This is by far the most difficult post to write as it took one long month for me to gather information. The place is in ruins and it is very difficult to identify easily. However, referring to my pictures and the content that I studied, we could relate. This building was also called the Jali Mahal on account of some screens of trellis work which were visible in the early 19th century. Unfortunately, you cannot find trace of them today. The Archeological Department of Hyderabad conducted extensive excavations then and it has disclosed not only the plan of the building but also the architectural and decorative features. Most of the decorative stuff has been removed and stored in museums.
This building is situated to the west of the Zanana enclosure and is approached by a road which proceeds from the former. The outer wall of the Diwani-i-Am is preserved up to a considerable height on the southern side but it raises only to a few feet on the other three sides. It has two entrances to east and west but they do not face each other. The earlier excavations have exposed the original pavement of the eastern entrance, but the masonry of its outer and inner gateways, which must have comprised large blocks of carved stones, has all disappeared.
Passing through the entrance, we approach the court of the building which measures 166×133 feet in dimensions. The latter is divided into two parts. The principal hall of the building, which was probably used for public audiences is on the southern side and is approached by five steps from the pavement. The hall is divided into three apartments by rows of pillars, six in each row. The total length of the hall is 109 feet. These pillars of the hall were probably of wood, and they have all perished. The stone pedestals on which the wooden shafts rested are, however intact. The walls of the hall were originally decorated with panels of tile-work, some of them which have survived and currently being restored in museums. The colors of these tiles faded, for the tiles have reminded buried in debris for a number of years. It is said that two of these tiles were moved to a mosque in Bidar initially and later to a museum in Britain.
One of the panels had a calligraphic text in the form of Swastika containing the name of “Ali”, the son in law of Prophet Mohammed, repeated four times in the Kufic script. These tiles were probably made by Persian craftsmen, for artists and technicians of the latter country were much patronized by the Bahmanis. The ceiling of the hall may again have been of wood. In the hall was placed the Takth-i-Firoza, Turquoise throne. At the back of the hall remains of a room may be noticed, the middle one may have been for the King. The floor had mosaic design comprising geometrical patterns such as hexagons and stars. There are two more rooms behind the King’s chamber, probably belonging to the ministers. The remains of walls in the south indicate an upper storey which had an arched screen built along its sides.
We now visit the Takth Mahal or the Royal Palace.