Kashmir’s lesser-known architectural jewel, the Khanqah Khwaja Masood Pampori
Pampore is a small yet historically significant town in Pulwama district of Jammu and Kashmir. Just a few kilometres southeast of Srinagar, it lies along the banks of the Jhelum river. The town’s unique location on the Karewa lands — ancient elevated plateaus formed by lacustrine deposits — gives Pampore its distinct topography. These Karewas, rich with fertile and clayey soil, have long made the area ideal for agriculture, especially the cultivation of saffron. October is when the saffron flowers bloom, transforming Pampore into a breathtaking canvas of purple fields, set against the backdrop of towering mountains. The sight is nothing short of magical.
As one strolls through its now-congested streets, glimpses of its historic past can still be seen in the winding alleys. Although fewer in number, traditional houses remind of an architecturally rich bygone era. More than a decade back, the Indian National Trust for Art and Cultural Heritage (INTACH) identified more than 60 heritage properties in Pampore. Since then, much has changed and like many other towns in Kashmir, it has experienced rapid urbanisation, significantly altering its built environment.
Amid this fast-changing landscape, one place has managed to retain its spirit and integrity — the khanqah of Khwaja Masood Pampori. This monumental building, dedicated to a revered 16th-century Sufi saint, Khwaja Masood Pampori, stands as a proud symbol of spiritual and cultural continuity in the town. Born around 1551 into a wealthy merchant family in Pampore, Khwaja Masood chose a path of asceticism at the height of his career. Renouncing his material wealth, he dedicated his life to helping the poor and spreading the teachings of Sufi philosophy. He became a disciple of two prominent Sufi saints of his time, Khwaja Dawood Khaki and Baba Hardi Reshi.
The early origins of the khanqah, also known as Khanqah-e-Aaliya Masoodia, are believed to have been established by the saint himself. By the 18th century, it had been expanded by his followers and descendants, growing into the valued spiritual site it is today, despite the urban changes around it.
The uniqueness of Khanqah Khwaja Masood Pampori, as also similar khanqahs of Kashmir, lies in its construction. These khanqahs are built almost entirely from wooden blocks, as an alternative to bricks. Akin to building with Lego blocks, these wooden blocks (50 to 100 mm in a section) are laid in alternating rows of headers and stretchers. At the angles where two walls meet, a ‘cribbage corner’ is formed, adding extra strength to the construction. This traditional building method is technically known as ‘cator and cribbage’, and is used to produce robust structures, particularly applied to more voluminous builds.
The spaces between the timber layers are filled with materials like sun-dried clay or burnt bricks, or even stone. This method not only makes buildings stronger, but also highlights the exceptionally skilled craftsmanship of the region.
The use of wood as the primary building material is not merely an aesthetic preference, it reflects the region’s response to its environment. Kashmir and neighbouring Himalayan, Hindu Kush and Karakoram regions are prone to major seismic activity, and wood offers a flexible and resilient building material. Furthermore, the abundant forests historically provided an accessible and sustainable source of high-quality, mainly deodar, timber, making wood the natural choice for construction.
The Khanqah Khwaja Masood Pampori exudes not only a rare spiritual calm, but also an awe-inspiring aura. The building’s primary entrance on the eastern side provides access to a square double-height chamber measuring 50ft x 50ft. A narrow U-shaped mezzanine gallery overlooks the main hall at the lower level. The main prayer hall’s ceiling is supported by four apparently circular wooden columns, recently encased in 10-sided (decagon) wooden cladding as part of renovations, which also included wooden panelling of walls and ceiling.
Preceding the hall is a portico (dalan) on the ground floor. The first floor comprises a single large hall with four equally-spaced wooden columns supporting the ceiling and roof system. The building is surmounted by a traditional two-tiered char-baam roof, culminating in an octagonal brangh (pavilion) adorned with a decorative spire.
Prominent ornamental features, internally and externally, include pinjrakari latticework, intricately carved eaves boards, pendants, decorative wooden columns and brackets, ornate ceilings, and a meticulously carved main entrance door.
The timber used is enormous, both in size and quantity. Each column — supporting the soaring ceiling — is almost the size of a single medium-height cedar tree. Pampore has traditionally been an agricultural region with no nearby forests. Locally, it is believed that the timber was transported from the forests of Kupwara, against the natural northward flow of the Jhelum. The river, which historically served as the main source of transportation for both men and material, carried the timber and deposited it along its banks, some distance from the construction site. The challenge was transporting the huge wooden logs from the source to the site. It is said that one day, heavy rain caused the Jhelum to flood, miraculously causing the floodwaters to carry the logs all the way to the site.
Khanqah Masood Pampori is deeply revered by the local community, reflecting the significant role khanqahs play in the Sufi spiritual tradition of Kashmir. In the towns and cities where they are located, khanqahs have often served as centres of urban growth and activity. In Kashmir, these are not only religious anchors, but also vital communal spaces for social interaction, embodying the region’s blended yet relatively conservative culture. Architecturally, socially, artistically and structurally, these khanqahs hold immense value, yet are among the last remaining examples of their kind. Over time, they have undergone numerous changes and alterations. With rapid urbanisation and dwindling forest reserves, these structures are becoming increasingly endangered.
— The writer is Principal Conservation Architect, INTACH, J&K
