The Diwan-I-Am
journey to the royal palace begins with Diwan-I-Am or the Hall Of Public Audience. This hall was also used for celebrations and public prayers. It has cloisters on three sides of a rectangular courtyard. To the west is a pavilion with the Emperor’s throne. Beautiful jali screen on either sides separated the ladies attending the court.
Diwan-Khana-I-Khaas
To the right is an apparently looking two storeyed building, with corner kiosks, known as diwan-khana-I-khaas or Hall Of Private Audience. On entering it, one finds only a single vaulted chamber. In the centre stands a profusely carved column supporting a collosal-bracketed capital. Four narrow causeways project from the centre and run to each corner of the chamber. It is believed that Akbar’s throne occupied the circular space over the capital and the corners were assigned to the four ministers.
To the left of the Pachisi Board is the Turkish Sultana’s house. The house, as its location at the corner of Anup Talao shows, was a pavilion for repose, attached to the pool. The geometrical pattern on the ceiling is reminiscent of Central Asian carvings in wood.
Daulat Khana-I-Khas
Located in the corner to the left is the emperor’s private chamber. It has two main rooms on the ground floor. One housed Akbar’s library while the larger room was his resting area. On the first floor is the Khwabgah or the bed-chamber. It was connected with the Turkish Sultana’s house, the Panch Mahal, Mariam’s House and the Jodha Bai’s palace by corridors.
Palace of Jodha Bai
To the left of the Sunehra Makan is the largest and the most important building in the royal palace, named after Akbar’s Rajput wife, Jodha Bai. This spacious palace was assured of privacy and security by high walls and a 9 metre guarded gate to the east. The architecture is a blend of styles with Hindu columns and Muslim cupolas.
To the right of Jodha Bai’s palace is Hawa Mahal, the Palace of Winds. This small-screened wind tower faces the garden and is attached to the palace. The garden is laid out in the Char Bagh style with straight walls intersecting at right angles and divided by shallow channels.
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