Shīsh-Mahal: The Palace of Mirrors

A Shīsh-mahal शीशमहल (also pronounced Sīs-mahal सीसमहल) is a magnificent palace or hall adorned with mirrors on all sides, with all the walls and ceilings inlaid with small pieces of mirrors or glass. The term Shīshmahal is derived from Persian, where shīsha means “glass” and maḥal means “palace.” In such structures, the mirrors reflect light in intricate ways, creating a dazzling, sparkling effect. These halls were designed not only to captivate with their beauty but also to enhance the experience of light and reflection, making them truly unique. Notable examples of Shīsh-mahal include the renowned Sheesh Mahal at Amer/Amber Fort in Jaipur (India) and the Sheesh Mahal at Lahore Fort (Pakistan).

Interestingly for a song sequence of the Indian epic film Mughal-e-Azam (1960), a replica of the Sheesh Mahal at Lahore fort was created in Mumbai. This Sheesh Mahal replica was featured in the song Jab Pyar Kiya To Darna Kya (जब प्यार किया तो डरना क्या) of the film.

However, it’s important to clarify that these Shīsh-mahal buildings were not designed with transparency in mind. Unlike modern glass houses, which allow sunlight to flood the interior unhindered, a Shīshmahal was a carefully crafted space where mirrors played a key role in controlling and reflecting light. The use of mirrors was to create an atmosphere of luminosity and grandeur, rather than to admit natural daylight.

In his book The Ganges and the Seine: Scenes on the Banks of Both (1862), British journalist Sidney Laman Blanchard vividly described the Sheesh Mahal of Mughal emperor Akbar, located in Agra. Blanchard recounts the splendor of the palace with great admiration, writing:

“Among the wonders of the place, the Sheesh Mahal, or Palace of Glass, deserves special notice. It is an oriental bath, the several chambers of which, as well as the bath itself, are lined with mirrors—walls and ceiling—everywhere except the floor. The mirrors are small, and when disposed in close order, completely cover the surface upon which they are placed. Being oval and convex, they each reflect the entire object presented to them, which is thus multiplied a thousand times over. It is here that the emperor used to take his bath in the cool evenings, when the water was let in from without, flowing in mimic cascades from the sides of the apartment, over lamps placed in recesses. The effect of the flowing water, the shining mirrors, and the brilliant light is of a beauty beyond all we have seen in dreams, with the practical advantage of being real, and rendering enchantment unnecessary.”

This description paints a picture of an ethereal environment where the shimmering mirrors, along with flowing water and strategic lighting, created an almost magical effect. The Sheesh Mahal was not only a palace of opulence but also a place of sensory wonder, blending architecture, light, and water to craft a space that seemed almost otherworldly in its beauty.

In Hindi and Urdu, the idiom shīsh-mahal kā kuttā (शीशमहल का कुत्ता) translates to “dog of a glass palace.” This expression is used to describe someone who becomes unnecessarily enraged, shouting and screaming at others without any real provocation or reason. The imagery behind the idiom draws upon an allegorical story involving a dog and a shīsh-mahal.

According to the story, a dog accidentally wandered into a shīsh-mahal. Surrounded by mirrors, the dog saw its own reflection repeated countless times across the walls and ceiling. Unaware that the images were merely reflections of itself, the dog interpreted them as hostile adversaries. Feeling threatened, it began barking furiously at the reflections, only to hear the echoes of its own voice resounding back at it. The more the dog barked, the more aggressive the reflections appeared to it, creating a vicious cycle of fear and rage. The dog’s escalating aggression ultimately led it to exhaustion or a violent end.