, is actually a collection of four palaces: Mahtab Mahal (Sun Palace), Aftab Mahal (Moon Palace), Afzal Mahal, and Tahniyat Mahal. However, the Khilawat Mubarak, the complex's heart, is by far the most impressive feature of the Chowmahalla. Majestic Khilawat Mubarak is the location of the official ceremonies. Chowmahalla Palace was the nerve center of Hyderabad’s rulers. It was the seat of power of the Asaf Jahi dynasty sovereign of Hyderabad. 

The lavishly decorated Durbar hall (Throne Room) inside the Khilawat Mubarak has a raised marble platform on which the seat of power the ’Takht-e-Nishan’ (the throne) rests. The Khilawat Mubarak is the most notable structure in the complex, modeled after the Iranian Shah's Palace in Tehran, complete with elegant fountains and an artificial pool in front. The grand pillared Durbar Hall houses 19 huge Belgian crystal chandeliers. The glittering hall of 50-foot high decorated ceilings was used by Nizams to hold their durbar and other religious and symbolic ceremonies. This has now been completely renovated and shines with polished chandeliers. 

The adjoining smaller rooms have been converted into a museum with interesting exhibits such as historical photographs and other Asaf Jahi ruler-related objects. Intricate marble pieces, Venetian chandeliers, period furniture, textiles, jalopies, royal cars, and buggies are also on display for visitors (carriages). At least three Nizams were coronated here in this Darbar Hall (Khilawat Mubarak). On April 6, 1967, Prince Mukarram Jah was installed as the 8th (and final) Nizam. 

Chowmahalla Palace is a magnificent living piece of history and an icon of Hyderabad. Though not typical Mughal architecture, it is an abode of royal opulence and a classic lifestyle. The Asaf Jahi dynasty had its seat here The construction of the palace complex began in the 1750s, during the reign of Salabat Jung (4th Nizam of Hyderabad). The complex remained under construction, and it was completed between 1857 and 1869 by Nizam Afzar-ud-Dawla Bahadur (5th Nizam). 

From the 1970s to the year 2000, the palace complex was virtually abandoned, causing a number of buildings to partially collapse and deteriorate significantly. The property remained neglected and was embroiled in numerous lawsuits. The palace originally covered 45 acres, but numerous encroachments have significantly reduced this. 

As a result, only 12.4 acres are left. Things looked bleak and hopeless. The whole campus was neglected, with overgrown grounds that were water-logged. However, things began to change around twenty years ago, when Princess Esra Birgen, the first wife of the last Nizam Prince Mukarram Jah (divorced), her stepsons, and a few others became interested in the restoration and preservation of Chowmahalla and other princely properties, including the famous Falaknuma Palace. 

In the year 2000, a massive restoration program was launched. But, everyone agreed that it was a Herculean task. Princess Esra’s lawyer, Vijay Shankardass of Delhi played a pivotal role in sorting out the complex legal tangle the properties of Nizam were in. Many of them were sealed under different court orders. There were 51 jewellery trusts, around 2,740 claimants (legitimate and illegitimate descendants of the different Nizams) and outstanding 130-odd legal cases. 

Shankardass persuaded all 2,740 claimants—to agree to a settlement of the jewel issue, and gradually to whittle down the exorbitant demands. Shankardass then reached a sale agreement with Government of India as the export and auction of Nizam’s jewels were banned. The government agreed to pay around £40 million, much less than the market value of jewels. Of this, about 43% went to the Nizam. Shankardass also settled with other litigants. Remaining debts of around £3 million were also settled.

Once major legal problems were untangled, Princess Esra zeroed on art historian and the restoration-consultant Martand Singh to supervise the restoration and conservation of Nizam’s properties. Architect Rahul Mehrotra (then Professor of Urban Design and Planning at the Harvard Graduate School of Design in Cambridge, Massachusetts) was roped in and the Indian National Trust for Art and Cultural Heritage (INTACH) also helped. A conservation laboratory and museum store area erected. 

Restoration of such a huge complex was not an easy task. It needed cataloguing, making inventories, and restoring the different collections. A team of architects, designers, art and ceramic consultants, conservators, specialist carpenters, photographers, textile restorers, antique upholsterers, historians and Urdu and Persian scholars were assembled. 

Actual restoration work on the project commenced in the year 2002 and the first phase which included the renovation of Crafts Center and Khilwat Mubarak was completed in December 2004. Much of the financing came from Nizam’s family and family trusts. Though some restoration work is still going on, the palace complex was first opened for public in May 2012. 

It is now open for public viewing on all days except Fridays and national holidays. Princess Esra’s plan is to use the restored complex not only as a museum, but also as a cultural centre for concerts, mushairas and conferences. The painstaking restoration work of the Chowmahalla drew accolades both from art concessionaires and historians. It was honoured with the UNESCO Asia Pacific Merit award for cultural heritage conservation in 2010. 

UNESCO representative Takahiko Makino formally handed over the plaque and certificate to Princess Esra on was presented to on 15 March 2010. The award citation said, ‘‘the rescue of an extraordinary complex from years of abandonment.’’ The complex also received National Tourism Award of India (Best Maintained and Disabled Friendly Monument) in 2017. 

The main gate of Chowmahalla Palace is known as Watch Tower Gate. Only male members of the royal family and male dignitaries were allowed to enter from this gate. There were two other gates, one for ladies (Zanana Darwaja) and another for general people. The main gate is decorated with a historical clock called Khilwat Clock. This mechanical clock displays correct time even after more than 252 years without failing. It is claimed that experts from a family of clock repairers regularly take care of the clock and wind it every week. Locals still use the clock as a standard clock to set time and wait for its chimes to correct their own watches. 

Visitors enter the complex through the Northern courtyard. It has a long corridor of rooms at one side called as Bara Imam. This space was used as administrative wing at the time of Nizams and now houses some shops. The other side of the courtyard is a mirror image of the rooms and is called Shishe-Alat (‘shisha’ means mirror). These were, most probably, used as the living rooms for attendants accompanying royal guests. 

The Southern courtyard is the oldest part of the complex. It consists of the four palaces Mahtab Mahal, Aftab Mahal, Afzal Mahal and Tahniyat Mahal built in the neo-classical style. Aftab Mahal is the grandest of these four. It is a two storied building with a European façade of Corinthian columns and a parapet without pediment. 

The 6th Nizam is believed to have lived in the complex in a building ‘Roshan Bangla’ named after his mother Roshan Begum. He later shifted to Falaknuma Palace. A visit to the Chowmahalla Palace gives one a peek to the glorious past of Hyderabad’s Asaf Jahi dynasty. 

It’s like walking into a period movie—an experience that I would certainly recommend all of my friends. The palace tells three tales. First is of an opulent Nawabi lifestyle of Hyderabad’s rulers that is now no more; second is of greed, abject neglect and gradual demise of our priceless heritage; and the third is and most important one is of an almost impossible restoration project. Chowmahalla, along with Salar Jung Museum, should be on your must see list if you’re visiting Hyderabad.