Syed Ahmad Khan’s 1847 Architectural History and Its Contemporary Relevance
Syed Ahmad Khan’s 1847 book Asar-us-Sanadid is the first modern comprehensive survey of Delhi’s historical architecture, richly illustrated and written in Urdu. It opposed colonial erasure by documenting buildings with their social and cultural contexts, emphasizing the living connection between architecture and people. The work laid a foundation for architectural history in India and remains relevant amid ongoing heritage politics.
Asar-us-Sanadid, published by Sir Syed Ahmad Khan in 1847, marked a pioneering effort in modern architectural history in India. The book provided a detailed survey of more than 130 monuments in Delhi, complemented by over 130 lithographically reproduced illustrations. Produced in Urdu with contributions from artists and scholars, and a preface by poet Mirza Ghalib, the book was accessible to a broad audience, including those illiterate, due to its rich visuals. Syed Ahmad Khan resisted the colonial narrative that viewed Delhi's architecture as relics of a fallen empire by embedding the buildings within their contemporary life, culture, and urban vibrancy, describing not just structures but their uses and the people inhabiting them. He documented the city’s markets, homes, and public spaces alongside the personal histories of residents, thus asserting a living memory and belongingness that countered colonial erasure. This approach contrasted with British historiography, which treated these buildings as decaying remnants to be archived and isolated from social realities. The book became a key resource for civil service examination candidates and architectural historians alike. Despite the passage of time, Syed Ahmad Khan’s method of integrating architecture with culture and community continues to speak to issues in contemporary India, where heritage destruction and state-driven redevelopment often disregard the people’s connection to their built environment. His work remains a testament to the importance of preserving historical architecture as part of a living cultural fabric rather than as static monuments.
