The Shaheed Minar is a 48m tall landmark that has become an enduring symbol of Kolkata’s historical and cultural legacy. Located in Esplanade, central Kolkata, near the northeast edge of the Maidan, it is often referred to as the “Monument” by locals. Its history is a narrative of colonial triumphs, architectural brilliance, and the eventual shift to honoring India’s fight for freedom.
The structure, once famously termed by Mark Twain as the “cloud kissing monument”, was initially erected in 1848 as the Ochterlony Monument, dedicated to Major General Sir David Ochterlony.
By Arthur Devis (circa 1816)
David Ochterlony was born in Boston, Massachusetts, as the eldest son of Captain David Ochterlony (or Ochterloney) and Katherine Tyler. His father hailed from an ancient family in Forfarshire, Scotland, while his mother was born in Boston to settlers of English and Welsh descent. Notably, his mother was the niece of Sir William Pepperrell. David attended the Boston Latin School and Dummer Charity School (now The Governor’s Academy) in Byfield, Massachusetts.
He had two younger brothers, Gilbert and Alexander, and a sister, Catherine. In 1765, Captain Ochterlony died in the West Indies, after which his widow relocated to England and remarried Sir Isaac Heard, Garter King-of-Arms.
In 1777, at the age of 18, Ochterlony embarked on a military career, joining the British East India Company as a cadet in India. By February 1778, he was commissioned as an ensign in the Bengal Native Infantry and was promoted to lieutenant by September of the same year. During the Second Anglo-Mysore War, he was wounded and captured by Haidar Ali’s forces in June 1782, remaining a prisoner until peace was restored in 1784. Upon his return to Calcutta, Ochterlony was appointed Judge Advocate-General in recognition of his service.
Over the years, Ochterlony rose through the military ranks, promoted to captain in 1796 and to major in 1800. In 1803, he was made lieutenant colonel and participated in the Second Anglo-Maratha War, seeing action at Koil, Aligarh, and Delhi. Following the battle of Delhi, he was appointed Resident of the city, and in 1804, he defended it against an attack by Yashwantrao Holkar. His leadership earned high praise, and he subsequently commanded forces at Allahabad and along the Sutlej River to check Sikh expansion. By 1814, he had been promoted to major-general.
Watercolor by an unknown Delhi artist (circa 1820s)
During the Anglo-Nepalese War in 1814, Ochterlony led one of four converging columns and was recognized for his tactical success. He outmaneuvered the Gurkhas and brought the war to a close by securing the Treaty of Sugauli, which shaped British relations with Nepal. In gratitude for his service, he was awarded a Knight Commander of the Bath, becoming the first British officer in India to receive this honor, and was later granted a baronetcy in 1815. In December 1816, he was promoted to Knight Grand Cross of the Order of the Bath. His subsequent appointments included Resident of Rajputana and command during the Pindari War, where he successfully negotiated with Amir Khan and ended the conflict without a major engagement.
In 1822, Ochterlony built what is now known as Ochterlony House in Neemuch, Madhya Pradesh, at a cost of Rs. 50,000, a significant sum for the time. The structure still stands today, serving as the mess of the CRPF Academy. He lived there for three years before returning to Delhi, where he became embroiled in a personal feud with James Tod, likely due to internal power dynamics within the East India Company.
Looking very similar to another white house in Washington D.C.
In 1825, when Durjan Sal revolted against the young Raja of Bharatpur, Ochterlony supported the Raja on his own authority, dispatching a force to aid him. However, Lord Amherst, the Governor-General, repudiated Ochterlony’s actions and ordered the army to withdraw. Disheartened by this lack of trust, Ochterlony resigned and retired to Delhi, where he passed away in July 1825. He was buried at St. John’s Church in Meerut, and the Ochterlony column in Kolkata was erected in his honor.
As British Resident in Delhi, Ochterlony adopted Indo-Persian culture and was reputed to have had thirteen Indian concubines or wives, depending on interpretation. He took them on nightly promenades, each riding her own elephant around the Red Fort. His favorite, Mubarak-ul-Nissa Begum, known as “Generallee Begum,” was the mother of his two youngest daughters. Born in Pune, she was a devout Muslim having converted from Hinduism, and took precedence over Ochterlony’s other wives, without doubt the dominant personality within their relationship.
Her influence led some to quip that making Ochterlony the Commissioner of Delhi was equivalent to making Generallee Begum the ruler. She even developed her own diplomatic relationships, reportedly engaging in exchanges of gifts and honors with Indian ambassadors. Despite her power, she was unpopular with both the British and the Mughals, offending the former by calling herself “Lady Ochterlony” and the latter by adopting the title “Qudsia Begum,” traditionally reserved for the emperor’s mother.
Towards the end of his life, David Ochterlony began work on Mubarak Bagh in Delhi, an exceptional garden tomb located within the Mughal-style garden he had created for Mubarak Begum, his wife. Although the tomb no longer exists, historical images suggest that its design reflected a resolution of Ochterlony’s personal and cultural concerns. The central dome, inspired by James Skinner’s St. James Church in Delhi, was topped with a cross, while the side wings were surrounded by a cluster of small late Mughal minarets. This architectural fusion symbolized a blending of religious traditions, perhaps mirroring the cultural synthesis evident in Ochterlony’s own marriage.
Ochterlony, however, passed away far from Delhi and was laid to rest in Meerut. The unoccupied tomb was likely destroyed during the First War of Indian Independence in 1857, leaving behind only the memory of an extraordinary and largely forgotten chapter in architectural history. This tomb represented the last in a long line of grand Mughal garden tombs—a tradition that reached its zenith with structures like Humayun’s Tomb and the Taj Mahal. Yet, paradoxically, this final example was not commissioned by the last Mughal, but by a British official.
By an unknown Indian artist (circa 1825)
After the First War of Indian Independence in 1857, Mubarak Bagh was sold to an Oudh noble, and later still part of the garden was used as a nursery to raise the trees for planting Lutyens’ New Delhi. In 1944 what remained of the estate was sold to a consortium for residential development. Part of the original garden survived into the 1960s as a Japanese garden, but it fell into neglect over the years.
Although this garden tomb has now been lost, there is still a structure surviving in Delhi associated with Mubarak Begum – the Mubarak Begum Masjid in Hauz Qazi, Old Delhi.
Ochterlony commissioned the mosque in her name to honour her contributions, a rare instance of a non-royal woman sponsoring a religious structure. Constructed with red sandstone and lakhori bricks in 1823, the Mubarak Begum Masjid features a prayer chamber with three domed compartments and three arched entrances beneath each dome. Due to her unpopularity and background as a former dancing girl, the structure became colloquially known as the “Randi ki Masjid” or “Prostitute’s Mosque,” a name that persists to this day. The mosque’s central dome collapsed in July 2020 due to heavy rainfall, and remains under the custody of the Delhi Wakf Board, with the last reported repairs conducted in 2016.
Ochterlony’s legacy remains complex, with his embrace of Indian culture and relationships with his concubines creating a lasting, albeit controversial, memory in both British and Indian history.
The Ochterlony monument’s name changed in 1969 when it was rededicated to the Indian freedom fighters who sacrificed their lives in the struggle for independence. Renamed “Shaheed Minar,” meaning “Martyr’s Tower” in Bengali, it symbolizes a shift from colonial commemoration to honoring the sacrifices of those who fought for India’s freedom.
9 August: 1969
The design of Shaheed Minar is a stunning fusion of Egyptian, Syrian, and Turkish architectural styles. This eclectic blend was conceived by the architect J.P. Parker, who crafted a structure with a unique aesthetic. The base of the tower draws inspiration from Egyptian architecture, characterized by its solid and sturdy form. The column itself exhibits elements of Syrian design, while the dome at the top shows a resemblance to traditional Turkish structures. This amalgamation of styles not only lends the monument a distinctive appearance but also highlights the diverse influences that shaped Kolkata’s colonial-era architecture.
Reaching the top of the Shaheed Minar is a challenging yet rewarding experience, requiring visitors to climb a winding spiral staircase with 218 steps. Those who make the ascent are greeted with a breathtaking panoramic view of Kolkata, offering a bird’s-eye perspective of the city’s urban landscape and the sprawling Maidan below. However, access to the top is restricted, and visitors need to obtain prior permission from the police to climb the monument. This regulation was put in place following a tragic incident in 1997, when a tourist leaped from the lower balcony, leading to safety concerns.
Recognizing the historical and cultural significance of Shaheed Minar, the West Bengal state government initiated a refurbishment project in late 2011 to restore the monument and make it more accessible to the public. The renovation process is being carried out in two phases. Once completed, the monument is expected to open its doors to both local visitors and tourists, allowing them to once again experience the view from the top. Additional plans include setting up stalls near the monument and beautifying the surrounding pathways with flowering plants to enhance the aesthetic appeal of the area.
The open space to the south of Shaheed Minar, known as Shaheed Minar Maidan or Brigade Ground, has played an essential role in Kolkata’s socio-political history. The Maidan has long served as a venue for political gatherings, protests, and rallies, making it a focal point for public expression and activism. The tradition dates back to 1931, when Nobel laureate Rabindranath Tagore led the first significant political meeting here to condemn the British for the assassination of a young man in Hijli. Since then, it has been a stage for numerous political movements, including independence rallies and contemporary demonstrations.
Over the years, Shaheed Minar has become more than just a monument; it is a symbol of Kolkata’s transformation and resilience. From its inception as a colonial commemoration to its present-day status as a tribute to India’s martyrs, the tower embodies the changing tides of history. It stands as a testament to the sacrifices made during the fight for independence, a reminder of the city’s colonial past, and a celebration of its cultural diversity.
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