Abdur Rahim Khan-I-Khanan was the son of Bairam Khan. Upon his birth, Maulana Fariduddin Dehlavi, the learned associate of Bairam Khan, composed a chronogram line indicating the year of his birth: “The pearl from the river of good fortune has come forth.”

Abdur Rahim Khan-I-Khanan was the son of Bairam Khan. Upon his birth, Maulana Fariduddin Dehlavi, the learned associate of Bairam Khan, composed a chronogram line indicating the year of his birth: “The pearl from the river of good fortune has come forth.”

Raised in the pluralistic environment of Emperor Akbar’s court, Abdur Rahim developed a refined taste and sensibility for poetry in different languages. He eventually became a versatile poet, prolific writer, consummate scholar, and able administrator.

It was his Hindavi verses that gained popularity among both the elites and the general populace since their composition in the 16th century, earning him legendary status.

This monumental mausoleum, inspired by Humayun’s Tomb, was built by Rahim on the banks of the river Yamuna and in proximity to the Dargah of Hazrat Nizamuddin Auliya. Thus, Rahim’s mausoleum stands within a significant archaeological zone.

This monumental mausoleum, inspired by Humayun’s Tomb, was built by Rahim on the banks of the river Yamuna and in proximity to the Dargah of Hazrat Nizamuddin Auliya. Thus, Rahim’s mausoleum stands within a significant archaeological zone.

Despite the historical, architectural, and archaeological significance of the structure, it was found in a ruinous condition with a risk of collapse.

From the center of the southern, river-facing façade, a vaulted passage leads to the crypt chamber, with a circumambulatory path around the grave platform. Above this stands the lofty tomb chamber roofed by a double dome. The lofty sandstone terrace is adorned with water tanks and channels.

Stone medallions of numerous designs, incised plaster patterns—including the sacred Swastika—and floral motifs on the wall surfaces adorn the structure.

Though built on a grand scale, with quartzite stone masonry walls clad with sandstone and marble, the mausoleum had some structurally weak elements. Possibly by the 18th century, stone cladding fell away in parts.

Though built on a grand scale, with quartzite stone masonry walls clad with sandstone and marble, the mausoleum had some structurally weak elements. Possibly by the 18th century, stone cladding fell away in parts.

To ensure structural stability of standing portions, the stone was required to be restored to the base of the dome and to the façade where evidence of design had survived. Anastylosis of two canopies was possible with stone elements found at site. The sandstone terrace together with the sandstone parapet has now been restored, as has the building’s plinth to its original levels and material—thus stabilizing the exposed foundations.

1. Dome

The tomb is crowned with a double dome, where the outer dome would have originally been clad with marble, serving as a protective layer for the underlying masonry.

Following a detailed assessment and studies by a structural engineer and the ASI-AKTC committee, conservation works were undertaken, which included re-plastering. A symbolic addition of marble has been restored to the dome as an indication of the original builder’s intention.

2. Canopies

The four corners of the roof have large octagonal canopies that stand on a raised platform. Layers of cement plaster and concrete had disfigured their original profiles and significant decorative elements.

These cement layers have been carefully removed and replaced with traditional lime mortar, and missing decorative elements have been restored where evidence was found.

3. Main Façade

A combination of poor construction, neglect, and vandalism in the 20th century seems to have led to significant deterioration and the loss of large portions of stone from Rahim’s Tomb.

Conservation measures have combined traditional knowledge with scientific analysis to restore the façade.

4. Principal Chamber of the Mausoleum

Built directly above the burial chamber on the ground floor, the principal hall would have had two cenotaphs— one for Rahim and another for his wife, for whom the mausoleum was constructed.

Careful cleaning of this chamber revealed intricate patterns. Where patterns were disfigured by cement-surkhi plaster, they have been carefully restored.

To render dignity to the burial space and the personage buried here, a simple cenotaph has been constructed in lieu of the missing original cenotaphs.

5. Ancillary Chambers

On the four corners of the principal tomb chamber stand the domed ancillary chambers, profusely decorated using incised plasterwork.

Cement-based repairs have been carefully replaced with traditional lime mortar, and wherever original decorative patterns could be deciphered, they have been restored.

6. Upper Plinth

The vast terrace at this level would have originally overlooked the river on the south, with fountains and water tanks overlooking the gardens. A large foliated tank in the north still exists, with smaller rectangular and octagonal tanks on the other sides.

Red sandstone flooring has been restored to the terrace, and a sandstone parapet provided all around as an important safety measure.

7. Structural Stabilization

The center of the southern arcade leads to the domed grave chamber, supported on columns with a circumambulatory passage around it.

Structural analysis was followed by emergency stabilization using traditional quartzite masonry repairs carried out in a systematic manner. The corners of the lower arcade were also strengthened using Delhi quartzite stone pillars as per original details.

8. Lower Arcade

Three deep chambers corresponding to the location of the crypts and the corner chambers of the lower arcade are decorated with incised plasterwork. All chambers feature unique decorative patterns.

The spandrels of the arches are adorned with circular medallions, each unique in design, including inscriptions, geometric and floral patterns, and even peacocks.

Traditional lime-based repairs were carried out by master craftsmen, restoring decorative plasterwork where evidence of original patterns was found.