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From Bega Begum, who commissioned Humayun’s Tomb, to Nur Jahan, whose architectural vision shaped Mughal aesthetics, and Rani Rashmoni, who defied societal norms to build a temple in colonial Bengal — these women were not just patrons, but pioneers. Their designs, inscriptions, and innovations continue to shape India's architectural landscape, yet their names remain absent from mainstream historical narratives.

On this International Women's Day, we tell their story — a reclamation of the legacies of six women whose hands and minds crafted some of India's most enduring landmarks.

When the second Mughal ruler of India, Humayun suffered a fatal accident while descending the stairs of his library in the Purana Quila, his body was entombed in one of Delhi’s most well-known monuments, the eponymous ‘Humayun’s Tomb’.

What is less known, however, is that his mausoleum was commissioned by his first wife Bega Begum also known as Hajji Begum. The tomb was built between 1569-70 and was the first garden tomb in India. It was also one of the first monuments to bring Mughal aesthetics and design to India and served to influence the future of design like that of the Taj Mahal.

The project cost 1.5 million rupees, paid entirely by Bega Begum, as a tribute to her love for her late husband.

The Hindu Navratra temple is located on the eastern bank of the Hooghly River and was built in 1855 by Rani Rashmoni a philanthropist and influential Zamindar.

Rashmoni was the first woman in colonial Bengal to build a Kali temple. Her husband Babu Rajchandra, a Zamidar, died in 1836 leaving her with his property and assets. Rashmoni strove to build a Kali temple with her inherited money — an homage to a deity that has long represented female power. However, when purchasing the land for construction, Rashmoni faced opposition from Vedic Brahmin communities who felt it was unfit for widowed Sudra women to construct a Kali temple.

Despite this Rashmoni was able to purchase the land and build the temple, creating space and setting precedent for women like her to construct, create, and push back against Brahminical patriarchy.

Today, because of Rani Rashmoni, the temple holds value far deeper than its religious significance. It acts as a reminder of the power women can exert to take up space, create, and design.

Built in the 8th century by Queen Lokamahadevi, the temple is a tribute to her husband King Vikramaditya’s victory in battle.

The temple, made of red sandstone, features panels of detailed etching and sculpture each with scenes from daily life, mythology, and religion.

The design of the temple combines Dravidian and Nagara styles of architecture. Notably, the temple also features panels with the names of contributors, from designers to artists to builders. This is a rare historical example of acknowledgment in architecture.

Right opposite Delhi’s Purana Qila lies the Khair-ul-Manazil, which translates to ‘the most auspicious of houses.’ Constructed In 1561, the Mosque is more than just an architectural relic, it is a testament to the influence and design of Maham Anga, one of the most powerful women of the Delhi Sultanate.

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Maham Anga was not just the nurse and caretaker for Akbar, she is regarded by historians as one of the more fiercely ambitious women of the Mughal dynasty and worked as a political advisor for Akbar.

The Mosque serves as a physical reminder of her vision, with an engraving on the entrance that translates to “for women only.” While the Mosque permits both men and women today, the engraving acts as a subtle but powerful mark of Anga’s vision at a time when women’s spaces and roles were often erased from history.

Colloquially known as ‘The Baby Taj’ the monument, was built by Empress Nur Jahan for her father Mirza Ghiyas Beg.

Constructed between 1622 and 1628, the white marble mausoleum features elements of intricate latticing and carving.

The use of white marble marked a departure from red sandstone, a martial most commonly associated with Mughal aesthetics. The design of Itimad-ud-Daulah is often attributed as an inspiration for the Taj Mahal.

Nur Jahan’s legacy is seen in her patronage of the arts as well as in the social and political reforms she initiated. Her husband Emperor Jahangir was often unable to fulfill his duties due to his frequent hunting trips, battle with opioid addiction, and alcoholism. Nur Jahan was effectively left to govern and manage state affairs. In addition to her contributions to design, she passed several royal decrees in her own name and is the only Mughal queen to have coins minted in her name, reflecting her power in design as well as politics.

Located on the banks of the Saraswati River, Rani Ki Vav is a stepwell designed and commissioned by Rani Udaymati as a tribute to her husband King Bhima of the Chaulukya dynasty.

Built in the 11th century, the stepwell functions as an inverted temple, bringing visitors closer to the earth and water.

Rani Ki Vav features over 800 elaborate sculptures and several pillars, each with intricate figurines and engravings of floral, natural, and religious motifs.

Most striking, however, is the depiction of several female figures at the top of each pillar who appear to be collectively holding the roof of the monument on their shoulders.

For centuries, Rani Ki Vav lay buried under silt, obscured by the shifting course of the Saraswati River. It was only in the 1940s that archeologists rediscovered and restored the monument.

Much like the monument itselffcl-777, the contributions of women in design have often been buried, their stories lost to time and systemic neglect. The erasure of the women who have designed, built, and funded these monuments is not an anomaly but a pattern— one that demands both learning and unlearning to dismantle. As we reclaim these histories, it becomes imperative to illuminate those who were left out of the narrative for centuries.