HISTORY MINOR- QUTUB COMPLEX

(IRON PILLAR, KHILJIS TOMB, KHILJIS MADARSA)

IRON PILLAR
Another indication of the early sultans’ appreciation of an Indic aesthetic is the ancient iron pillar
in the mosque’s courtyard. Since the 1990s scholars have proposed on the basis of a 14th-century
text that Iltutmish was responsible for installing this 6.5- tons iron pillar datable to the 5th
century in front of the central bay of Aibak’s screen. By relocating the pillar to the mosque's
courtyard, Iltutmish linked the mosque to India's pre-Islamic heritage. This act reflected an
appreciation of Indic aesthetics and symbolized continuity and legitimacy in the newly
established Islamic polity. The ancient iron pillar, as indicated by its inscription, holds historical
and cultural significance beyond its physical attributes. Cast during the reign of Chandragupta II
(circa 380–415 CE) of the Gupta dynasty, the pillar was originally erected to commemorate a
military victory. Its height of 7.25 meters and weight of 6.5 tons make it an impressive
metallurgical achievement of the Gupta period, and now stands in the Qutb complex at Mehrauli
in Delhi, India. The Delhi Sultan Iltutmish (r. 1211–1236) relocated the pillar to the Quwwat-ul-
Islam Mosque in Delhi, where it was placed prominently in the mosque’s courtyard. The iron
pillar's composition has intrigued archaeologists and scientists alike, as it demonstrates an
extraordinary resistance to rust despite being made of iron. This feature is particularly
remarkable, and modern scientific studies have revealed that its corrosion resistance is due to its
high phosphorus content, which forms a protective film on the surface. This metallurgical marvel
has captured attention across centuries. Even in the 14th century, the pillar's uniqueness was
recognized. The renowned traveler Ibn Battuta described it as an "awe-inspiring column,"
emphasizing its grandeur and attributing its creation to the use of "seven metals," reflecting a
blend of admiration and mythological interpretation. This enduring fascination highlights the
advanced technological understanding of ancient Indian artisans and the way the pillar's
remarkable properties transcended its original historical and cultural context to inspire awe in
later generations. The origin of the pillar still remains an enigma. It is widely acknowledged that
this remarkable pillar did not originate from Delhi. Delhi was an unlikely location for the iron
pillar in the 5th century, as it held no significant status during that time, making it improbable for
a Gupta ruler like Chandragupta II to install a victory pillar there. The question of who relocated
the pillar to its current position has led to various theories. Proposals suggest it may have been
moved by the Tomar ruler Anangpal, placed in another part of Lalkot before being relocated to
the mosque. Some attribute it to Prithviraj Chauhan, though he likely never entered Delhi. Others
propose Aibak, but no historical records support his involvement. However, a 14th-century
chronicle strongly suggests that Iltutmish was responsible for positioning the pillar in its current
location within the Quwwat-ul-Islam Mosque, reinforcing the theory that it was a deliberate act
of cultural and political significance during his reign. Whatever the historical fact may be, within
a hundred years after his death Iltutmish was remembered for planting this pillar of considerable
antiquity in front of the mosque’s prayer chamber, just as earlier rajas had placed pillars before
temples. In the 14th century, Iltutmish was credited with celebrating political victories in a
manner that continues, not ruptures, Indic tradition.
Khilji’s tomb and madarsa
The Sultan Alauddin Khilji Madarsa, erected in 1315 A.D., is a testament to India's rich Islamic
heritage, its weathered stones whispering secrets of a forgotten age. This isn't just another ancient
edifice. As India's pioneering tomb-madrasa fusion, it showcases a unique blend of form and
function, hinting at Seljuk influences from distant lands. Among only four pre-Mughal madrasas,
it offers a rare window into the intellectual landscape of medieval times. The madrasa was
initially constructed as an irregular rectangular structure, approximately 22 meters long.
However, the northern section is now completely missing, and the exterior facing has likely been
stripped away, probably reused in another building. Originally, all four sides of the madrasa
likely featured a gallery of chambers, which were probably used as teaching rooms, arranged
around an open courtyard. Today, only seven small rooms on the western side remain relatively
well-preserved. The southern side is also in a relatively intact state and contains three chambers.
Here, in chambers designed for scholarly pursuits, countless minds grappled with Islamic
theology's intricacies. The ingenious roofing, where corbeled pendentives dance between walls
and domes, speaks volumes of the architectural prowess of its creators. Yet, the Alauddin Khilji
Madarsa transcends mere brick and mortar. The central chamber, which was once domed,
contains a gravemarker that seems to be a recent restoration. This marker is believed to signify
the tomb of Alauddin Khalji. However, any exterior facings that might have held inscriptions
offering details about the individual buried there are now missing.
Alauddin’s tomb is located inside the madarsa. Even if another important figure, possibly a king,
is buried here, the idea of combining a tomb with a madrasa was already in practice. This can be
seen with the tomb of Nasir al-Din Mahmud, the eldest son of Iltutmish, which is locally known
as Sultan Ghari. Sultan Ghari is considered the first structural tomb in the Delhi region after the
arrival of political Islam. Unlike the ornate structures that would later define Mughal
architecture, Khilji's tomb embraces simplicity. Its walls, once robust and imposing, are now
weathered sentinels, bearing silent witness to seven centuries of history. The dome that once
crowned the central room has long since vanished, leaving the sky as its new. What sets this
tomb apart is its pioneering design. It's believed to be the first tomb-madrasa combination in
India, a concept possibly influenced by Seljuk architecture. This fusion of burial place and center
of learning speaks volumes about Khilji's vision for his legacy, intertwining political power with
intellectual pursuit. The tomb in Ala al-Din’s madrasa is the second Delhi example of what
becomes an Indian tradition of combining two functions in one structure—that is education and
commemoration of the deceased. It also explains the vast number of mausolea, more than
anywhere else in the Islamic world, that were built by rulers and elite patrons throughout the
subcontinent. There were two small chambers connected to the tomb by passages on either side.
Fergusson in his book suggested the existence, to the west of the tomb, of seven rooms, two of
which had domes and windows. The remains of the tomb building suggest that there was an open
courtyard on the south and west sides of the tomb building, and that one room in the north served
as an entrance. The tomb is in a severely deteriorated state, reflecting years of neglect and the
loss of its original grandeur. It is believed that the body of Ala-ud-Din Khalji was transported
from Siri, the capital he established, to this complex and buried in front of a mosque that was
part of the madrasa connected to the tomb. This integration of a tomb, madrasa, and mosque
highlights the multifunctional nature of the site, serving both religious and educational purposes.

Historical records suggest that during the reign of Firoz Shah Tughluq, efforts were made to
restore the complex. Firoz Shah specifically mentioned a mosque within the madrasa, indicating
its significance in the overall design and purpose of the complex.
Alau-d-din's college (madrassa), ” lying immediately to the south west of the mosque, is now ina
very ruinous condition, but it is possible to visualise from a study of its fragmentary remains the
appearance of the structure in the days of its founder. The College is built around 4 simple
quadrangular court entered on the north side through a triple gateway of some size, the centre
bay of which projects somewhat beyond those flanking it.