Written by: Haroon Shuaib
Posted on: January 05, 2023 | 
| 中文
Intricate and colorful designs of doors and windows at the Umar Hayat Mahal (Picture credits to Dawn)
Nestled in the heart of Chiniot, a town in the Punjab province of Pakistan, Umar Hayat Palace stands as a testament of the architectural brilliance of a bygone era. A magical marvel of magnificence, this enchanting palace, also known as Gulzar Mahal, is a masterpiece seamlessly blending Islamic, Persian, Gothic and Victorian architectural styles.
According to some accounts, the city of Chiniot was founded on the banks of River Chenab by an ancient king's daughter named Chandan. She was so enamored by the surrounding area during a hunting expedition that she ordered the establishment of a settlement on the river bank, and named it ‘Chandaniot’. Today Umar Hayat Palace sits like a jewel in the crown of the old city zone of Chiniot. The town is famous from ancient times for its skillful woodcarvers. The early 20th century witnessed a confluence of various cultural and architectural influences due to the British colonial presence in the Indian subcontinent. Chiniot, being a significant economic and cultural hub, became a canvas for experimentation in architectural styles. In fact, so competent have been its artisans that during the Mughal era, master craftsmen from Chiniot were employed for the decoration of the world-famous Taj Mahal and Lahore's Wazir Khan Mosque. That legacy continues to this day, and Chinioti furniture remains famous for its mastery and detailing.
Intricately designed doors
An heir apparent of a well-to-do merchant family, Sheikh Umar Hayat Khan, migrated from Chiniot to Calcutta in the late 19th century, after being ostracized for marrying against his family's wishes. A scion of a family of timber merchants, Sheikh Umar soon expanded his family’s fortunes. After the birth of his first son, Gulzar in 1920, Sheikh Umar decided to construct a magnificent palace in his home town that would feature the best of Chiniot's craftsmanship and prized ornamentation techniques from far and wide.
The balconies, also known as jharokhas
The building that eventually took form, showcases a rich kaleidoscope of cultural and historical heritage of various regions of the subcontinent and beyond, a carefully curated reflection of the taste and resourcefulness of its original owner. With clear influences from lands as far as China, Eurasia and the Middle East.
Construction of the 4000 square feet residential mansion started in 1923, and was completed by 1935. Sheikh Umar Hayat sought to create a residence that would reflect his affluence and cultural sophistication. A master craftsman from Chiniot, Syed Hassan Shah, was assigned the task of palace's construction. Artisans such as Ustad Elahi Baksh Barcha, Raheem Baksh Barcha, Mistry Fazal Din, Mistry Ahmed Din, Niaz Ahmed Jalandhari, Ghulam Ali Jalandhari and master calligraphers Jan Mohammad and Ghulam Mohiuddin were recruited. Chiniot's best artisans, as well as those collected from different places, continued working day and night for 10 years. The mansion was completed at a cost of 200,000 rupees, an enormous amount for those times.
The plaque with names of the artisans involved in the construction of the Palace
Sheikh Umar Hayat passed away in Calcutta before he could return to Chinot. His only son, Gulzar, who eventually returned to his ancestral town, was married in the mansion in an extravagant ceremony in 1937. Gulzar was found dead in the palace the very next day of his marriage, possibly as a result of inhaling poison from the large volumes of coal that had been burnt for the celebration of his marriage. He was buried in the courtyard of the ground floor of the palace, alongside the grave of his mother, who later passed away while mourning her young son’s untimely death.
The graves
Soon after this, Sheikh Umar's family abandoned the mansion, associating it with bad luck. Servants continued living for a couple of years, though no family members laid claim to the building. In 1940, a school was established in the building. Subsequently, an orphanage was established in 1948 by Sheikh Muhammad Amin, though it was shifted in 1950, leaving the building abandoned once again. Local scavengers dismantled some of the mansion's decorative elements and sold them to collectors in other cities. Two levels of the mansion were removed in the 1970s because it became dangerous through sheer neglect, while another level had to be abandoned following severe rains in 1993. The building was brought under government control in 1989, with large portions repaired by the mid-1990s with funds raised by the local community. The mansion is now used as a cultural center and library.
Newspapers in the library
The exterior of the palace leads to a small pleasant public park that originally used to open directly onto a narrow alley. The front façade made of red bricks is adorned with intricate woodwork, vibrant tile mosaics, marble details and ornate balconies, creating a visually stunning elevation. The main entrance is a grand gateway adorned with intricate carvings and a soaring arch, reminiscent of Mughal darwazas (gates). Use of geometric patterns and floral motifs further enrich the visual appeal of the exterior.
A preserved doorway at the Palace
The arches and bulbous domes throughout the palace give the edifice an overall Islamic character despite many foreign influences, and are adorned with meticulous detailing reflecting an aesthetic that was in vogue during the construction period. The central courtyard is a masterpiece in itself, designed to serve as the focal point of the entire structure. Surrounded by a series of intricately carved wooden balconies and galleries, the courtyard features a stunning marble fountain at its center. One can only wonder at the spell binding effect that the trickling water must have had on visitors during the building’s heyday.
Symmetrical layout, high ceilings and use of ornate ironwork adorn each smaller room opening directly into the courtyard. The palace features a stunning combination of domes, turrets and balconies. The integration of diverse architectural elements results in a harmonious and visually striking composition. The palace's skyline is dominated by several domes of varying sizes, each intricately designed with a combination of concentric circles and geometric patterns. The play of light and shadow on these domes throughout the day, adds a dynamic quality to the structure. Turrets and minarets rise from different corners, giving the palace a fairy-tale-like silhouette against the skyline of Chiniot. The walls are made from a mixture of urad dal, rice husk, and limestone, adorned with frescoes depicting scenes from Mughal history and mythology. A distinct feature in rooms are the highly ornamental ceilings, each in a unique color and intricately woven geometric designs set with lacquer, relief work, burnt wood paintings and mirrors.
A highlight of the interior is the Durbar Hall, where Umar Hayat used to hold gatherings and meetings. The hall is adorned with a large chandelier hanging from a domed ceiling, casting a soft glow on the intricate carpeting and regal seating arrangements. The fusion of Mughal arches and Victorian stained-glass window and doors with regal furniture, creates a space that is both culturally rich and aesthetically pleasing. Another remarkable feature of the palace is the Sheesh Mahal or the Hall of Mirrors, where the walls are adorned with tiny pieces of mirror that reflect light in a dazzling display. The mirrors, combined with the intricate frescoes and woodwork, create an otherworldly atmosphere. Elaborate wooden furniture, including intricately carved chairs, tables and cabinets, are strategically placed throughout the palace and are often adorned with brass and copper inlays, adding a touch of elegance to the overall design.
The seating room
While serving as a residence, Umar Hayat Palace also served to accommodate the social and cultural activities throughout the past. The spacious halls and courtyards were suitable for hosting elaborate gatherings, reflecting the cultural practices of hospitality and socializing prevalent in the region. The palace's layout also reflects the hierarchical structure of society, with designated spaces for public and private interactions.
Over the years, Umar Hayat Palace has faced the ravages of time, neglect and natural disasters. However, concerted efforts have been made to preserve this architectural gem. Restoration projects, supported by local authorities and heritage conservation organizations, have been initiated to ensure that the palace retains its original charm for future generations.
Front door of the Palace
In recent years, Umar Hayat Palace has undergone significant conservation efforts to preserve its architectural heritage. The delicate woodwork, intricate frescoes and the overall structural integrity of the palace have been carefully restored to ensure that future generations can continue to marvel at its beauty. Local and international organizations have collaborated to raise awareness about the historical significance of Umar Hayat Palace and secure funding for it.
The significance of Umar Hayat Palace extends beyond its architectural splendor. The building continues to serves as a cultural touchstone, connecting contemporary Chiniot to its historical roots and a popular tourist attraction. No trip to Chiniot is complete without a stopover at the Umar Hayat Palace and a visit to this heritage site.
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