THE Mughal-era love story of Buwa and Hasan is probably not as well-known as that of Laila-Majnu, Romeo-Juliet and Shirin-Farhad, nevertheless it has lived on in folklore for greater than 350 years. As per folklore, Buwa was the daughter of Mustafa Kalal, a cavalry official primarily based at Kot Kalal (the Jhajjar space in Haryana), in the course of the reign of Mughal emperor Jahangir. A daring and delightful woman, Buwa as soon as went to a jungle on her horse, the place she was attacked by a tiger. Hasan, a courageous and brave youth, occurred to be close by. He saved her life, and the 2 fell in love. Buwa’s household was grateful to Hasan, however when he sought her hand in marriage, her father was reluctant, although he didn’t flip down the proposal immediately. Instead, he obtained Hasan inducted within the military and despatched him to a battle. As destiny would have it, Hasan was killed within the battle.
The love story finds point out within the Rohtak District Gazetteer of 1910, below the subject ‘Antiquities of Jhajjar’. “His (Hasan) body was so heavy that it could not be lifted for burial on the battlefield, but when the bearers turned towards Jhajjar, it was found to be quite light,” the Gazetteer mentions.
Deeply saddened, Buwa obtained a tomb constructed for Hasan Shahid. She didn’t marry anybody, and handed away after a while. “Buwa built the tomb and mausoleum, and died shortly afterwards; she was buried nearby,” states the gazetteer. A pond positioned near Hasan’s tomb is popularly referred to as ‘Buwa wala Talab’; the location brings again the recollections of their everlasting love story.
Tombs and inscriptions
Hasan’s tomb is without doubt one of the many tombs within the necropolis located to the east of Jhajjar city. These tombs fall throughout the time interval of 1579-1636. Researchers say there are practically a dozen tombs, with a lot of them withering away. As of now, the location is below the Archaeological Survey of India.
“The courtyard of Hasan’s tomb has four uninscribed gravestones, two of which are uprooted. Two gravestones have qalamdan carved on them, indicating the deceased were male,” maintains Dr Subhash Parihar, a former Associate Professor of History at Central University of Punjab, Bathinda, who has carried out analysis on Islamic structure and necropolis of the medieval period.
A slab within the central arch of the façade of the mosque (not extant now) had an inscription in Persian, which interprets as follows: “In the time of Jahangir, the king of the world, this light tomb of Hasan Shahid has been made.” The inscription signifies that the tomb was made in 1625.
Bichhua stone or kankar has been used with purple sandstone for the development of the tombs. Inscriptions carved on marble slabs had been mounted within the partitions. Some tombs have cupolas constructed to cowl the graves.
“The combination of light grey bichhua kankar and red sandstone imparts an endearing look and enduring quality to the edifices. The façades of some tombs are beautifully embellished with floral paintings,” observes Ranbir S Phaugat, a cultural historian.
Dr Parihar factors out that every of the surviving tombs has an oblong platform, approached by a flight of steps. The corners of the platforms are sometimes marked with a turret. The western facet of most of those tombs is occupied by a naked mihrab wall (qanati masjid) as seen in Idgahs. Two tombs have mosques on the western facet.
“Another distinctive feature of these tombs is the presence of prominent moulded bosses in the spandrels of arches,” provides the historian.
Unfortunately, the tombs in addition to the Buwa wala Talab are poorly maintained. While the cluster of tombs, together with that of Hasan Shahid, are below the safety of the Archaeological Survey of India, the pond has now turn out to be a part of a close-by park. “The originality of the Buwa wala Talab has been compromised due to its renovation. Ideally, it should have been included in the ASI-protected heritage site comprising the group of tombs so as to conserve it in its original form,” says Rajkishan Nain, a widely known artwork historian of Haryana.