History of Architecture - III - by Shanmuga Sir

History of Architecture - III - 15ARC 3.
HISTORY OF ARCHITECTURE - III
Syllabus
OBJECTIVE: To provide an introduction to the culture and architecture of Islamic and

Colonial periods in India and to provide an understanding of their evolution in various
stylistic modes, characterized by technology, ornamentation, and planning practices.
OUTLINE
MODULE 1
1. Islamic Architecture – Early phase; It’s emergence in 11th century AD in India. General characteristics
of Indian Islamic Style.
2. Early Phase –I :– Slave and Khilji phase – a) Monumental : Quawat.Ul.Islam, mosque and tomb of
Iltumish , Qutb Minar , Alai Minar. b) Civic space: Enlargement of Quwaat Ul Islam Complex and Alai
Darwaza.
3. Early Phase –II :- Tugluq , Sayyid & Lodi dynasties. – Architectural charactera) Monumental arch :
Tomb of Ghia – Suddin Tugluq, Tomb of Firoz shah Tugluq, Shish Gumbad & Mubarak shah Sayyid’s
tomb. b) Civic Space : Khirkhi masjid Delhi, Firoz Shah kotla – public and private space, madrassa design
with Firoz shah’s tomb.
MODULE 2
4. Provincial style – I – Jaunpur and Bengal – Architectural character a) Monumental arch : Atala and
Jami masjid Bengal – Adina masjid Pandua, Ek Lakhi Tomb b) Civic Space : Elements like entrance pylon
: Jaunpur, Dakhil – Darwaza at Gaur, space within & outside of examples like Gunmount or Badasona
Masjid.
5. Provincial style – II – Ahmedabad and Bijapur – Architectural characteristicsa)Monumental

arch:Ahmedabad, Vavs of Gujarat: Bijapur- Golgumbaz, Ibrahim Rauza, Jami masjid. B)Civic space:
Ahmedabad-Sarkhej complex, Teen darwaza. Bijapur-Ibrahim Rauza, Bauli (Water tank). c) Domestic
architecture.
MODULE 3
6. Provincial style – III- Bidar and Gulbarga-General Character. a)Monumental: Bidar- Jami masjid.
Gulbarga-Jami masjid. B) Civic space: Treatment of space within mosque and enclosed space for
gathering at both places. c) domestic: Bidar-Madrassa of Mond, Gawan
7. Moghul Architecture-I –Architectural Character. a)Monumental arch: Humayun’s tomb, Fatehpursikri

layout, Jami masjid, Diwan-I-khas, Tomb of Salim chisti. B)Civic space- Buland darwaza, Garden(Humayun’s
tomb). c)Domestic- Fatehpursikri, Birbal’s house, Jodhabai’s palace.
Shanmuga Prasad M KSSA (1)

History of Architecture - III - 15ARC 3.4
MODULE 4
8. Mughal Architecture-II - Monumental arch: Akbar’s tomb, Taj mahal, Itmaud Daula b)Civic space:
Mughal Gardens, Diwan-I-am, Red Fort, Meena bazaar, Red Fort, Guesthouse (Taj mahal complex) c)
Domestic: Public elements like ‘Serai’- traveler’s shelters, Nobles’ houses etc.
9. Colonial Architecture-I – Early phase-Establishment of forts, warehouses etc- Building typologies and
general architectural character of Colonial Indian Architecture.
MODULE 5
10. Colonial Architecture-II – Study of Examples a)Monumental- Governor’s house, Calcutta, Town hall,
Victoria Terminus(Chhatrapati Shivaji Station) Mumbai, Madras Club, Pacchiappa College Chennai, Mayo
Hall, Museum, Central College Bangalore. Deputy Commissioner’s Office, Palace, Mysore, Examples
from Hubli and Dharwad, Karnataka. b)Civic spaces: Parade Ground ,MG Road, Bangalore, Civic spaces
around Mysore Palace c) Domestic Bungalows from Calcutta, Chennai, Bangalore and Mysore Railway
Stations, Administrative Buildings etc
11. Colonial Architecture-III – a) Design of New Capital of Delhi- Contributions of Edward Lutyens, Herbert
Baker(Rashtrapati Bhavan), Layout of New Delhi, Parliament House, North Block and South Block at
Rashtrapathi Bhavan. B) Monumental: Civic space-Rajpath, Janpath, India Gate etc.
12. Colonial Architecture-IV – Examples from Goa-Se Cathedral, Cathedral of Bom Jesus (Monumental
Architecture). Architecture from Pondicherry-Indian and French Quarters(Domestic Architecture). Brief
summ ry of Dutch and Danish settlements.
NOTE: The following are for progressive marks

1) A Portfolio containing analysis of spaces, functions, and forms (Individual submission).
2) Group studies through Photographic documentation of local/ regional examples or study models of the
examples
REFERENCES:
1) Tadgel, C. History of Architecture in India, Phaidon Press, 1990
2) Brown, Percy. Indian Architecture, Islamic Period, Taraporavala and sons, 1987.
(2) KSSA Shanmuga Prasad M

List of Monuments Mahmud Gawan Madrasa, Bidar............................60
QUTUB COMPLEX................................................20 MUGHUL ARCHITECTURE...................................61
QUWWAT-UL-ISLAM (Might of Islam)....................22 MOGHUL CONCEPTS IN ARCHITECTURE.........61
QUTUB MINAR.......................................................24 HUMAYUN TOMB, DELHI......................................63
TOMB OF ILTUTMISH...........................................25 FATEHPURSIKRI:..................................................65
IRON PILLAR..........................................................27 BULAND DARWAZA:..............................................67
IQUWWAT-UL-ISLAM MOSQUE : EXTENSION BY JAMI MASJID, Fatephur Sikri.................................68

ALA-UD-DIN-KHILJI...............................................27
Diwan-i-Khas Fatehpur Sikri...................................69
ALAI DARWAZA.....................................................28
TOMB OF SALIM CHISTI:......................................71
Alai Minar................................................................29
Jodha Bai Palace...................................................72
TOMB OF GHIYAS-UD-DIN TUGHLAQ.................29
Birbals’ House........................................................73
KHIRKI MASJID......................................................31
AKBAR’s TOMB.....................................................74
TOMB OF FEROZ SHAH TUGHLAQ.....................33
TAJMAHAL, Agra...................................................75
LODI GARDENS.....................................................34
Taj Mahal Gardens.................................................79
TOMB OF MUBARAK SHAH SAYYID....................35
RED FORT, New Delhi.............................................83
TOMB OF MUHAMMAD SHAH SAYYID..................36
MUGHUL GARDENS.............................................86
SHISH GUMBAD....................................................37
Meena Bazaar or Mina Bazaar................................87
Sikandar Lodi’s Tomb:...........................................38
ST. PAUL’S CATHEDRAL, CALCUTTA....................89
ATALA MASJID, JAUNPUR....................................40
Raj Bhavan - Governor’s house.............................90
JAMI MASJID, JAUNPUR......................................42
Kolkata Town Hall...................................................91
JAMI MASJID, AHMEDABAD.................................43
Victoria Terminus(Chhatrapati Shivaji Station)
ADINA MASJID, PANDUA:.....................................46 Mumbai..................................................................92
EKLAKHI TOMB, PANDUA.....................................48 Mayo Hall (Bangalore)............................................93
DAKHIL DARWAZA, GAUR....................................49 Mysore Palace, Mysore...........................................94
JAMI MASJID, BIJAPUR........................................50 NEW DELHI............................................................96
IBRAHIM RAUZA, BIJAPUR..................................52 Design of New Capital of Delhi- Contributions of

Edward Lutyens......................................................96
GOL GUMBAZ, BIJAPUR.......................................54
The Rashtrapati Bhawan.........................................98
JAMA MASJID - GULBARGA.................................58
The Parliament House............................................99
BIDAR FORT..........................................................59
INDIA GATE, NEW DELHI....................................100
Shanmuga Prasad M
KSSA
Figure 1 Indo islamic sketch by Unda
Ramumar
Islamic Architecture
Islamic architecture is the entire range of architecture that has evolved
from Islam as a social, cultural, political and religious phenomenon.
Hence the term encompasses religious buildings as well as secular ones,

historic as well as modern expressions, and the production of all places
that have come under the varying levels of Islamic influence.
Islamic architecture can be influenced by -chronology-geography-building

typology
How did Islamic Architecture begin?

By following the tradition of the Prophet, i.e. building a mosque when they
start to occupy a new settlement.
Transformation of buildings used by the people before the Muslims took

over the state / country, for e.g. Hagia Sophia in Istanbul, Turkey
Interpretation of Islamic style

•The concept of Allah’s infinite power is evoked by design with repetitive
theme which suggests infinity
•Figurative forms are rarely depicted in decorative art as Allah’s work is

matchless. Foliage is a frequent motif but typically stylized or simplified
•The use of calligraphy is actually means of education and reminder as

they are taken from the verses of al-Quran
•It has been called the ‘architecture of the veil’ because the beauty lies in
the inner spaces which are not visible from the outside.
•Use of impressive forms such as large domes, towering minarets and

large courtyard has both symbolic meaning and scientific purposes
(3)
Influences in Islamic Architecture

Basically, these are the famous styles that has influenced the Islamic
architecture
•Moorish architecture
•Timurid architecture
•Ottoman architecture
•Mughal architecture
•Indo Islamic architecture

Figure 2 Example from Moorish Architec-
ture In Asia and South East Asia, Islamic architecture blend into the regional
architecture because the influence of previous religions or culture was
stronger
Figure 3 Historical Timeline of Islam rule across globe

The Invasion !
Historians say that the actual founder of the Muslim Empire in India was
Muiz-ud-din Muhammad bin Sam, also known as Muhammad of Ghur,
Muhammad Ghori or Shihabud Din Muhammad Ghori. Though, it was
the Muslim invader Muhammad bin Qasim, who invaded India for the
first time, followed by Mahmud of Ghazni, both of them could not create
a Muslim empire in India in a true sense. It was Muhammad Ghori who
was successful in establishing a secured and powerful Muslim kingdom in
India, after a series of invasions. He was the true founder of the Muslim
rule in India.
The reasons that led to the invasions

Muhammad Ghori was an ambitious leader. He was the younger brother
of the ruler of Gaur, Ghais-ud-Din, who handed the responsibility to Ghori
to rule over Ghazni in 1173 AD. But Ghori, being a very ambitious ruler,
was not satisfied with only Ghazni and wanted to expand his empire to get
hold of more power and control and wanted to conquer India. He was well
aware of India’s political, religious, social, and military weaknesses and
also the enormous wealth and gold that India had. He wanted to attain
more power and more wealth. He also had the desire to spread Islam in
India by conquering the Hindus of the country. Thus, for all these reasons,
he carried out a number of invasions to take over India.
The Battle of Tarain (1191-1192)

Realising their grave situation, the Hindu princes of north India formed a
confederacy under the command of Prithiviraj Chauhan. Prithviraj rose
to the occasion, and defeated Ghori in the battle of Tarain near Delhi
in 1191 A.D. Muhammad Ghori felt greatly humiliated by this defeat. To
avenge this defeat he made serious preparations and gathered an army
of 1,20,000 men. He came with this large force to Lahore via Peshawar
and Multan. He sent a message to Prithviraj asking him to acknowledge
his supremacy and become a Muslim. Prithviraj rejected this proposal
and prepared to meet the invader. He gathered a large force consisting of
3,00,000 horses, 3000 elephants and a large body of foot soldiers. Many
Hindu rajas and chieftains also joined him. In the ensuing Second Battle of
Tarain in 1192, Muhammad Ghori thoroughly routed the army of Prithiviraj,
who was captured and killed.
The second battle of Tarain was a decisive battle. It was a major disaster
for the Rajputs. Their political prestige suffered a serious setback. The
whole Chauhan kingdom now lay at the feet of the invader. The first
Muslim kingdom was thus firmly established in India at Ajmer and a new
era in the history of India began. After his brilliant victory over Prithiviraj
at Tarain, Muhammad Ghori returned to Ghazni leaving behind his
favourite general Qutb-uddin Aibak to make further conquests in India.
Aibak consolidated his position in India by occupying places like Delhi
and Meerut. In 1193 he prepared the ground for another invasion by

Muhammad Ghori. This invasion was directed against the Gahadavala

ruler Jayachandra. Muhammad routed Jayachandra’s forces. Kanauj was
occupied by the Muslims after the battle of Chandawar. The Battles of
Qutub-ud-din Aibak – Slave Dynasty is the Tarain and Chandawar contributed to the establishment of Turkish rule in
foundation for Muslim invaders in India India.
Followed by
Khilji Dynasty (1290-1320 AD)
Tughluq (1320-1431 AD)
Sayyid (1414-1444 AD) Islamic Architecture features
Lodi (1451-1557 AD)
Mughul dynasty (1526-1707 AD) • Islamic Architecture reveals a great deal about a culture, and
In Deccan Bahamani Kingdom which also about periods in history. To appreciate Islamic architecture,
broke into it is important to understand that Islam forbids the depiction of
Berar (Under Imad Shahi)
animals and humans because early Muslim leaders wanted to
Bidar (under Barid Shahi) prevent animal worship.
Golkonda (under Qutb Shahi)
Bijapur (under Adil Shahi) • As a result, Islamic artists used intricate calligraphy (usually of
Ahmadnagar (under Nizam Shahi)
passages from the Qu’ran), geometric and abstract designs, and
floral patterns to decorate their works.
• In Muslim architectural design, the phrase “architecture of the

veil” means that the private courtyards at the center of houses
and mosques (churches) are kept secret. They cannot be seen
from the street, and the exterior (or façade) of the building does
not reveal the structure’s size, shape, or function.
• The concept of “weightlessness” is also important in Islamic

religious architecture. Walls with openings in them and very high
ceilings are used to make a building seem “lighter” than it actually
is.
Elements of Islamic Architecture
Minarets or Towers
Originally used as torch-lit watch towers
A minaret is a feature of Islamic architecture and is the place from where

the call to prayer is sent out. They are also known as a manār or manāra
in Arabic, meaning place of fire or light (nar or nur)
Construction
The basic form of minarets consists of three parts: a base, shaft, and
a gallery. For the base, the ground is excavated until a hard foundation
is reached. Gravel and other supporting materials may be used as a
foundation; it is unusual for the minaret to be built directly upon ground-level
soil. Minarets may be conical (tapering), square, cylindrical, or polygonal
(faceted). Stairs circle the shaft in a counter-clockwise fashion, providing
necessary structural support to the highly elongated shaft. The gallery is
a balcony that encircles the upper sections from which the muezzin may
give the call to prayer. It is covered by a roof-like canopy and adorned with
ornamentation, such as decorative brick and tile work, cornices, arches
and inscriptions, with the transition from the shaft to the gallery typically
Figure 4 Minaret sporting muqarnas.

Domes
“a hemispherical semi-eliptical roof, built of stone, timber, metal or glass.”
From early on in the Middle East and Southwest Asia it was a popular
method of roofing in places where there was no timber
Focal Point and covering the main prayer hall
“The dome appears to be a general symbol, signifying power, the royal

city, the focal point of assembly; it can therefore serve both religious and
Figure 5 Dome of Tajmahal, Delhi secular purposes. Its outward visible appearance does not truly help us to
understand, interpret or identify any building.”
Muqarnas
The muqarnas are a form of architectural ornamented vaulting, the
“geometric subdivision of a squinch, into a large number of miniature
squinches, producing a sort of cellular structure”, sometimes also called
“honeycomb” vaults from their resemblance to these.
They are used for domes, and especially half-domes in entrances

and apses, mostly in traditional Islamic and Persian architecture. When
some elements project downwards, the style may be called mocárabe;
these are reminiscent of stalactites, and may be called “stalactite vaults”.
Figure 6 Muqarnas highlighted in circle
Arches
Arches are important in Islamic architecture, because of their symbolic
significance and how they allow builders to create mosques that reflect the
importance of precepts such as unity, beauty and light in the Muslim faith.
The earliest mosques were open courtyards surrounded by arcades,

or a row of arches. This eventually developed into a hypostyle hall, or
space with a series of pillars. In Islamic architecture, these rows of arches
symbolize the division between sacred and secular space.
Figure 7 Series of Arches from Bijapur
Figure 8 Typical pointed Islamic Arches

Figure 9 Essential parts of Mosque
3 Fundamental forms of Islamic Art

Islamic art is not at all restricted to religious art, but includes all the art of
the rich and varied cultures of Islamic societies as well. Apart from the ever-
present calligraphic inscriptions, specifically religious art is actually less
prominent in Islamic art than in Western medieval art, with the exception of
Islamic architecture where mosques and their complexes of surrounding
buildings are the most common remains
In the Indian subcontinent, some northern parts of which conquered by the

Figure 10 Fundamental forms of Islamic Ghaznavids and Ghurids in the 9th century, did not become autonomous
Art
until 1206, when the Muizzi, or slave-kings, seized power, marking the birth
of the Delhi Sultanate. Later other competing sultanates were founded
in Bengal, Kashmir, Gujarat, Jaunpur, Malwa, and in the north Deccan
(the Bahmanids). They separated themselves little by little from Persian
traditions, giving birth to an original approach to architecture and urbanism,
marked in particular by interaction with Hindu art. Study of the production
of objects has hardly begun, but a lively art of manuscript illumination is
known. The period of the sultanates ended with the arrival of the Mughals,
who progressively seized their territories.

Motifs (geometry pattern)

Islamic decoration, which tends to avoid using figurative images, makes
frequent use of geometric patterns which have developed over the
centuries.
Plant motifs and patterns were used to decorate architecture and objects

from the earliest Islamic period.
These patterns exemplify the Islamic interest in repetition, balance,

symmetry and continues generation of patterns
The integration of geometry with such optical effects as the balancing of

positive and negative areas. A skillful use of color and tone values
Figure 11 Motifs
Floral patterns
Arabesque designs are biomorphic. Floral patterns
Representing the underlying order and unity of nautre with a great deal of
accuracy.
Flowers and trees might be used as the motifs for the decoration of textiles,
objects and buildings
Figure 12 Floral pattern on domes
Calligraphy
Like other Islamic decoration, calligraphy is closely linked to geometry.
The proportion s of letter are all governed by mathematics
Inscriptions are most often used as a frame along and around main
elements of a building like portals and cornices.
This Calligraphy writings is based on the quotes from Holy book of Quran
Figure 13 Calligraphy inscriptions

Light
Light can add a dynamic quality to architecture, extending patterns, forms
and designs into the dimension of time
And the combination of light and shade creates a strong contrasts of planes
and gives texture to sculpted stones, as well as stocked or brick surfaces
In Islamic architecture, light plays a significant role in shaping the interiors

of mosques and other buildings. Magnificent domes, windows and
delicately carved screens recast light in new ways that not only decorate
surfaces, but extend structural lines and illuminate specific parts of the
interior facade.
According to the Quran, light was one of God’s first creations. For Muslims,
light represents the divinity of God, so natural light is an integral design
element in Islamic architecture.
The use of light in Islamic architecture creates a play at light and shadow
that shapes the interiors of buildings. For example, screens not only act as
ornamental decorations and keep spaces cool, but the shadows created by
a jali weave intricate patterns through rooms and corridors. The materiality
of a building comes to life more vividly: carved stucco, stonework and
Figure 14 An interior of Mosque, where brickwork are illuminated and emphasized by natural light.
natural lighting is used
Water
Water plays an integral role in Islamic architecture throughout the Middle
East and beyond. It’s both symbolic, representing purification and life, and
practical, used to cleanse the body and cool the air.
In hot Islamic climates, the water from courtyard pools and fountains cools
as it decorates
Water can not only reflect architecture and multiply the decorative themes,
it can also serve as a means of emphasizing the visual axes
Islamic architecture is defined, in part, by an emphasis on transforming

space through decoration of surfaces. Water plays a prominent role in
this space-transforming tradition, as water reflects the richness of the
Figure 15 Fountain in the islamic struc- architecture and decoration, and provides a dynamic, changing surface of
ture
its own. In gardens, water softens the geometric nature of the charbagh
design.
Water is also used for cleansing in Islamic architecture, with ablution

fountains found in mosque courtyards for bathing and ritual purification

The principle building types include:
Religious buildings
• Masjid or Mosque
• Maqbarah or Tomb
• Madrasa or School of Learning
• Chaharbagh or Four-square garden or Garden of Paradise
Secular buildings
• Residential buildings like Palaces, Houses, Havelis etc
• Forts and buildings of Defense
• Administrative buildings i) Diwan – I – Am (Hall of Public

audience) ii) Diwan – I – Khas (Hall of Private audience)
• Miscellaneous buildings like Horse stables, Garden Pavilions,

towers etc which are Functional buildings
Religious Buildings
MASJID OR MOSQUE:
Design parameters:
• Size of congregation
• Direction
• Functional requirements for the ritual
• A typical mosque of the Indo-Islamic period is rectilinear in plan.
• It has a sanctuary on the western side.
• The sanctuary is fronted by a large courtyard or SAHN.
• The Sahn contains a water source for ablution i.e; ritual cleaning
of the body before prayer.
Figure 16 Mosque • This is called the HAUZ.
• The courtyard is surrounded on the Eastern, Northern and

Southern sides by Cloisters or LIWANS. These Liwans are
interrupted roughly at their centres by doorways or DARWAZAS.
• The Darwazas are the entry points leading the people into the
courtyard. From the courtyard the people are led to the sanctuary
across a screen of arches called MAQSURA.
• The central chamber of the sanctuary is called the QUBBA.
• The western wall of the Qubba is relieved by an arched alcove

called the MIHRAB.
• Attached to the western wall is a raised platform, the MINBAR

from which the IMAM leads the congregation in prayer
Sanctuary:
Figure 17 Sanctuary
is the shelter for the congregation whose size is determined by the size
of the congregation. It is typically a series of domed compartments. The
central compartment is called Qubba
Qubba:
It is an Arabic tomb, particularly the domed shrines of Islamic saints. The
house of God in Mecca and it is the central compartment of the sanctuary
Figure 18 Qubba
Qibla:
The wall that indicates direction of the Qubba.
Mihrab:
It is an arched alcove in the western wall of the Qubba and is meant to fix
the direction of the Qibla i.e; West, a Prayer niche
Figure 19 Qibla & Mihrab Minbar:

Raised platform attached to the Western wall where the Imam stands,
doorway at foot of stairs where it is reserved for Muhammed, led by a
Narrow staircase.
Liwan:
Liwan are the cloisters that enclose the courtyard on three sides. In the
early examples of mosque design in India were more than 3 aisles deep.
Figure 20 Minbar But in later examples especially during Mughal period they were single
aisle deep. The functions of Liwans are: Storage of mats meant for prayer,
Store the coffins, Cells for accommodation of travellers, and Staff rooms
for Imam, Muezzin, etc and infirm and physically handicapped people to
pray there.
Figure 21 Liwan

Maqsura:
It is a Screened arched façade that separates the sanctuary from the
courtyard
Sahn
It is the Open courtyard which is a large open space in front of the sanctuary
Figure 22 Maqsura
and is used as a precongregation space for prayer
Darwaza
Are the doorways or the access points in the mosque courtyard. The
principal Darwaza is usually the Eastern end is specifically articulated
architecturally for its purpose.
Figure 23 Sahn Hauz:

(Ablution fountain) Water source or Fountain where you wash before you
pray.
Minar (Minaret):
Tall structure or towers with a balcony, where the MUEZZIN calls the
faithful to prayer 5 times a day. In The Early examples of Mosque, Minars
were independent
Figure 24 Darwaza
Eg, Qutb Minar. In later examples they became an integral part of the
mosque structures and were typically integrated into the Maqsura and
became distinguishing features of Maqsura
Figure 25 Hauz
Figure 26 Minarets

MAQBARAH OR TOMBS:
The tomb was a place of burial. During the Indo-Islamic period three types
of tombs were built.
• Square tombs
• Octagonal tombs
• Rauza
Square tombs:
It is square in plan. It is covered by a shallow dome. Entrances are on

three sides.
Mihrab is on the fourth wall or the western side. In the centre of cubical
chamber was placed the CENOTAPH or Cenotaphs.
The actual grave was an underground chamber accessed by a stairway

either from the outside or from within the thickness of the wall and is called
Figure 27 Bara Gumbad Complex, Delhi the QABR or Grave.
(Square tomb)
The domes were of the corbel type and supported on SQUINCHES.
Ornamentation was as per the prevalent style. Square tombs were usually
built for noblemen.
The prominent examples of the square tombs are from the Sayyid and
Lodis period.
Octagonal tombs:
They are octagonal in plan. They are roofed by shallow domes. Each
octagonal face was relieved by three arches. Therefore the cenotaph
was exposed to view unlike in the square tomb. There was a wide eaves
Figure 28 Tomb of Muhammad Shah projection running round the entire structure.
Sayyid (Delhi)
Rauza:
A Rauza is a tomb or funerary complex. The Taj Mahal is the best example
and the most complete example of a Rauza. A typical Rauza consists
of the tomb building, subsidiary buildings like a MASJID and a guest
house or a MEHMANGARH. These structures are set in a site along with
a CHAHARBAGH. The entire scheme is enclosed and accessed by an
entrance way typically on the Eastern side while the tomb itself is on the
western side of the site.
Figure 29 Ibrahim rauza

MADRASA:
A Madrasa is a school of learning. It is usually attached to a mosque.

The most important example of a Madrasa in India is the Madrasa of
Muhammad Gawan at Bidar, Karnataka. A Madrasa consists of a series of
cells or rooms arranged around a courtyard.
Figure 30 Madrasa
Asset of cells on the western side is usually expanded to form a small
space to serve as a mosque for a smaller congregation.
The other cells are used as accommodation rooms for the student scholars
as well as a house for the teacher and his family.
CHAHARBAGH:
It is a conceptual “Garden of Paradise”. It is typically square in plan. At the

centre of the square is a water source. From this water source, radiating
towards the cardinal directions are water channels.
The central water source is the conceptual fountain of life from which water
flows and sustains life in all the four directions. The remaining squares
are further divided into square parts or PARTERRES. The planting of
Figure 31 Chaharbagh
floral matter is so organized and arranged that throughout the year the
Chaharbagh has flowers in bloom
RESIDENTIAL BUILDINGS:
It includes Palaces of kings as well as residences of noblemen. The
diversity of form resulted primarily from the treatment given to the basic
shelter at different times and in different regional settings.
A common factor for these buildings seems to be distinct men’s quarters

called the MARDANA and women’s quarters called the ZENANA.
ADMINISTRATIVE OR PUBLIC BUILDINGS:
The prominent administrative or public buildings of the period are the halls
of audience:
DIWAN – I – AM i.e. the hall of public audience and
DIWAN – I – KHAS i.e. the hall of private audience.
The diversity of the form in these buildings resulted primarily from the
treatment given to a basic rectangular structure according to either the
ruler’s preference or the prevalent style.

FORTS:
The forts were planned on the Norman Motte and bailey principle. The
isolation of citadel from a more expensive outwork was highly characteristic.
The great rectangular dungeons provided a last resort against external
assault and internal treachery.
It was sometimes isolated within a Bailey behind concentric rings of

RAMPARTS (Thick fort walls). But the trend was to transform it into a
massive towered structure integrated within the mainline of defense. The
Figure 32 Fort consturcted during Islamic
successive ranges of walls were tiered for maximum coverage in depth.
peiriod
Not to hinder marksmen (men with bow and arrows or gun) manning the
parapet, holes in the wall walk (Machicolations) through which missiles
could be dropped on would be Sappers or enemies were grouped behind
boxes or hoods which projected a regular intervals rather than continuously
around the curtain
The height and thickness of walls had formally been crucial but it was
gradually realized that they had to be brought low and sunk into ditches to
present a minimal target and to maximize their cannons command at the
level of approach.
INDO - ISLAMIC ARCHITECTURE

Factors responsible for the brilliant exposition of the Indo-Islamic style in
India:
• Its relatively late development
• Remarkable genius of the indigenous craftsmen.
• IT prevailed only for a limited period. It was one of

First Phase: destruction and desecration inspired by the fanatical zeal
of the conquerors.
• in which buildings were not ruthlessly shattered but were

purposely dismantled and the parts removed to supply
Second Phase readymade materials for the mosques and tombs of the
conquerors.
• when Muslims having become firmly established in various

parts of the country found themselves in a position to plan and
create building compositions, constructed of masonry, not
Third Phase reconditioned but each stone prepared specifically for its
purpose. It was in these later circumstances that Islamic
architecture in India arrived at its true character and achieved
its greatest splendor
Figure 33 Development of Islamic Architecture

Phases of Establishment of Islamic Architecture
1) THE DELHI or IMPERIAL PHASE

This includes dynasty under Slave, Khilji, Tughluq, and Lodi Dynasty
2) THE PROVINCIAL PHASE
Provincial refers to those modes of building practice in some of the portions

of the country, usually after their governors had thrown off allegiance
to Delhi and then they proceeded to develop a form of architecture in
accordance with their own individual ideals
3) THE MUGHAL PHASE
Latest and the ripest form of Indo-Islamic architecture from mid 16th
century AD till 18th Century AD (i.e. Till the end of Mughals)
DELHI OR IMPERIAL PHASE
Figure 34 Delhi or imperial phase
SLAVE DYNASTY Ruler: Qutb-Ud-Din-Aibak

Buildings:
1) Quwaat-Ul-Islam Mosque, Delhi
2) Qutb Minar, Delhi
3) Arhai-Din-Ka-Jhompra Mosque, Delhi
4) Mosque at Ajmer
Ruler: Iltutmish
Buildings:
1) Extension to the Quwaat-Ul-Islam mosque here and after referred to as

the Qutb complex

2) Addition of Maqsura to Ajmer Mosque

3) Tomb of Iltutmish’s son ‘Sultan Ghari Tomb’
4) Tomb of Iltutmish
Ruler: Balban
Buildings:
1) Balban’s Tomb
KHILJI DYNASTY
Ruler: Ala-Ud-Din Khilji
Buildings:
1) Extension to Qutb Complex
2) Alai Darwaza
3) Jamaat Khana Masjid
4) SIRA : Second City of Delhi
TUGHLUQ DYNASTY
Ruler: Ghiyas-Ud-Din-Tughlaq
Buildings:
1) Ghiyas-Ud-Din Tughlaq’s tomb
2) TUGHLAQABAD: Third city of Delhi
Ruler: Muhammad Shah Tughlaq

Buildings:
1) JAHANPANNAH: Fourth city of Delhi
2) Sathpul: Ornamental sluice to regulate the supply of water to the 4th
city of Delhi
3) Vijay mandal or Palace of 1000 columns
4) Tomb of Muhammad Shah Tughlaq
5) Barakhamba (12 Pillars) Only surviving residential building
Ruler: Feroz Shah Tughlaq (Feruzian Architecture)

Buildings:
1) FEROZABAD: Fifth city of Delhi
2) Kali Masjid, Jahanpannah
3) Begumpuri Masjid, Jahanpannah
4) Mosque at Dargah of Shah Alam of Timurpuri
5) Khirki masjid, Jahanpannah
6) Kalan Masjid, Shahjahanabad
7) Feroz Shah Tughlaq’s tomb
8) Tomb of his Prime minister
9) Tomb of Kabir-Ud-Din Auliya

SAYYID and LODI

Dynasty Octagonal tombs:
1) Mubarak Sayyid’s tomb
2) Muhammad Sayyid’s tomb
3) Sikander Lodi’s tomb
Square tombs:
1) Bade Khan ka Gumbad
2) Chote Khan ka Gumbad
3) Bada Gumbad
4) Shish Gumbad
5) Tomb of Shahab-Ud-Din Taj Khan
6) Dadi ka Gumbad
7) Poti ka Gumbad
Mosques:
1) Mosque attached to Bada Gumbad
2) Moth ki Masjid
3) Jamala Masjid
Difference between Islamic Architecture (Mosque)

and Indian Architecture (Temple)
There was a clashing of fundamental continuous conflicts on realism with
Idealism of material with visionary.
These structures not only provide the touchstone of the two creeds, but
symbolizes inner most perceptions
Mosques
• Courts are open to light and air with many doors inviting publicity
• It doesn’t need a central shrine, it jus needs the direction,

towards Mecca
• Mosque is wholly visible and intelligible
• Natural forms is prohibited
• Carving letter/calligraphy is attained highest forms
• Muslims used lots of colours, marbles in different pattern, painted

plasters and brilliantly glazed tiles
Temples
• Massive Darkness, dim cells (Garbagraha)
• Temple is sacred chamber, often deep and with many corridors

• Temple is not infrequently introspective complex
• Walls of temples encrypted with imagery
• Inscriptional art is lesser, Hindu architecture convey the meaning

by iconography and carved figures
• Hindu gave temple an effect of colourful but all in natural tint and
texture of stone
THE DELHI OR IMPERIAL PHASE BUILDING

CHRONOLOGY
SLAVE DYNASTY (1191-1246 AD)
Ruler: QUTB-UD-DIN AIBAK
After Muhammad Ghori defeated Prithviraj Chauhan in 1192 AD, a Turkish

slave Qutb-Ud-Din Aibak took over Qila Rai Pithora (Present day Delhi).
The land in between Ganga and Yamuna was very fertile I.e. Doab and
this was a critical region to be conquered. Before establishing trade and
commerce, he wanted to establish the power of Islam in India. In 1195AD
he built the Quwwat-Ul-Islam. There was no time to have a joint venture
with Hindu workers and craftsmen.
So he plundered hindu and Jain temples for the materials. There was no
time to build foundations specific to the mosque so superstructures of
temples were razed down and colonnades were built over it. As human
QUTUB COMPLEX
figures were not allowed in Islamic architecture, the existing Hindu temple
figures were defaced and made unrecognizable.
Figure 35 Plan of Qutub complex

Figure 36 Aerial view of Qutub complex
Figure 37 A bird’s-eye perspective of the Qutb complex drawn by Gordon Sanderson, A.S.I. Conjectural restoration of the area with projected ad-
ditions if completed.

QUWWAT-UL-ISLAM (Might of Islam)

• To mark his victory over RaiPithora, Qutub-ud-Din Aibakbuilt
the Quwwat-ul-IslamMasjid (Might of Islam) in 1192 which was
completed in 1198. Itis the earliest extant mosque inIndia, having
a rectangularcourt.
• The court is enclosed by cloisters which were erected with carved

columns and other architectural members from the 27 Hindu and
Jaintemples, which were laterdemolished
• Conventional rectilinear plan (66m x 46m) with courtyard

measuring 43m x 32m
• Western side is the sanctuary comprising of domed chambers
• Central chamber is larger than the flanking chambers
• Domes are of corbelled type
• A Maqsura separates the sanctuary from the courtyard
• The aisles on the southern, northern sides are 2 bay deep while
the aisle on the eastern side is 3 bay deep
• Necessary height were obtained in Liwans by superimposing

columns (the ceiling heights of temples are much lower than the
ceilings of mosques)
• There is a prominent Darwaza on the eastern side
• Since the entire mosque is raised on a Stylobate a series of steps

Figure 38 plan of Quwat ul islam Mosque
form an integral part of the architectural scheme of Darwaza

• There is a domed chamber which is fronted by a porch, opening

on the courtyard side
• A wrought iron pillar probably brought from Mathura has been

installed in the courtyard in front of the Maqsura
Figure 39 BRAHMANICAL MOTIFS LIKE THEKALASA AND LOTUS ON PILLARS
Figure 40 The walls and pillars are havingintrinsic Hindu architectural motifs.

QUTUB MINAR
• Qutb Minar is also referred to as ‘the axis of Islam’ or tower of
victory
• The origins of Qutab Minar are shrouded in controversy.

Some believe it was erected as a tower of victory to signify the
beginning of the Muslim rule in India. Others say it served as a
minaret to the muezzins to call the faithful to prayer.
• Built by Qutb-Ud-Din Aibak
• It is 73m high being circular in plan and tapers upwards
• It is 14m wide at the base and tapers to around 3m at the top
• The tower is in 5 levels
• It is built in the South-East corner of the Quwwat-Ul-Islam

mosque
FEATURES:
It has a circular stairway made of three- hundred-seventy-nine steps to

reach the top for a spectacular view. The Minar comprises of several
superimposed flanged and cylindrical shafts separated by balconies.
All the storeys have a balcony that circles the Minar with stone brackets
for support. The Minar is decorated throughout with floral motifs and
arabesque. Also it bears inscriptions that are verses from the Koran and
messages from the Sultans.
The Minar is made of bricks covered with Iron intricate carvings and
verses from the Qur’an. The Minar comprises several superposed flanged
and cylindrical shafts, separated by balconies carring Muqarnas corbels.
The first three storeys are made of red sandstone; the fourth and fifth and
sixth storeys are of marble and sandstone. At the foot of the tower is the
Quwwat ul Islam Mosque.
The minar tilts just over 65 cm from the vertical, which is considered to be
within safe limits, although experts have stated that monitoring is needed
in case rainwater seepage further weakens the foundation.
Figure 41 Plan at different level Figure 42 View of Qutub minar

Ruler: ILTUTMISH
QUWWAT-UL-ISLAM MOSQUE: EXTENSION BY ILTUTMISH
1229 AD, Growing Muslim population though not pervasive
Iltutmish added a second symmetric colonnade, enclosing a courtyard

with the Qutb Minar, making the mosque 3 times its original.
The screen of arches was extended to the north and south of the existing
ones.
1210–1236 reign of Iltutmish, Consolidation of power
Iltutmish extended the maqsura by 3 bays to the north and south of the
existing ones. The difference between the arches is interesting: the earlier
arches are not really the ‘true’ arch which is such a hallmark of Islamic
Figure 43 Plan of Qutub complex show-
architecture, the later arches were built by workmen from Afghanistan and
ing different periods of constuction. are stylistically quite distinct.
They use Islamic motifs such as geometrical shapes rather than naturalistic
designs.
Figure 44 Panaromic view of qutub compelx
TOMB OF ILTUTMISH
In 1235 A D, Iltutmish built the tomb which is situated to the North-West of

the Quwwat-Ul-Islam mosque.
The tomb is noted for its stark exteriors, intricately ornamented interiors
and the use of calligraphy and ancient Hindu motifs such as Bell and
Chain, Tassel, Wheel, Lotus and Diamond. In employing a new grammar,
the vocabulary suggests more decorative than structural articulation
Use of grey quartz red sandstone and white marble and no pillage materials
Model for the combination of dome and cubic volumes. Geometric solution
in increasing the number of sides of the square to an infinite number of
sides of a circle
An arch across the corner creates an octagon and a repetition of the

process forms a circular ring. The cubic base is then pierced with arches
and capped with a hemispherical dome

It forms the most essential, structurally elementary and visual unit of

Islamic Architecture
• It is believed to have had a dome, which was later damaged
• There are 3 entrances on all the 3 sides, but the west, which was
for mihrabs.
• It is simple square chamber, covered originally by a circular dome

Figure 45 Interior view of Iltumish Tomb that was carried on a form of squinch arch.
• Dome was constructed using concentric rings, but Hindu artisans

couldn’t make it last long.
Figure 46 Tomb of Sultan Iltumish (Plan)
Figure 47 Elevation view of Tomb of iltumish

IRON PILLAR
The Iron Pillar dates back to the 4th century BC. It bears inscriptions that
dedicate it as a flagstaff to honor the Hindu god Vishnu and in memory of
Gupta king Chandragupta II (375-413 AD). The pillar is a symbol of the
progress of metallurgy in ancient India. It is made of 98 percent wrought
iron and has survived 1,600 years without rusting.
It is said to have been brought to Delhi by the Tomar king Anangpal,

somewhere in the 11th century from Udaygiri. There are no other relics
from the same period in this site.
The pillar was cast in its present form not forged. The pillar is said that it is
about 2300 years old. It stands about 6.7 meter high – the portion below
the ground being only about 0.5 meter. Its diameter varies from 4 cm at
the top to 42 cm at the bottom. Digging in the year 1871 revealed a bulb-
shaped bottom, much like an onion, with eight short thick rods attached to
it. The weight of the pillar is about 6.5 tons.
The pillar is rough within a few hundred centimeters of the ground and is
smooth and highly polished at eye level. The upper part of the column
is so highly finished that it is sometimes mistaken as bronze, the bronze
color may have been due to embedded sand or to a thin ‘bloom’ of ferric
oxide viewed at an oblique angle.
The fact that it has withstood corrosion is remarkable when one compares
with the iron beams used in temples of Puri and Konark which have
undergone high degree of rusting even though they are only about 700
years old.
Diameter - 0.41 m.
Garuda idol at top missing.
Figure 48 Iron pillar and details (top)
KHILJI DYNASTY (1290-1320 AD)

Ruler: ALA-UD-DIN KHILJI
IQUWWAT-UL-ISLAM MOSQUE : EXTENSION BY ALA-UD-DIN-
KHILJI
• Ala-ud-din Khilji (1295-1315) added a third colonnade, enclosing
Iltutmish”s extension making the mosque nearly 6 times its
original.
• 6 gateways at symmetric intervals was proposed, with only the

Alai Darwaza completed.
• Ala-ud-din Khilji proposed the Alai Minar, which was to be twice

the size of the Qutb Minar, only 1 storey was completed.

ALAI DARWAZA
• It is the southern gateway of the Quwwat-ul-Islam mosque, and is
a gem of Islamic architecture in India.
• It was built by Alla-ud-din Khilji in 1311. It is 17.2m square and

pierced by ached openings
• The arch to the north is semicircular while the others are of

pointed horse shoe shape.
Figure 49 Jali works in the opening • Articulation – Blend of red sandstone and marble with
arabesques and profusion of foliage detail.
• Pilasters and ‘spear head fringe’ (Jaina Torana) of the arch

inspired from Hindu temples.
• Treatment of the facade to break the mass of the cubic volume

and to assure a human scale.
• The Jaali provides illumination and ventilation in the large volume
Figure 50 Entrance arch from inside
Figure 51 View of Alai Darwaza

Alai Minar
The Alai Minar is an incomplete monument that lies within the Qutb
complex in South Delhi. Sultan Ala-ud-Din Khalji was an over ambitious
Sultan of the Khilji dynasty and won many wars and battles. After a win
from one of his Deccan campaigns, the Sultan dreamt of constructing a
huge Tower or Minar to commemorate his victory. He wanted a structure
that would double the height of Qutub Minar in order to be remembered as
the only Sultan who dared to create such a monumental masterpiece that
was grander and more spectacular than the Qutub Minar of Qutb-ud-din
Figure 52 Alai Minar Foundation built Aibak of the Slave dynasty that ruled before him.
by Alauddin Khilji in 1311 AD
Sultan Ala-ud-din Khalji also executed the plan and increased the
size of the enclosures of the Quwwat-Ul-Islam Masjid by four times its
original size to provide a ceremonial entrance gateway on either sides
of the mosque. He wanted the Alai Minar to match up with the size of the
increased height of the mosque and also wanted a second tower of victory
under his name and hence the Alai Minar began to take its shape. The
construction was completed up till the first storey and at a height of 24.5
metres but unfortunately, the construction was abandoned after the death
of Sultan Ala-ud-din Khalji in 1316 AD and the subsequent successors
could not continue the further construction as they were defeated and the
Delhi Sultanate was taken over by the Tughlaq dynasty.
It stands to the north of the Qutab Minar and the mosque.
It was to have ramps instead of stairs. Windows are at regular quadrant

heights, for a gradual ramp to be made.
TUGHLAQ DYNASTY (1320-1413 AD)

Ruler: GHIYAS-UD-DIN TUGHLAQ
TOMB OF GHIYAS-UD-DIN TUGHLAQ
• Ghiyas ud-Din Tughluq was the founder and first ruler of the
Muslim Tughluq dynasty in India, who reigned over the Sultanate
of Delhi (1320 – 1325).
Figure 53 Tomb of Ghiyas ud din tugh- • He has been the founder of the third city of Delhi called
laq Tughluqabad.
• Classical route of western invasions into India, developed a

distinct vocabulary akin to fortresses and military Establishments
• The Tomb of Ghiyas-ud-din Tughlaq of 1325AD is located to the

south of Tughlaqabad in New Delhi.
• It was connected with the citadel of Tughlaqabad by a causeway.
• The tomb was built by the ruler himself and is enclosed in a

private courtyard with fortified walls.
• Pentagonal walls enclose the tomb giving an impression of a fort

and its entrance is guarded by massive portals.

• The plan was dictated by the contours of the hilllock.
• Originally surrounded by an artificial reservoir, it is crowned

with a large, white marble-faced dome, characteristic sloping
red sandstone walls and pierced with attractive lattice-work
archways.
• The actual mausoleum is made up of a single-domed square

tomb (about 8m x 8m) with sloping walls crowned by parapets.
• In contrast to the walls of the fortification made up of granite, the

sides of the mausoleum are faced by smooth red sandstone and
inlaid with inscribed panels and arch borders from marble.
• 75 degree camber walls, Architectural compromise – true arch

with lintel,
Figure 54 View of Tomb of Ghiyas Ud din • Kalasa over dome

Tughlaq
Ruler: FEROZ SHAH TUGHLAQ
This period saw the birth of new order of ideas. The masonry work in
the buildings was of the random rubble type with its untrimmed surfaces
being coated with a substantial layer of plaster. Lintels, door-posts, pillars
were formed of roughly dressed monoliths. Decorations were of moulded
plaster. Sometimes colour washes were applied to the buildings. The
characteristic architectural elements were battered walls, tapering turrets
and buttresses at the Quoins (Masonry corners).
Projecting conical bastions like towers crowned with low domes define the
four corners of the buildings. Feroz
Shah Tughlaq built four fortressed cities including Ferozabad, the 5th city
of Delhi. The other cities are Jaunpur, Fatehabad and HissarKalasa over
dome.

KHIRKI MASJID
• The Khirki mosque was built by Khan-I-Jahan, the prime minister
of Feroz Shah Tughlaq in 1375 AD and is located at Jahanpanah,
Delhi.
• The Mosque has a 52m (170.6 ft) x 52m (170.6 ft) square
plan and is raised on a plinth of 3m (9.8 ft). There are four
open courtyards (square of side 9.14 m (30.0 ft) on each side)
encircled by arcades.
• The four open courtyards are the source of light and ventilation to
the internal prayer spaces. The roof is partitioned into 25 squares
of equal size with 9 small domes in each square and alternated
Figure 55 Front view of Khirkhi Masjid by 12 flat roofs.
• Built on an elevated plinth with a brick core, and stone, which

were thickly plastered, the Khirki mosque is double storeyed and
has a series of basement cells in the lower storey.
• A domed sloping tower guards each of the four corners. Tapering

minarets flank the domed gateways atthe centre of each side.
• The southern entrance doorway shows a mixture of arch and

trabeated construction: within a decorative rectilinear frame, a
blind ogee arch contains the door opening.
• In the interior, bays of arcades signify non-hierarchical space,

and an outwardly projecting Mihrab is foundon the western Qibla
Figure 57 Analysis of plan wall.
Figure 56 Part Plan and elevation of Khirkhi Masjid

Figure 58 Plan of Khirki Masjid
Figure 59 View of Khirkhi Masjid from Inside

TOMB OF FEROZ SHAH TUGHLAQ

• Feroz Shah (r. 1351-88) Tughlaq’s tomb is in the middle of
a Madrasa he commissioned, overlooking a tank of water
known as Hauz Khas. The north and west of the tomb are
continuous with one of the wings of the Madrasa.
• The tomb’s plain style is faithful to the austerity of much of

Tughlaq building. The structure is built of ashlar walls finished
with lime plaster with arched entrances and merlons along the
parapet.
• The dome with a square plan – 14.8m (48.6 ft) in side and
Figure 60 Interior view - Tomb of feroz shah
tughluq
height – has a diameter of 8.8 m (28.9 ft). Above the parapet
rises an octagonal drum, which supports a shallow and slightly
pointed dome.
• The door way depicts a blend of Indian and Islamic architecture.

Another new feature not seen at any other monument in Delhi,
built at the entrance to the tomb from the south, is the stone
railings.
• Squinches and muqarnas are seen in the solid interior walls of

the tomb and these provide the basic supportto the octagonal
spherical dome of the tomb. The squinches are decorated
with plasterwork including incised calligraphy. Internally
the tomb measures 29 feet (8.74 meters) and is paved with
gray stone slabs. The intrados and ceiling of the dome are
embellished with colored bands that intersect each other.
Figure 61 View of Tomb of Tughluq Shah

SAYYIDS AND LODIS DYNASTY

Feroz Shah Tughlaq was defeated by Timur the grandson of the Mongol
Chengez Khan. Following Timur’s rule, the Sayyids took over Delhi.
Mubarak Shah Sayyid, Muhammad Shah Sayyid, Alam Shah (last Sayyid)
were a few kings of the dynasty. Alam Shah allowed Afghan Buhlul Lodi
to take over the throne of Delhi. Buhlul Lodi was succeeded bu Sikander
Shah. He shifted the kingdom from Delhi to Agra. But Delhi still remained
a place where the Lodis were brought to and buried after their deaths. So
the only major architectural buildings seenunder Lodi Dynasty are Tombs.
Delhi then became a burial area for more than 50 tombs belonging to the
royalty i.e; Kings and his ministers.
The same burial area is now the Lodi Gardens in modern New Delhi.
Only octagonal tombs were constructed for the Royalty as they related it to
the sacred dome of the Rock atJerusalem. The first octagonal tomb in India
was the Khan-e-Jahan Telengani (By Feroz Shah Tughlaq’s Minister).
Square tombs were built for noblemen and ministers.

LODI GARDENS
The tomb of Mohammed Shah, the last of the Sayyid dynasty rulers, the

earliest of the tombs in the garden, was built in 1444 by Ala-ud-din Alam
Shah as a tribute to Mohammed Shah.
As there is little architecture from these two periods remaining in India,

Lodhi Gardens is an important place of preservation. The tomb of
Mohammed Shah is visible from the road, and is the earliest structure in
the gardens. The architecture is characterised by the octagonal chamber,
with stone chhajjas on the roof and guldastas on the corners.
Figure 62 View of bridge in Lodi garden Spread over 90 acres, it contains, Mohammed Shah’s Tomb, Sikander
Lodi’s Tomb, Sheesh Gumbad and Bara Gumbad, architectural works of
the 15th century Sayyid and Lodis, a Pashtun dynasty which ruled much
of Northern India during the 16th century.
Figure 63 Master plan of Lodi Garden

TOMB OF MUBARAK SHAH SAYYID

• Mubarak Shah Sayyid (the second ruler of Sayyids) tomb might
have been built. A.D. 1434. This mosque was an enlarged
version of the Telengani tomb.
• It has a 15m high dome with the base being an octagon with 9m
sides. All the arches, merlons and kiosks are like the Tughlaq
Prototype. The slilted dome seems to sit squatly over its 21m
wide octagonal base.
• The main entrance is from the south, with arched openings also
on the other sides except on the west, which is occupied by a
mihrab.
• It is surrounded by a verandah, with three openings in each side.

The corners are strengthened by sloping buttresses.
• The mosque is located on the west wall of the tomb.
• The ceiling of the dome is ornamented with incised and coloured

bands of plaster, with a triple band of Quranic inscriptions at the
springing of the dome.
• It is a good example of octagonal Sayyid tombs, which retained

Figure 64 View - Tomb of Mubarak Shah Sayyid their popularity in the Lodi and even Mughal times

TOMB OF MUHAMMAD SHAH SAYYID

• Muhammad Shah (1434-44) -the third ruler of Sayyid dynasty
and his tomb, the earliest in the gardens, was built in 1444 by
Ala-ud-din Alam Shah.
• Inspired by Mubarak Shah’s tomb, it has a typical octagonal

pattern with a central octagonal chamber,verandahs, three
arched openings on each side and sloping buttress.
• The main features of this octagonal tomb are its ‘low dome,
buttresses, and chhatris’, which became popular architectural
features
• The southern gate of the tomb has arched openings with a

mihrab in the western side of the octagonal chamber.
• The other features of the tomb are the lantern shaped canopies
of the turrets on each corner of the drum and the unique chhatris
proudly standing over the roof.
Figure 65 View - Tomb of Muhamad Shah Sayyid
Figure 66 Plan and Section of Mohamed Shah Sayid Tomb

SHISH GUMBAD
• Erected during Lodi (1489-1517), this square domed tomb was
presumably built for one of his ministers.
• It has a two-storied exterior arrangement with projecting cornices,

contrasted by the verticals of the liwan frame and arches.
• The portal frieze has square panels adorned with cobalt-blue

glazed tiles imported from Persia that are not suitable for the local
climate.
• The ceiling is decorated with incised plaster work containing

floral designs and Quranic inscriptions
• Originally, it was decorated with Persian glazed tiles of cobalt-

blue and midnight-blue, leading to its name as the “Glass Dome,”
• In historian Simon Digby’s opinion, this is the tomb of none

other than Bahlul Lodi, as opposed to the modest tomb near
Chirag Delhi that is now considered his actual tomb. Curiously,
the mihrab walls of Shish Gumbad and the Bara Gumbad are
offset by 15 degrees from each other while pointing the western
Figure 67 View of Shish Gumbad direction toward Mecca, which might be due to design errors.
Figure 68 Front elevation of Sheesh Gumbad

SIKANDAR LODI’S TOMB:

• it is similar to Mubarak Sayyid’s tomb but only the kiosks above
veranda were replaced by semi-minarets.
• •They introduced a system of double domes, i.e; a great splendid

proportion from the outside and the scale of dome is smaller from
interiors. This type of a dome is a forerunner or prototype of the
domes constructed during the Mughal period.
• The tomb was built in formal and elaborate arrangement. The

deep arcaded surrounding well defines the courtyard.
• The central area became the liwan on the west wall. Gateways
were added and a garden was maintained.
• The tomb is enclosed within a fortified complex (entered from

a south facing gateway) with the main entrance having two
umbrella shaped domes (pavilions) which was designed to
preserve the symmetry and relative proportions of the body of the
building.
• Both pavilions on the square platform in the front have remains of

blue tiles.The tomb is situated in the middle of a large garden and
tall boundary walls.
• Tomb chamber is surrounded by a wide veranda with carved

pillars with each side pierced by three arches and the angles
occupied by sloping buttresses.
Figure 69 View of Sikandar Lodis tomb

PROVINCIAL STYLE IN INDO-ISLAMIC ARCHITECTURE

In earlier centuries of Islamic India, Delhi was the fountainhead as much of
Islamic culture and political intrigue, as of architectural inspiration. Usually
the Hindu kings contributed to the construction of large number of temples
to address to the majority of the population in the kingdom. Since Islamic
religion was a minority in the provinces thus only one mosque sufficed the
need of minorities, as the religion was congregational in nature. Earlier
mosques were a recomposition of building materials extracted from
existing Hindu and Jaina temples.
But over the time, the provincial builders used Islamic ideas with indigenous
craftsmanship, local building materials and climatologically, social aspects
of a province.
THE PROVINCIAL PHASE BUILDING CHRONOLOGY
JAUNPUR:
1) Lal Darwaza Masjid, Jaunpur
2) Atala Masjid, Jaunpur
3) Jami Masjid, Jaunpur
GUJARAT:
1) Jami Masjid, Ahmedabad
BENGAL:
1) Adina Masjid, Pandua
2) Eklakhi Tomb, Pandua
3) Dakhil Darwaza, Gaur
BIJAPUR:
1) Jami Masjid, Bijapur
2) Ibrahim Rauza, Bijapur
3) Gol Gumbaz, Bijapur

JAUNPUR:
Jaunpur was a province of Delhi Sultanate. It was a city built by Feroz Shah
Tughlaq in 1360 AD. It is located along the River Gomti and around 58km
South-East of Varanasi. After the rule of Feroz Shah Tughlaq, Jaunpur
was ruled by the Sharqi dynasty. The militaristic aspects of Tughlaq style
was muted to a more civil style in Jaunpur. The builders of Jaunpur dealt
effectively with sociological aspect of Muslim worship- ladies of the court
taking part in the ritual of worship in Purdah. Translated into building,
this purdah (Zenana enclosure) became an elevated platform on either
side of the mimbar within the Liwan of mosque, screened off by panels of
Jaali. There was a departure from the Begumpuri masjid type. The greater
monumentality derives not only from the adjustment of the proportions of
the main elements, but also from the substitution for rubble of fine grey
sandstone and granite from temples or dressed specifically for them by
Hindu masons. Militaristic style of the Tughlaqs – buttress fringed central
pylon of mosques, muted by the fusion with Hindu elements, crystallized
version of the corbelled ‘screen of arches’.
The major structures built in Jaunpur were:
1) Lal Darwaza Masjid, Jaunpur 2) Atala Masjid, Jaunpur 3) Jami Masjid,

Jaunpur.
ATALA MASJID, JAUNPUR
The Atala Masjid stands on the site of a Hindu temple of Atala Devi.
Atala Devi temple was destroyed to make way for a mosque and hence
the name Atala Masjid. The mosque was erected over the foundations
of thetemple. It was built in 1408 by Sultan Ibrahim (1401-1440), Sharqi
Sultan of Jaunpur on foundations laid during the reign of Tughluqid Sultan
Firuz Shah III (1351-1388). A large number of its pillars, brackets, lintels
and flat ceilings were extracted from Hindu monuments. Though the
emergence of this mosque dates back to 1377, the construction work was
completed in 1408.
It has various influences of Delhi Tughlaq style but had an additional

flavour and vigour all of its own. The presence of niches, inclined walls, the
form and structure of beams and pillars, resembles the mosques, tombs
and other buildings that were built by the Tughlaqs. The Hindu artisans
were freed from their age-old indigenous conventions’ and were more
capable of inventive formation and infusing fresh spirit into such a notable
architectural synthesis.
Some distinct features of the mosque are:
• Square-shaped mosque with robust appearance
• Use of dramatic rectangular pylons in the center of liwan,

influence of circular tapering turrets of Tughlaqs resolved into
rectangular shape, while retaining the inclined profile
• The upper reaches were filled with Jharokas and Jaalis.

Additional mini pylons were built on either sides on the central
pylon

• Hindu influence is present in bracketed openings
• Huge arch springing between two pylons
• On the either side of Maqsura pylon are two identical mini

– pylons and three separate gateways are also installed in
northern, eastern and southern colonnades
• The Eastern, Northern and Southern gates were designed like

the Maqsura pylon. The quoins still are marked with circular
tapering turrets just like the Tughlaq style and not the rectangular
pylons. An inscription indicates that the mosque was a work of
Hindu architects.
Atala Masjid is made of gray sandstone and granite. Its most distinguishing
feature is the original treatment of the facade of its prayer-hall composed
of three large ornamental archways, the central one of which soaring to 23
mts, is gigantic. The courtyard is enveloped by a two-story veranda and is
entered from three domed gates facing north, east and west.
The screened upper story was most likely reserved for women. The qubba
dome on eight valanced arches, four applied to the walls and four thrown
across the corners to form squinches, but the domes of the subsidiary
prayer-hall chambers and the vestibules within the north and south portals
rest on beams disposed to form hexagons and octagons respectively.
The dome of the main sanctuary is carried on squinches. Although it is
raised on an octagonal drum, it is still not visible from the courtyard due
to the imposing height of the entry pylon, a distinctive element of Jaunpuri
architecture.
Inside the sanctuary is stone mihrab niche with a ribbed semi-dome,

flanked by the stone minbar. The decoration consists mainly of carved
floral patterns. The gallery wings have two-floors and are centered on
domed rooms with a mihrab and courtyard entrance. Their flat ceilings
are supported on twin columns and beams resting on brackets. The
three domed rooms of the prayer hall project beyond the qibla wall, with
tapering turrets bracing their corners in the manner of Delhi’s Tughluqid
architecture.
pylons
Jharokas
Square shaped plan and Jaalis
Figure 71 View of Atala

Masjid Jaunpur
Huge arch springing
23mts
Hindu influence
16.74 m
Figure 70 Plan of Atala Masjid Jaunpur

JAMI MASJID, JAUNPUR
The last great mosque of Jaunpur and also its largest, the Jami Masjid was
built in 1470 by Hussain Shah in 1458- 78. In plan and design it is a larger
version of the Atala Mosque. The imposing structure encloses a courtyard
66m x 64.5m. The interior of the prayer hall is topped by a lofty dome.
The magnificent appearance of Jama Masjid at Jaunpur is heightened by
a number of factors. The entire structure of Jami Masjid, Jaunpur stands
on a plinth that is 6m high. The double-arched, pylon-shaped gate at the
entrance presents a majestic sight.
The main portal lies in the focal point of the facade and stands about 26m
tall and measures nearly 24m at the base. This was again a characteristic
feature of the mosques built by the Sharqis. The Jami masjid has vast
barrel-vaulted chambers beyond narrow trabeated galleries on either side
of the qubba. The feature which can be exclusively traced in Jami Masjid,
Jaunpur is a massive rectangular hall meant for prayers. This hall is flanked
by tunnel vaults on its sides and is covered by a dome, measuring 11.4m
in diameter. Windows pierce into the dome’s drum to illuminate the interior,
creating a splendid sight.
Liwan
• Congregational worship
• Need for pillarless space
• Load on east and west walls led to ingenious articulation of

structure on the walls
• Barrier between liwan and sahn snapped spatial link
• Model of planning was never repeated.
• The mosque does not have the subsidiary frontispiece and the
great central pylons stand out in sharp contrast to the low wings.
Integration suffers on the large scale as the pylons’ towering bulk shares
the skyline only with the awkward external shells of the barrel vaults and
the weighty walls masking the prayer hall; pierced by relatively small
arched windows, which hardly provides an effective foil.
Figure 72 Plan of Jamma Masjid Jaunpur
Figure 73 View of Jamma Masjid Jaunpur

GUJARAT:
Ala-Ud-Din Khilji captured Karnavati, Gujarat and Islamic ideals spread
across. Post Tughlaq dynasty, Gujarat declared freedom from Delhi
Sultanate. The Hindu art was highly evolved and Muslim rulers had no
choice but to suit themselves to the beautiful Gujarati style in preparation
of their mosques and tombs. Gujarat was under the reign of Jaina kings
before the Muslim rulers. Thus Hindu and / or Jaina craftsmen were left to
practice structural methods themselves. The style whichprevailed in the
kingdom included that of lavish large mantapas with pyramidal corbelled
dome. The Sind and ports of Gujarat were wealthy states under the Solanki
domain. The greatest ruler in Ahmedabad was Ahmad Shah (1411-42)
JAMI MASJID, AHMEDABAD

• Built in 1424 by Bhamani ruler Ahmad Shah I (1411-1442), the
Jami Masjid of Ahmedabad was probably the largest mosque
constructed on the Indian subcontinent at the time.
• 382 x 258 ft (116 x 79m)
• Courtyard 75 x 66m
• Constructed with yellow sandstone
• The courtyard is entered from three gateways, one at the center

of each side.
• There is a long rectangular ablution tank in the center. It is

wrapped by a colonnade on three sides, with the prayer hall
occupying the western side.
• The taller central chamber is flanked by two shorter archways

and is entered from the tall arched portal with a final bearing
dome.
• Perforated stone screens are pierced into the pillars of the two
framing bays. The portal is framed by two columns, which are the
remains of two lofty minarets (“shaking minarets”) whose shafts
were destroyed by the earthquakes of 1819 and 1957.
• Minarets -Applied to the elevation, derived from Solanki piers
• Early progress – addidtion of minar turrets on either side of

the central arch of the screen wall, inspired from Tughlaq
architecture.
• The decorative detail was unfamiliar and thus saw balcony

like projections, brackets, capped with miniature mandapa like
roof form, the vertical architectonics of the Islamic motif was
comprehended differently, as part of the structure, rather than
independent. Experimental, hence unstable.
• In essence followed the scheme of constructing a temple

building and introducing it into the mosque sanctuary as a central
compartment.

• The solid, walled and buttressed central triple-arched

composition is flanked by the airy lightness of peristylar
verandahs.
• The liwan consists of 300 slender tall pillars, rising through two
tiers of flanking balconies.
• Mandapas were roofed by pyramidical corbelled domes held up

over a string of columns, this unit was multiplied to constitute
hypostyle halls necessary for the liwan of the mosque.
• Fusion of vocabulary – introduction of the pointed arch and

elimination of figurative sculpture
• The balconies provided a zenana, the domed roof added

an Islamic quality, the volume with jaalis provided light and
ventilation in the hot dry climate.
• This central columned area is roofed by a large corbelled dome,

resting over an octagonal ring of columns, each of the eight faces
being filled in with panels of jaalis.
• The domes are carried on 260 columns, which divide the space
into fifteen bays or, three rows of five square bays, each with a
dome and decorated mihrab along a the qibla wall.
• The central nave rises up to three stories in height and is

overlooked by balconies from the central gallery enclosed
by perforated screens. The inscription on the central mihrab
commemorates the mosque’s completion on January 4, 1424,
ascribing it to Sultan Ahmad Shah I.
Figure 74 View of Jamma Masjid Ahmedabad

Figure 75 Plan of Jamma Masjid Ahmedabad
BENGAL:
The monuments in Bengal were lost in Fig jungles but were discovered by
James Ferguson. The Islamic architecture was developed in the capital
cities of Gaur and Pandua (Twin cities). The river Ganga afforded a direct
means of communication right across the Northern India.
The slave dynasty established its power initially at Tribeni in Hooghly

district, but the place was rain affected and flood devastated perennially.
Stones were rarely available in the plains; hence Hindu temples were
built of bricks found in abundance. Thus the Muslim rulers missed the
stone beams and columns for reassembling the mosques in Bengal.
Thus mosques were built on basalt columns of Hindu temples and the
superstructures were built of arched brick vaults and domes. Arches were
not possible with bricks. So only small pointed arches were used which
were called ‘Drop Arch’.

ADINA MASJID, PANDUA:

• To commemorate the self proclaimed freedom of Bengal from
the delhi sultanate, sultan Sikandar Shah (the second sultan of
the Ilyas dynasty) built a huge Jami Masjid called Adina Masjid
in 1369 - 73, the Adina mosque is one of the largest mosques
to be built in the subcontinent and the only hypostyle mosque in
Bengal.
• It is a rectangular, hypostyle structure, with an open central

courtyard. Externally it measures 154.3 x 87m with the longer
side running north-south, while the courtyard measures 130 x
45m. The longer side of the courtyard faces west. It provided
large proportion of covered area for prayer and for the climatic
conditions in Pandua, roofed halls were more comfortable than
open courtyards.
• The prayer hall is located to the west, and is divided into two
symmetrical wings by a central nave that was originally covered
by a pointed barrel vault. The prayer hall is five aisles deep, while
the north, south and east cloisters around the courtyard consist of
triple aisles.
• The interior of the courtyard is a continuous façade of 92 arches

surmounted by a parapet, beyond which the domes of the bays
can be seen.
• It stands out because of its vast size and unique design, neither
of which was repeated again.The main entrance of the mosque
consists of three arches that open on the south-eastern corner.
• Another three small entrances are in the northwestern wall, two

of which lead to the Badshah-ka-takht, a private worship area for
the kings and the ladies.
• The exterior of the west wall is faced with smooth blue-grey

basalt up to a height of 3m and was taken from the earlier Hindu
building. Most of the upper part of the building - the arches and
the domes - is of brick. At the corners of its exterior walls are
circular stone-faced, blind engaged turrets.
• The domes carried by triangular pendentives are now fallen

except some on the northern cloisters of the prayer chamber.
• The nave, much higher than the cloisters, was covered by a

barrel vault, which because of its loftiness dominated the whole
structure.
• The decorative aspects of the mosque can be ascertained

from the structural design of the columns, the pendentives,
the mihrabs, the facial terracotta, ornaments of tiles, and the
calligraphic inscriptions that can still be noticed in broken
condition.
• The subject matters of other non-calligraphic surface

ornamentation are vegetal motifs of local variety, rosettes,
abstract arabesque designs, geometrical patterning, and designs
of indescribable complexities

Figure 76 Plan of Adina Mosque, Pandua
Figure 77 Interior view of Adina Mosque, Pandua (A & B )
Figure 78 Interior view of Adina Mosque, Pandua

EKLAKHI TOMB, PANDUA

• The early 15th century Eklakhi Mausoleum in Pandua is thought
to be that of Sultan Jalal al din Muhammad Shah 1414-1432.
• To battle the incessant rains of Bengal, the typical cube and

hemisphere tomb was modified with the flat portions given a
discernible slope to throw off rainwater. The tomb structure is
suggestive of the framework of traditional wood and wattle hut.
• The square brick tomb is massive, surmounted by a plain dome

and decorated with carved brick. Each of its four sides is pierced
with a stone portal derived from Hindu forms.
• The interior is octagonal and crowned with a ribbed dome carried

on eight squinches. There are three tombs within.
• It forms a square roofed by a dome with a small turret at each

corner.
• The walls are exquisitely ornamented in the exterior with

terracotta, carved tiles and decorative motifs on bricks.
• Tradition runs that this construction cost One lakh rupees so the
name.
• Its dimensions are 22.8m x 22.8m. The inner diameter of the

dome being 16m and the walls are 4m thick. The entrance walls
are ornamented by carved tiles and the ceiling of the dome is
neatly plastered and covered with ornamental work.
Figure 79 Plan of Eklakhi Tomb, Pandua
• Its interior is an octagon which is only lit through the four small
doors. Over the entrance door is a lintel with a Hindu idol carved
on it, and round the door way are other stones on which may
be detected partial representations of the Hanuman figure, the
original carvings must therefore have been of Hindu origin.
• The brick tomb chamber, externally square with curved cornice,

the octagonal corner towers, and an entrance on each side, is
internally converted into an octagon by thick brickwork left hollow
at four corners to accommodate four small cells; the dome rests
on squinches carried on embedded stone pillars. Once profusely
embellished, the surface ornamentation bears traces of floral
painting on plaster in the interior and variety of terracotta and
glazed tiles on the exterior.
Figure 80 Front view, Eklakhi Tomb, Pandua

DAKHIL DARWAZA, GAUR

• This impressive gateway built of brick was probably built by
Sultan Barbak Shah (1459-74 AD) and served as the main
entrance on north into the citadel of Gaur. It was also called
‘Salami Gate’ as salutes were fired from its sides.
• Made of small red bricks and terracotta work, this dominating

structure is more than 21m high and 34.5m wide. Its four corners
are topped with five-storey high towers. Once the main gateway
to a fort, it opens through the embankments surrounding it.
• The gateway represents the height of excellence that the brick

masons of Bengal were capable of achieving. The apex of the
pointed arch, is flanked by a pylon like buttress, one on each side
of the frontage and guarding the portal.
• The archway between the two pylons provides a deep and wide
portico containing the arched opening, which leads into a central
vaulted passage, with a guard room on each side. The entire
structure has beautiful terracotta ornamentation and a guard
example of the intermingling of Islamic thought and regional
characteristic features.
• The gateway built of bricks except the piers between the

doorways, which are faced with stone up to the springing of
the arches and consists of a passage through the middle of the
structure. On both sides of the corridor are two guardrooms
entered from the former through subsidiary entrances numbering
Figure 81 Plan of Dakhil Darwaza, Pandua four on each side.
• The gateway arch projected in the form of an iwan portal, which

is flanked on either side by massive twelvesided towers at the
corners, which are in perfect harmony with the design, and
speaks of a gateway commensurable to the dignity and prestige
of a great ruler.
• The decoration of the gateway is not profuse. The ornaments

(consisting of Motifs such as flaming suns, rosettes, hanging
lamps, fretted borders etc) all in terracotta like other monuments
of the time and unlike the plain military Tughlaq architecture,
consisted of string mouldings, at base levels, inset fret-rings
around the corner towers - all segmented with vertical offsets,
window-shaped arched-panels with hanging motifs inside and
rosettes on the spandrels of arches.
Figure 82 View of Dakhil Darwaza, Pandua

BIJAPUR:
The main architectural influence for the builders in the south was from
abroad. They were influenced by the overseas Islamic countries across
the Arabian Sea. Muslim cities like Bijapur, Bidar, Golconda were not built
around Hindu culture for political reasons and thus these cities were built
afresh in new locations. Thus spoils in the form of readymade Hindu building
materials were not abundantly available. Foreign blooded Muslim rulers of
south did not want a repetition of Hindu oriented Islamic architecture of
Gujarat. Workers from as far as Persia and Turkey traveled by sea, to
serve the Muslim regions in South India. It was alien, virile architectural
style injected into conservative Southern Hindu style. In 16th cent AD, Adil
Shahis of Bijapur ruled over the south. Prior to the city of Bijapur, cities like
Bidar and Gulbarga were built in 14th Cent AD.
JAMI MASJID, BIJAPUR
• The mosque is considered one of the finest architectural
examples of the Adil Shahi period of Bijapur (1490- 1686) which
became one of the local sultanates after 1518 when the Deccan
based Bahmanids were dissolved into five local sultanates.
• Construction of the mosque began in the city’s eastern quarter, in

1576 under Ali Adil Shah I.
• It is the largest mosque of Bijapur. The main entrance gate is

from the east, though the north gate is used more frequently. The
ground plan is a large rectangular structure measuring 150 x 80m
with a square courtyard of 50m.
• The mosque was never fully completed, its eastern wall and
entrance gateway and minarets at the corners being left
unfinished.
• A passage from the eastern gate leads into the courtyard, which
has fountains and a large reservoir in the center.
Figure 83 Plan, Jami Masjid Bijapur

Figure 84 View, Jami Masjid Bijapur
• The arches of the gallery facing the courtyard have fine

proportions and simple lines. The perimeter walls are articulated
on the exterior by two orders of superimposed arches. The lower
ones are ornamental while the upper ones form a continuous
open gallery that runs along three sides of the mosque and
courtyard.
• The prayer hall on the west side has a façade of seven bays,
each bay having an arched opening. The arches are equal
in size, while the central arch is delineated through delicate
arabesque patterns in stucco.
• The prayer hall is crowned by an elegant, well-proportioned

dome. It has a diameter of 17.4m and rises to 36.6m from the
ground. The dome is given even greater vertical prominence by
its small ornamental balustrade at the base.
• The dome is capped by a metal terminal upholding the symbolic

crescent that proclaimed the Adil Shahi’s dynasty Turkish origin.
• The interior of the mosque has refined clean lines with minimal
decorative elements. The plan of the prayer hall is a large and is
divided into five bay that are parallel to the qibla wall. The roof is
supported by massive square piers.
• The exterior had arches at two levels, upper being the one to
allow air and ventilation while the lower being blind.
• The central bay is a square space of 25m. The mosque can

accommodate 4,000 worshippers at a time. The floor was
divided, on the orders of Emperor Aurangzeb, into 2,250
rectangular inlays that mimic prayer rugs.
• When the mosque was built, it was conspicuous for its austerity
of decoration. Ali Adil Shah I (r.1558-1580) was Shi’ite and
the sect preferred not to decorate in their places of worship.
Muhammad Adil Shah (r.1627-1656) was a Sunni and it was
probably during his reign that the mihrab was also gilded and
decorated in black and gold.
IBRAHIM RAUZA, BIJAPUR

• The Ibrahim-Rauza, built by Ibrahim ‘Adil Shah II (1580-1627),
consists of his tomb and mosque within a square compound, both
rising face to face from a common raised terrace, with a tank and
fountain between them.
• The complex consists of an area enclosed within a tall wall and

entered via a monumental gateway flanked by twin minarets.
• The mosque has a rectangular prayer-chamber, with a facade of

five arches, shaded by the chhajja and a slender minaret at each
corner. Enclosed within a square fenestration rises the bulbous
dome with a row of tall petals at its base.
• The square tomb with double aisles around it, the inner one
pillared, has similar features but is finer in proportions. On the
interior, each wall has three arches, all panelled and embellished
with floral, arabesque or inscriptional traceries.
• Persian architect Malik Sandal designed the rauza.
• Mosque and tomb – 35m side, square structures
Figure 85 Plan of Ibrahim Rauza Bijapur

• 110 x 46m plinth, located in a 137m square, enclosing cloisters
• Tomb – 12m side enclosure with 2 concentric arcaded verandas
• Stately arches similar to that of the Jami masjid
• Deep chajjas, ornamental parapet, bulbous dome – layered in

embellished tiers and pinned with the corner minarets rhythmic
with the arches below.
• The 12m diameter dome rises over the sculptured base on a

square stylobate of the inner chamber and is set within a ring of
large petal shaped merlons.
Figure 86 View of Ibrahim Rauza Bijapur

• In order to raise the dome to a satisfactory height, without
creating a deep well of darkness in the interior, the 12m square
chamber is roofed at an intermediate level by an ingeniously
crafted ceiling, which is supported on 2m deep brackets.
• The whole complex is decorated with painted, inlaid and carved

ornament in the form of flowers and Arabic calligraphy.

GOL GUMBAZ, BIJAPUR

• The Gol Gumbaz is the mausoleum of Muhammad Adil Shah (r.
1627-1656) of the Adil Shahi dynasty of Bijapur.
• ‘A square hall enclosed by four lofty walls, buttressed by

octagonal towers at the corner , and the whole surmounted by a
hemispherical dome’
• It is simple Square tomb with the Interior side of square

measuring 41.5m and the Exterior side of square measuring
62.5m
• The four walls are 3m thick and 33.5m high, the Octagonal
buttress – 7.6m diameter & 45.7m high
• Hemispherical dome measures 44m diameter outside and 38m

diameter inside
• The height of the building from the Apex to the ground level is
60.9m
• It is one of the biggest single chamber structures in the world and

covers an area of 1,693 sqm
• In the center of the tomb chamber is a platform with the

cenotaphs of Muhammad Adil, his youngest wife Arus Bibi, his
favorite daughter and a grandson.
• The main cenotaph is marked by an elaborate wooden baldachin.

The real tombs are located below in the basement and are
Figure 87 View of Golgumbaz Bijapur accessed by a staircase under the western entrance.

Figure 88 Plan of Golgumbaz Bijapur
Method of Intersecting Arches
• Smaller dome over larger cubical volume was sheer structural

necessity.
• Geometric resolution
• There was no use of pendentives or quinches. Inscribing within

the large square, two smaller overlapping squares, by dividing
each side of the large square into three equal divisions and joining
together alternate points of division
• Eight points of intersection of the two smaller squares produced

an octagon within the larger square of a smaller size than the
octagon produced merely by chamfering the corners of the square.
The octagon approximates the required circular plan of the dome
Figure 89 Method of Arches intersecting
• The location of the eight corners of the octagon in space was
determined by erecting tall arches along each of the sides of the
intersecting squares.
• The points at which the arches interseced in the volume above the
large square became the corners of the
• octagonal platform over which a circular ring of masonry acting as

the drum for the dome could be erected.

Dome:
• Layers of brick masonry and a mixture of ballast and rich lime

mortar.
• No scaffolding was used except for the section near the crown.
• Whispering gallery at the balcony level at the apex of the

intersecting arches due to the circumference of the dome being
appropriate for a double echo.
• At the base of the dome elegant carved petals cover the drum
• Built of plastered rubble masonry, each exterior face of the cube

displays three great blind arches.
• The central arch is wider than the others and is dressed with
wooden panels with small rectangular entrance and three rows of
arched windows punched through.
Figure 90 Interior view of dome
• The cornice and parapet of the cube is the most articulated
feature of the façade. The cornice rests on highly carved stone
corbels that project about 3m from the wall. The cornice supports
the parapet which has a row of arched openings and leaf-shaped
merlons.
• The corner towers are incongruous with the rest of the

mausoleum composition. They are divided into seven floors with
a projecting cornice and a row of arched openings marking each
level. Each tower is then capped by a majestic hemispheric dome
with a ring of carved leaves around the base.
• Outer surfaces are of arches filled in with dull basalt and

decorated plaster.
Figure 91 Sectional view of Golgumbaz

BIDAR AND GULBARGA DYNASTY

The Bahmani dynasty’s first citadel, before the capital was shifted to
Gulbarga, was at Daulatabad. Here the most prominent feature is the
extraordinarily imposing outer walls, in four concentric rings, similar
in design and style to the Gaillard in France. The tradition of strong
fortifications continued with the shifting of the capital to Gulbarga in 1347.
With no natural defense like a hilly site or a river nearby, the Bahmanis
instead endowed Gulbarga fort with the Bala Hissar. This massive
rectangular keep, citadel within a citadel, was again in the tradition of
military architecture inspired by the Cruades in the holy land, and was to
remain practically the only example built in India.
The capital of the Bahmani empire was shifted yet again in 1429. This was
a strategic decision, as Bidar had a more central position in the kingdom
and perhaps more importantly, was out of immediate striking range of
the Vijayanagara kingdom, which was a constant menace. In contrast
to Gulbarga, Bidar was situated on a sloping promontory, on which were
built the fort and its associated town. The fort, naturally, was at the highest
level, with its citadel at the northern tip. The fort could be isolated for
better defence from the town by a system of gates and moats. Inside the
citadel walls, ruins of palaces, mosques and secular structures bear silent
witness to a once-powerful empire
Bidar Sultanates (one of the five Deccan sultanates)
The Bijapur sultanate was ruled by the Adil Shahi dynasty from 1490 to
1686. The Adil Shahis were originally provincial rulers of the Bahamani
Sultanate, but with the break-up of the Bahmani state after 1518,
Ismail Adil Shah established an independent sultanate, one of the five
Deccan sultanates.The rulers of five Deccan sultanates had a number
of cultural contributions to their credit in the fields of art, music, literature
and architecture. Deccan sultanates have constructed many grand and
impregnable forts. Bidar and Golconda forts are classic example of military
planning of Deccan sultanates.
Architecture Character
The Bahmani sultans’ Shiite tendencies are clearly reflected in their

mosques. These delineate also their Persian origin. For example, the
earliest mosque founded in Gulbarga, the Shah Bazaar, is one of the first
in India to reflect the Timurid tendency of the multi-bay prayer hall, like
at Isfahan in modern Iran. Its most refined expression is then found in
the Jami Masjidof Gulbarga.
On a rectangular base, this mosque has arcades two bays deep and a
triple-aisled prayer hall which runs around three sides of the building.
The space of the central court itself is covered over with smaller domes,
with arches springing from imposts spanning the area of the court. These
arches contrast with the trefoil arches of the mihrab and the squinches.
This Gulbarga variant of arches with imposts, though not universally
emulated, was to prove very popular with the Adil Shahis of Bijapur who
subjugated Gulbarga late in the 15th century

JAMA MASJID - GULBARGA

• It is regarded as one of the most architectural mosques in its
form and structure in South Asia. The arches design of Jama
Masjid Gulbarga reflects in the interiors of Spanish Mosque of
Hyderabad, India
• The Jama Masjid Gulbarga does not have minarets. Built inside

the Gulbarga is a unique mosque with a huge dome and smaller
ones as embellishments.
• It was built in 1367 AD, by a Spanish architect, with arched

doorways on the same lines as that of the Great Cathedral
Mosque of Corodoba in Spain.
• It measures 66m x 54m with wide vaulted cloisters defining the

perimeter. The west bay is spacious and covered in the center
with a high dome, which is surrounded by twelve smaller domes
• It has a large dome on the west side and middle-size domes at

Figure 92 Entrance Jami Masjid, Gulbarga the four corners of the mosque, which looks very beautiful to see.
• Instead of having a courtyard, it has 63 small domes in lines in

the central area. It is regarded as one of the most architecturally
unique mosques in its form and structure in South Asia.
• The main entrance is at the north side and has a higher arch-
shaped gate than the other sides.
• The outer walls, which usually are solid, are instead open
arcades to allow in much-needed light that would generally be
Figure 93 Aerial View of Jami Masjid, Gul-
barga
filtered in from a courtyard.
• In the west prayer room pillars are painted in white with no

decoration. In addition, wide spans of these pillars’ supporting
large arches create a majestic atmosphere.
Figure 94 View of Jami Masjid, Gulbarga

BIDAR FORT
With the establishment of the Bahmani Kingdom in the Deccan from 1347,
the architectural styles of the Persian architecture of Iran made impressive
and lasting impacts, which are seen in the Bidar Fort. The mosques,
arches, gardens and the palaces were built within and also outside the
fort in the Bidar city. Some of the important structures built are elaborated.
Innovative systems of water management are seen in and around the fort
and city of Bidar.
The Fort at Bidar is a large complex of multiple parts added, expanded,

altered over many centuries. The first gate one encounters while entering
the fort is the Sharza Darwaza that according to an inscription, dates to
1503. The entry to the fort was via this gate which had a drawbridge over
the moat.
The beautiful Gumbad Darwaza ahead leads to the inner part of the fort.
To the left of the Gumbad Darwaza is the Rangeeni Mahal. The best
preserved palace in Bidar, it contains beautiful wooden construction, in
combination with plastered walls having under glazed tiles and exquisite
mother of pearl inlays.
Figure 95 View of Rangeen Mahal, Bidar Ahead of the Gumbad Darwaza is the access leading to a courtyard
fort
containing multiple Palace complexes and the Solah Khambha Mosque
around the Mughal style Lal Bagh gardens. Beyond this are two separate
complexes popularly known as the Diwan-i-Aam and the Takth Mahal.
In the sprawling grounds, one can also see the granaries. At the northern
sections of the fort are the older remains of the fortifications, and also a
large reservoir
The triple moat with a draw bridge rhombus shaped fort wall contains
water supply structures, hidden security features and houses buildings,
arches, pavilions, gateways, mosques and gardens.
It contains handcrafted, wood tiles, stone, artificats ,Indigo panel and rare
mother of pearl inlay in carved stone.
Figure 96 Satellite image of Bidar fort
The seven gates of the fort are named from East to West as follows:
Gate 1 - The Mandu Darwaza, the main gate; Gate 2 - The Kalmadgi
Darwaza; Gate 5 - The Delhi Darwaza,; Gate 6 - The Kalyani Darwaza;
Gate 7 - The Carnatic Darwaza; Gates 3 and 4 are without a name.
There are 37 bastions on the fort wall,with cannon made of bars of metal
welded together and held together by metal hoops were mounted on the
bastions.The Munda Burj is the most prominent bastion, and the heaviest
guns were placed here to dominate the approaches.

Mahmud Gawan Madrasa, Bidar
The Madarasa at Bidar founded by Gawan functioned like a residential

University. It was built and maintained on the lines of Madarasa of Khurasan.
The imposing and spacious building of the institution is considered as a
architectural gem and an important land mark of Bidar. The structure is
rectangular in shape and is built in area of 4624 Sq. mtrs. The building is
attractively decorated with blue colored titles, the fragments of which can
be seen even today. Of the two towers only one is intact. The height of
the tower is 131 ft. on the front facade Quaranic Verses are written. The
library that existed on the other wing is now destroyed. The Madarasa
was a three storied building housing a Mosque, A library, lecturer halls,
professor’s quarters, students cubicles facing open courtyard. The
students were taught Arabic, Persian languages, theology, philosophy,
astronomy, mathematics etc., They were given free boarding and lodging
facilities besides free education.
The teaching staff also lived with students. The building suffered much
damage due to explosion of gun powder in 1695, it still retains much of
the original architectural features. The Madarasa of Mohamed Gawan is
the only one of its kind in India. The tomb of Mohamed Gawan situated on
a wide platform to the south of Bidar town is simple structure with stone
tablet speaking about a “martyr without fault” and his “unjust execution”.
Architectural Significance
The entire campus gives the grand impression which Islamic architecture
awakes in many minds. Intelligent planning and construction have gone
into building the madrasa. The surface treatment is composed of color
produced by glazed tiles of different hues. Traces of exquisite colorful tiles
are still visible on the walls of the building. The floral decor, arabesque design
and decorative inscriptions with arches dominating everywhere make it
a fine specimen of Islamic architecture. This was all possible because
Mahmud Gawan was familiar with renowned colleges at Samarkhand and
Khorasan. The building contains lecture halls, a laboratory, a mosque,
students’ hostel, dining room, quarters for teaching faculty. This religious
seminary which also taught science and maths was run by a carefully
Figure 97 Quaranic inscription from Ma-
chosen faculty which comprised Islamic scholars, scientists, philosophers
drasa
and Arabic experts. It is recorded that free boarding, lodging and education
to over 500 students from the world over was provided at any given time.
The founder had established a library of 3000 volumes in this university
before his death; what became of it is not known.
Figure 98 Views of Madrasa

MUGHUL ARCHITECTURE
The Moghul dynasty was founded by a Chagatai Turkic prince named

Babur who was descended from the
Turkic conqueror Timur on his father’s side and from Chagatai, second
son of the Mongol ruler Genghis Khan, on his mother’s side.
He wrote an autobiography, The Babur - Namah. The decisive battle was

against Ibrahim, the Lodi sultan, on the plain of Panipat in April 1526.
Babur was heavily outnumbered but wins with the use of gunpowder,
artillery and muskets.
BABUR: Babur may have been descended from brutal conquerors, but he
was not a barbarian bent on loot and plunder. Instead he had great ideas
about civilization, architecture and administration. The Persians refer to
his dynasty as Moghal, meaning Mongol. Until Babur, Delhi was devoid of
Moghul patronage and reproduced copies of the Lodhis.
Architecture- Akbar devoted himself to architecture, too. The style

developed under his reign is still known as Akbar period architecture. Its
massive but graceful structures are decorated with intricate stonework
that portrays Hindu themes. The capital city of Fatehpur Sikri is one of the
most important examples of this type of architecture. Akbar had this red-
sandstone city built to thank a holy man who had predicted the birth of his
first son
MOGHUL CONCEPTS IN ARCHITECTURE
1) Hazira or Rawda: (Arabic) terms used in the Mughal period to designate

a tomb or a mausoleum. The originial meaning of the former is “enclosure”,
the latter “garden.” This suggests the garden origin of tombgardens.
2) Chatri: (originally Persian for umbrella) A small, vaulted pavilion used in

India mostly.
3) Pietra dura
4) Hasht-Bihisht
5) Chahar Bagh
PIETRA DURA or pietre dure , called parchin kari in South Asia, is a term
for the inlay technique of using cut and fitted, highly-polished colored
stones to create images. It is considered a decorative art. The stonework,
after the work is assembled loosely, is glued stone-by-stone to a substrate
after having previously been “sliced and cut in different shape sections;
and then assembled together so precisely that the contact between each
section was practically invisible”. Stability was achieved by grooving the
Figure 99 Pietra Dura undersides of the stones so that they interlocked, rather like a jigsaw
puzzle, with everything held tautly in place by an encircling ‘frame’. Many
different colored stones, particularly marbles, were used, along with semi-
precious and even precious stones

HASHT-BIHISHT: (Persian, eight paradises)
A name of a type of building that has a radially symmetrical plan with eight
parts surrounding a central chamber which is almost always domed. In
Islamic times, this plan was most suited to house a reception/audience
hall, or a tomb. It was popularized by Timur and his descendants in both
their palatial and religious monuments. Later developments emphasized
the façt by adding turrets to the four corners, by raising the central part of
the façade via a pishtak, and/or by doubling the side through chamfering
the corners. The paradigm however was not confined solely to Islamic
antecedents. The Chinese magic square was employed for numerous
purposes including crop rotation. Ninefold schemes find particular
Figure 100 Hasht Bihist resonance in the Indian mandalas, the cosmic maps of Hinduism and
Buddhism.
CHAR BAGH/ CHAHAR BAGH -
Quadripartite garden enclosure with a cruciform plan.The Quartered

Garden connotes fundamentally an idea of paradise. For Islam, born in a
desert region, agarden surrounded by walls and providing cool shade and
ample flowing water was an earthly reproduction of the celestial paradise.
They were formal gardens, placed within rectangular walled enclosures
and divided into four quarters by artificial channels. These gardens were
called Char Bagh, four Gardens, because of their symmetrical division into
quarters. The four water channels are often associated with the four rivers
Figure 101 Typical Plan of Charbagh of Paradise, described in the Koran.
There is also a practical reason for the ‘Chahar Bagh’ lay-out. This practical
reason is that in Iran, where many garden ideas come from, water is often
brought into the garden by an underground canal from the mountains,
called a ‘qanat’. These ‘qanats’ are dug underground for long distances
so that water does not evaporate in hot weather. To bring water up from a
‘qanat’ into a garden, you need an opening in the centre of the garden and
water channels which can spread the water in all directions for irrigation.
Complete, ideal Chahar Bagh has four channels of water flowing out from
fountain in the centre to channels round edge of garden. The garden is
divided into four parts, linked by bridges over the water Channels.
Sometimes only one arm of the Chahar Bagh is a water channel. The
Figure 102 View of Charbagh other three arms are tree-lined paths, plus little pools on the edge of the
central pool. But the garden is still divided into four parts.
Another Chahar Bagh plan does not have the full four water channels. This
garden is divided into four parts entirely by paths, not by water channels.
There is a fountain pool in the centre.

HUMAYUN TOMB, DELHI
Humayun: AD 1530-1556
Babur’s control was superficial when he dies in 1530, after just three years
in India.
Babur was followed by his son Humayun who was a bad emperor, a better
poet, and a drug addict. Humayun keeps a tentative hold on the family’s
new possessions. But in 1543 he was driven west into Afghanistan by a
forceful Muslim rebel, Sher Shah. Twelve years later, renewed civil war
within India gave Humayun a chance to slip back almost unopposed.
However, six months later Humayun was killed in an accidental fall down
a stone staircase. His 13-year-old son Akbar, inherited the kingdom 1556.
While Humayan was certainly disastrous as a ruler, his love of poetry and
culture heavily influenced his son Akbar, and helped to make the Mughal
Empire an artistic power as well as a military one.
Humayuns Tomb
• It is located on the banks of the River Yamuna, Humayun died

in 1556 AD. In 1569 AD Tomb was shifted from Purana Quila to
Punjab and then to its final resting place
• It was financed by Akbar, supervised by Humayun’s wife Haji

Begum and the Architect was Mirak Mirza Ghiyath
• The tomb of Humayun is set in the center of a grand square

garden, which is divided into four quarters by waterways and
each quarter is also divided into nine (usually four) small squares.
Figure 103 Aerial view of Humayuns
Tomb
Its first gigantic fruition in India is Humayun’s tomb-garden in
Delhi.
• First example of monumental scale that would characterize

subsequent Mughal architecture.
• The mature merger of two traditions – Persian and Indian.
Figure 104 Plan of Humayun’s Tomb

• Plan – is a complex of octagonal halls, comprising a central one

with four corner ones, inspired by Persian and Indian models.
• The main entrance to the tomb is through the south.
• Elevation – Each of the substantially similar four sides consists of

a central rectangular fronton, housing a deep semi arch, flanked
on either side by cubic masses with chamfered corners.
• Each side is dominated by three arches, the central one being

the highest and the plan repeats on the second floor too.
• These vast, flat surfaces relieved by deeply shaded arcades,

softened by the chamfered corners and the bulbous domes are
proof of Persian influences.
• Raising the edifice over a large arched plinth to achieve

monumental scale, the red sandstone and marble inlay, chajjas
and domed canopies over the parapet – Indian influences
Figure 105 View of Humayuns Tomb • The central octagonal chamber contains the cenotaph with
arched lobbies on the sides, closed with jaalis.
• The corner chambers house the graves of other members of the

royal family.
• The mihrab is articulated as a marble lattice or jaali, with mystical

light filtered onto the tomb.
• Built of rubble masonry, the richness of the architectural forms

and profiles of the arches and the parapets is duly highlighted by
the bands of inlaid marble.
Figure 107 Interior view • Vaulted plinth of 8m height, Tomb – 47m high and 91m wide
• The first Indian building to use the Persian double dome on a

high neck drum. The outer layer of the double dome supports the
marble exterior and the inner layer supports the interior volume.
6m high brass finial, ending in a crescent
Figure 106 View of Humayuns Tomb

FATEHPURSIKRI:
Fatehpur Sikri is a palace complex founded in 1569, built by the Mughal

Emperor Jalal’ud-Din Muhammad Akbar (reg.1556-1605). It was the capital
of the Mughal Empire from 1571 to 1585. Akbar moved his pregnant wife
to Sikri after its resident saint Salim Chisti prophesied that the childless
emperor would have three sons.
After his military victories over Chittor and Ranthambore, Akbar decided to
shift his capital from Agra to a new location 23 miles (37 km) on the Sikri
ridge, to honor the Sufi saint Salim Chishti. In addition to this legend, there
are differing schools of thought about whether Akbar’s 1572 move to Sikri
was only a residential move for the emperor or if Akbar intended to found
a new capital for the Mughal empire. The prefix “Fathabad,” which became
Fathpur by common use (both mean “City of Victory” was added by Akbar
in I573 when he returned victorious from his Gujarat campaign.
Additionally, the shift to Fatehpur Sikri could be seen as a way for Akbar
to better control his nobles, composed of Rajputs, Turks, Afghans and
Persians, by uprooting them from their territories and keeping them away
from an economic centre such as Agra. Given that the city’s walls were
not very thick, it is probable that Fatehpur Sikri was not intended to be an
impregnable fortress (like Agra), but rather an administrative center. The
Imperial complex was abandoned in 1585, shortly after its completion, due
to scarcity of water and its proximity with the Rajputana areas in the North-
West, which were increasingly in turmoil.
Thus the capital was shifted to Lahore so that Akbar could have a base
in the less stable part of the empire, before moving back to Agra in 1598,
where he had begun his reign as he shifted his focus to Deccan. In fact,
he never returned to the city except for a brief period in 1601. The palace
complex is situated on the ridge of a hill about 40m in height by the side of
an artificial lake. The planned walled city which took the next fifteen years
in planning and construction of a series royal palaces, harem, courts, a
mosque, private quarters and other utility buildings
• Influences from Hindu and Jain architecture are seen hand in

Figure 108 Panaromic view of Fatephur
sikri hand with Islamic elements.
• The location of Fatehpur Sikri corresponds to the demands of

nature. The city is built on a flat terrain of a rocky sandstone ridge
rising some 30m to 45 m above the surrounding plain. The ridge
is oriented northeast-southwest, bounded on the north by an
artificial lake now drained, and enclosed by the city walls
• The new mosque was oriented to the west (qibla), and the other
buildings of the palace complex developed parallel to it.
• The whole complex is spread in three plateaus on receding levels

with respect to the topography of the ridge.
• The mosque complex is located on the uppermost level of the

ridge, and consists of the Great Mosque (Jami Masjid, with
the tomb of Salim Chisti incorporated into its courtyard), which

dominates the entire architectural composition by means of its

size, and a small palatial complex called the Nayabad quarter.
• The lowest plateau is occupied by the public and semi-public

areas of the palace complex, (Diwan-i ‘Am), (Diwan-i Khas)
• Most of the buildings of the public and semi-public area face

east, while the Khwabgah faces north.
• Other buildings, such as the imperial caravan serai, the Hiran

Minar tower, the hammam, and the so-called Treasury and Mint
are articulated into the natural gradient of the ridge, ignoring the
orientation of the palace complex.
• The palace complex is organized, on the different levels, without

one single axis dominating the complex; rather, the complex is
a series of linked spaces, with access increasingly restricted via
gateways as one approaches the private spaces reserved for the
emperor and his court.
• It is accessed through gates along the five-mile long fort wall,

namely, Delhi Gate, the Lal Gate, the Agra Gate, Birbal’s Gate,
Chandanpal Gate, The Gwalior Gate, the Tehra Gate, the Chor
Gate and the Ajmere Gate.
Figure 109 Plan of Fatephur Sikri complex
• There are two main approach routes to the palace complex, both
following the natural gradient.
• All the surfaces of the complex (horizontal and vertical), the

structural and spanning systems, and the unifying, variously
patterned pavements are fine-quality red sandstone
• Stones used for the palatial structures were prefabricated in

standard dimensions while still in the quarry and later modified
and installed.
• The overall structural system is trabeated, with the exception of

some mixed structures of rubble masonry and some small domed
pavilions.
• The standard construction module consists of four pillars and

four horizontal beams with a capital in between; the flat roofs are
Figure 110 Panaromic view composed of long flat pieces of stone

BULAND DARWAZA:
Buland Darwaza means ‘high’ or ‘great’ gate in Persian. It was built by

the great Mughal emperor, Akbar in 1601 A.D. at Fatehpur Sikri. Akbar
built the Buland Darwaza to commemorate his victory over Gujarat. It is a
15- storied high gateway that guards the southern entrance of the city of
Fatehpur Sikri.
• A triumph in the mediation of scales – monumental and powerful

to the humane and as a shelter.
• A fine example of Islamic architecture, it is semi octagonal in plan

and two smaller triple-storeyed wings on either side.
• The Buland Darwaza is made of red and buff sandstone,

Figure 111 Buland Darwaza, Fatephur decorated by white and black marble and towers above the
Sikri
courtyard of the mosque.
• The Buland Darwaza is symmetrical in plan and is topped by

pillars and chhatris with kiosks on the roof, stylized battlement
and small turrets and inlay work of white and black marble.
• The huge arch of 30.5m height and 15.3m width is backed by

a scalloped semi-domed portal that guides the eye fluidly down
the modest two-storeyed rows of arches and balconies set in
pentagonal fashion at the base.
• The central of these small arches leads to the courtyard of the

mosque and to attendants rooms on either side, making the
transition of contrasting scales smooth.
• The platform of the Buland Darwaza is at a height of 12.8m from

ground level and is approached by a grand flight of steps that
spread out as they descend.
• The central framed arch is flanked by soaring thin minarets and

chamfered broad surfaces that accentuate the verticality of the
40.8m portal.
• The Buland Darwaza is approached by 42 steps and is 53.63m

high and 35 meters wide.
Figure 112 Front view of Buland Darwa-

za, Fatephur Sikri

JAMI MASJID, Fatephur Sikri

• The rectangular mosque 157 x 132m, comprises a central nave
with a single dome, two colonnaded halls on either side, with two
square chambers crowned with domes. Carved mihrabs adorn
the main chamber and the two smaller rooms.
• The mosque marks the phase of transition in Islamic art, as

indigenous architectural elements were blended with Persian
elements.
• The pillared facade, the liwan with three arched openings framed
by panels and crowned by five chhatris and the central mihrab
adorned with an inlaid mosaic of stones that are bordered
by glazed tiles and it has golden inscriptions on a royal blue
background, a tribute to this fusion.
• The liwan consists of a central arched fronton which dwarfs the

dome behind, in the old Tughlaq tradition and is off-proportion
from the low side wings.
• The side wings are arched with arches of three different spans
and heights shaded by a sloping chajja.
• The parapets of the cloisters and liwan are marked by a row of

domed chattris that held lit torches at night.
• The interiors of the liwan are adorned with watercolour paintings

depicting stylized floral designs.
• Unlike other monuments, where domes are supported on

squinches, here corbelled pendentives support the dome.
Figure 113 Front view of Jama Masjid, • The tombs of Islam Khan in the north-east and that of Salim
Chisti lie in the Jami courtyard.
1.BADSHAHI DARWAJA,
2.BULAND DARWAJA,
3.PRAYER ROOM OF FRIDAY MOSQUE,
4.TOMB OF SALIM CHISTI,
5.ISAM KHAN MAUSOLEAM
6. COURT YARD
Figure 114 Aerial view of Jama Masjid,

Diwan-i-Khas Fatehpur Sikri

• Diwan-i-khas or Hall of Private Audience is situated in the
northeast corner of the royal complex with a huge and richly
carved pillar in the center. The central platform attached to the
pillar was the seat of theemperor while the diagonal galleries
are believed to be the seat of ministers and nobles that were
entertained here.
• This square red sand stone building has four double-storeyed

façades. Though, there is no superstructure or dome here,
the four beautiful kiosks at each corner of the building that are
octagonal in shape and have a circular dome with an inverted
lotus on the top. The exterior of Diwan-i-Khas fits well with the
other trabeated palace pavilions in Fatehpur Sikri; its interior,
however, is unique.
• The central pillar, which has a square base and an octagonal

shaft, also has a most elegant capital composed of 36 closely set
vaulted and pendulous brackets supporting a circular platform
from which radiate four passages, to connect the hanging
balconies which communicate with the ground by staircases built
within the outer wall thicknesses.
• Some believe that in this platform the emperor had projected

himself as a chakravartin, or universal ruler, following the
Figure 115 Akbar’s Seating
indigenous Indian notions of kingship.
• The function of this hall as that for a private audience or whether

for theological ideations leading to the formation of the Din–I-Ilahi
is debatable.
• The articulation suggests that the builders were free to draw

Figure 116 Diwan - I khas, Fatephur Sikri
inspiration and revive forms that were lost to history.

Figure 117 Detail of bracket in Diwan - i - Khaas
Figure 118 Section and plan of Diwan-i-khaas

TOMB OF SALIM CHISTI:

• In 1580-81 eighty years after the saint died in 1572, Akbar built
the tomb in red sandstone. In 1606, Jehangir, covered the edifice
in white marble.
• The magnificence of the splendid jail screens carved out of huge

marble slabs shows a rare perfection of craftsmanship. The
dramatic serpentine brackets supporting the wide chajja on all
four sides of the edifice have an amazing grace. The real grave
lies in an undisturbed repose in the crypt, closed to visitors.
Figure 119 Key plan Jammi Masjid • The tomb has been constructed on a platform which is about 1
m. high, a flight of five steps leading to the entrance portico.
• The main tomb building is enclosed by delicate marble screens

on all sides, and the tomb is located in the centre of the main hall,
which has a single semi-circular dome.
• An ebony “chhaparkhat” or canopy enclosure surrounds the

marble cenotaph, which is usually covered by a green cloth
typical of the Sufi order. and has a wooden canopy incrusted with
mother-of-pearl inlay mosaic over it.
• Inside, the structure is heavily ornamented with Pearls, Lapis

Lazuli and Topaz. A corridor for circumambulation surrounds the
square tomb chamber.
• The Tomb Consist Of A Square Exterior Of 24ft Side Which

Figure 120 Brackets - Tomb of Salim Contains A Mortuary Chamber Of 16ft Side, Whole Covered By A
Chisti
Low Dome.
Figure 121 Corrdior with stone jali -

Tomb of Salim Chisti
Figure 122 Front side view - Tomb of Salim Chisti, Fatephur Sikri

Jodha Bai Palace

• It is most widely accepted that the building was for Raniwas or
Zenani-Dyodhi.
• The palace building consists of a rectangular block measuring

231’8”x215’ in dimension, with a single magnificent gateway
on eastern side, which was protected by guard rooms, having
triangular ceiling and other apartments.
• Several Hindu motifs have been used in the building, which

confirms that occupant of the building was a Hindu lady.
• Red Stone Used In The Entire Strucrure.
• Consisting Of Mughal And Hindu (Rajput) Architecture.
• Trabeated Structure.
• The colonnaded dalan contains curvilinear square pillars with

beautiful moldings and extremely graceful brackets
• Hindu motifs like hams (swan), parrot, elephants, lotus, srivatsa

mark, ghant mala etc are decorated in the interior.
• The western suite, which serves the purpose of temple, contains

beautiful curvilinear pillars with brackets. This suite contains
vedikas and several Hindu motifs.
• The super structure of the building is comprises of chhatris,

chhaparkhats with eight pillars, semi circular domes and
triangular khaprel roofs, The corner domes and khaprel roofs
bears traces of arabesque designs in glazed tiles
Figure 123 Plan of Jodha Bai Palace
• The living quarters are all built after keeping the courtyard as
the center of the complex. Added to the brilliance of the red
sandstone are the turquoise bricks, which are used on the roofs
of the buildings.
Figure 124 Interior Details

Figure 125 Front view of Jodha Bai palace

Birbals’ House
• The building known an Birbal’s house is a two storeyed structure,
complex in its arrangements and elaborate in its architectural
ornamentation
• It consists of fours-quare rooms, each measuring 16’-10” (5.13m)

square side, all interconnected through open doorways and two
oblong entrance porches on Northwest and Southeast corners.
• While all the four rooms, have flat ceilings, porches have
triangular chhappar ceiling with pyramidal roof. The interior of the
building is divided into three days by richly carved pilasters.
• Shafts of these pilasters have been divided into three zones,

which contain three different kind of decoration like single border
designs, arabesque geometrical designs and stylized floral
designs.
• The first floor has beautiful Jharokhas overlooking the court

below and a simple chajja.
• Each dome of the upper rooms rests on an octagonal drum,

which is also carved with a raised trefoil pattern.
Figure 126 Plan of Birbals House
• The domes are crowned by an inverted lotus and kalash finials
and also bear traces of tile work.
• Though the entire construction is composed of lintels and beams,

but beautifully carved brackets have been used to span the
spaces between the pillars and ornamental arches.
• These brackets are carved on both faces with lotus and

arabesque designs. Spandrels of the arches also bear arabesque
and floral design.
Figure 127 View of Birbals House

AKBAR’s TOMB
• The construction of the mausoleum is said to have commenced
during Emperor Akbar’s (1556-1605) lifetime in 1604 but
concluded during his son.
• Based on a charbagh, or walled square garden composition

much like his father Humayun’s tomb. Hence, the mausoleum
itself is physically and metaphorically located at the center of a
heavenly garden, Behistan.
• The mausoleum complex is square in plan and aligned on the

cardinal axis, with the tomb at its center and four gates, one
along each wall.
• The south gate is the largest. The gate consists of a colossal

arched niche flanked on either side by doublestacked balconies.
Surmounting the gate pavilion are four towering white marble
chhatri-topped minarets, one at each corner.
Figure 128 Inlaid panels, Akbar’s Tomb • The tomb building is a four-tiered pyramid, surmounted by a
marble pavilion containing the false tomb. The true tomb, as in
other mausoleums, is in the basement.
• The buildings are constructed predominantly of red sandstone,

enriched with features in white marble.
• Decorated inlaid panels of these materials and black slate adorn

the tomb and the main gatehouse. Panel designs are geometric,
floral and calligraphic, and prefigure the more complex and subtle
designs.
• The domed and vaulted stepped galleries are of 105m side and
serve as a large square plinth for the four square storeys which
steps in as the structure rises. The gallery space is rhythmically
arranged with massive pillars supporting arches roughly 6.7m
apart.
• The central bay of each side is marked by a high pishtaq

surmounted by a rectangular chattri, or roof kiosks. Only the
Figure 129 Interior view, Akbar’s southern pishtaq gives access to the burial chamber, a small
Tomb square room at the end of long corridor at the heart of the
building. Of the vaulted bays behind the four pishtaqs, the
southern one is the most elaborate in ornamentation.
Figure 130 View of Akbar’s Tomb

TAJMAHAL, Agra
• The Taj Mahal represents the finest and most sophisticated
example of Mughal architecture. The distraught Mughal Emperor
Shah Jahan commissioned the mausoleum upon the death of his
favourite wife Arjumand Banu Begam (also known as Mumtaz).
• Today it is one of the most famous and recognisable buildings in

the world and the white domed marble mausoleum is the most
familiar part of the monument.
• Taj Mahal is an extensive complex of buildings and gardens that

extends over 22.44 hectares and includes subsidiary tombs,
waterworks infrastructure, the small town of ‘Taj Ganji’ and a
‘moonlight garden’ to the north of the river.
• Construction began in 1632 AD, on the south bank of the River

Yamuna in Agra, and was substantially complete by 1648 AD
• The architects Ustad Ahmad Lahauri and Mir Abd-ul Karim.
Figure 131 Tajmahal Complex Mas- • The Taj Mahal complex can be conveniently divided into 5
ter plan
sections:
1. The moonlight garden to the north of the river Yamuna.
2. The riverfront terrace, containing the Mausoleum, Mosque and Jawab.
3. The Charbagh garden containing pavilions.
4. The jilaukhana for the tomb attendants and two subsidiary tombs.
5. The Taj Ganj, originally a bazaar and caravanserai only traces of which are still
preserved. The great gate lies between the jilaukhana and the garden.Levels gradually
descend in steps from the Taj Ganji towards the river
• From the south, the first part of the complex consists of a

(former) bazaar, the forecourt and entry gates; the
• second part consists of a large garden and garden pavilions,

axially arranged along a riverfront terrace
• with the three main structures: the mosque, the mausoleum and
the mihmankhana.

Guest House
Main
Ornamental Pool
Gateway Forecourt
Tomb
Taj Ganj
Yamuna
Char Bagh Servant Royal Tombs

Mosque Quaters
Figure 132 Tajmahal Complex
• The Taj Ganj market aligned on axis with the southern entrance
gate of the Taj complex once served as a vital part of the entire
complex.
• The jilaukhana or forecourt, served Mughal ceremonial purposes

and acted as a transition space between the street and the
palace or royal building.
• To the northeast and northwest of the jilaukhana are the

khawasspuras, two residential enclosures.
• The two saheli burj (inner subsidiary tombs) enclosures to the

east and west of the jilaukhana are the tomb complexes of two
other wives of Shah Jahan.
• The great gate (darwaza-i rauza) that leads from the north of
the jilaukhana to the garden, and ultimately to the mausoleum,
measures 38m at its base and is 30m in height. It is composed of
panels of red sandstone with accents in white marble.
• The garden of the Taj complex is laid out as a cross-axial chahar

bagh with two large primary intersecting walkways (khiyaban)
with a shallow water channel (nahr) running along the centre of
the primary walkways
Figure 133 Tajmahal and its parts
• At the intersection of the primary walkways is a raised platform
with a square water tank (hauz) at its center,with five fountains.
• The two naubat khanas (drum houses) project into the garden
where the main east-west garden pathway meets the garden
walls.
• The riverfront terrace articulated as an arcade of blind niches

referred to as the kursi, or throne accommodating the marble
plinth upon it, supports the mosque, mausoleum and the
mihmankhana.

• The walls of the garden tomb complex are strengthened by six

octagonal towers capped with domed chatris.
• At the north end of the garden is the mausoleum of Mumtaz

Mahal. The plan of which is based on the ninefold hasht-bihisht
(eight paradises) plan - a square plan is divided into nine spaces:
a central chamber with four additional spaces at the centre of
each side and four spaces at each corner.
• In the mausoleum of the Taj Mahal complex, the central chamber

is double-height and octagonal in plan.
• At its center rest the cenotaphs of Mumtaz Mahal and Shah

Jahan in an enclosure of marble tracery. The chamber is capped
by a shallow dome and decorated with niches on each two-story
wall.
• These niches on the cardinal axes have jali screens. The niches
on the diagonal axes hold rectangular doors. The niches are
separated into lower and upper stories by an inscription band that
runs around the interior.
• On the upper level, these frames are replaced by muqarnas that

begin to transform the octagonal plan into a circular ring for the
dome.
Guest House
Tomb
Ornamental Pool
Mosque
Royal Tombs
Main
Gateway
Char Bagh
Servant
Forecourt
Quaters
Figure 134 Aerial view of Tajmahal • The central dome of the Taj Mahal including the finial is 73m
above ground level and is raised up above the pishtaqs by a tall
circular drum,15m in height. The dome itself is 25.6m high and
17.6m wide.
• The central dome is flanked by four large domed chatris

supported on piers between lobed arches.
• The four elevations reflect the symmetry of the mausoleum’s

plan. Each major (N,E,S,W) elevation is similarand is divided into
three frames, with a central pishtaq measuring 32.6m in height

• The liwans are all composed of four centre-pointed arches with

pietra dura decoration in the spandrels.
• The two frames flanking the central pishtaq contain blind arched
niches on the upper and lower levels. Each corner of the building
presents a chamfered elevation.
• Each minaret is a 42m tall, slightly tapering, cylindrical structure

with two intermediate balconies and an open domed pavilion
(chatri) on the top.
Figure 135 Concepts of Tajmahal

Concepts, Symbolism and Interpretation
• This theme, common in most Mughal funerary architecture,

permeates the entire complex and informs the detailed design of
all the elements. A number of secondary principles also inform
the design, of which hierarchy is the most dominant.
• A deliberate interplay is established between the building’s

elements, its surface decoration, materials, geometric planning
and its acoustics.
• In Dimensional organisation- The Taj complex is ordered by grids
• Symmetry and geometric planning played an important role in

ordering the complex.
• In the Taj Mahal, the hierarchical use of red sandstone and white
marble contributes manifold symbolic significance
• Red sandstone also had significance in the Persian origins of the

Mughal empire. In the Taj Mahal the relative importance of each
building in the complex is denoted by the amount of white marble
(or sometimes white polished plaster) that is used.

Taj Mahal Gardens

• The gardens in the Mughal era were heavily influenced by the
Persian style.
• The Holy Qoran describes Paradise as a garden, so we see that

most Mughal monuments mostly always accompany beautiful
gardens, as a representation of heaven.
• The Taj Mahal gardens are no exception and have been

designed in the “Chahar Bagh” style, that is, divided into four
parts, the number four being a sacred number in Islam.
Figure 136 Central tank of the Taj
• These main four parts are divided using water channels, each
Mahal representing the “celestial pool
of abundance” channel joining the centre.
• At the centre, halfway between the tomb and the gateway, where
the four water channels meet is a raised marble lotus-tank with a
cusped border called the “Al-Kawthar” that signifies ‘The celestial
pool of abundance’.
• The tank was so positioned that one can perfectly see that Taj
Mahal’s reflection in its waters.
• The four main garden beds are further divided by paved stone
walkways into four beds each, making a total of 16 flower beds.
Figure 137 Plan of Taj Gardens

The dome
• The most remarkable part of the Taj Mahal.
• Enormous white onion shaped dome crowning the tomb.
• Located at the exact centre of the structure, the main dome is

flanked by four smaller ones on it four corners.
Figure 138 The dome with inlay work

• The onion shaped dome of the Taj Mahal sits on a massive drum
that adds support to the circular top.
• The weight of the dome was distributed to the building on which

it was rested and then on to the iwans and arches, from which it
was transferred to the plinths and foundation.
Figure 139 Section of Tajmahal, high- • The dome is actually double shelled, and the interior false dome
lighting the Dome shells was made much smaller to be in proportion to the inner chamber.
• This gave the building perfect visual balance; extraordinary from

the outside and comfortable small from the inside.
• Similar technique is used at St Paul’s Cathedral in London.
Finial of the Dome
• The main finial was originally made of gold but was replaced by a
copy made of gilded bronze in the early 19th century.
• The summit of the gold gilded finial perched at almost 220 feet
from the ground, gives a finishing look to the Taj Mahal.
• The motif is a Hindu symbol with bent lotus leaves mounted on a

“kalash” with a coconut on top.
Figure 140 Finial of the Dome

Chattris
• The most prominent are the main four chattris, which flank the
four corners of the onion dome.
• Having an octagonal base with small arches on each of the eight

sides
• The top is nicely finished with an inverted lotus with a gold finial
rising from its summit.
Figure 141 Taj Mahal “Chattris” flank
the main dome from four sides • Chattris are also present at the tops of the four tall minarets.
Minarets
• The Taj Mahal’s minarets detached from the main tomb
• Standing tall at 138 feet were intelligently designed with a slant

towards the outward side.
• This was done so that in case of any minaret topples, it causes

no damage to the central dome.
• These four minarets rise from the plinth with an eight sided base
and a circular pillar.
• On the top of the pillar is an octagonal balcony.
• Decorated with delicate inlay work and beautiful carvings.

Figure 142 Four Minarets in the complex
• The balcony is encircled with geometric patterns and floral motifs.
• It may have been built as a watch tower or a place from where

the “muezzin” calls for prayers.
Iwans
• The tradition of having iwans in both residential and public

buildings found their way into Mughal architecture.
• By definition, iwans are vaulted spaces covered by three sides

and open from one.
• They normally have an ornate gateway that was called a

“pishtaq”.
• The Taj Mahal’s front facade is dominated with “iwans”, the main
one lying just below the onion shaped dome.
• There are eight smaller ones on the front face equally intricately
designed.
Figure 143 The Taj Mahal Iwan with an or- • The monument has 28 iwans in all, with four main iwans on the
nate “Pishtaq”
four faces of the structure.
• The other 24 iwans are identical in size with four on each face
and two on the angled sides.

Guldastas
• Even the smallest areas had design elements like the “guldastas”
that flank the exterior of the Taj.
• “Guldastas” is the Urdu terminology for the flower topped

pinnacles that rise from the main sides of the structure. These
“guldastas” are not originally Mughal, but were an integral part of
the Sayed architecture
• They were added to the Taj Mahal purely for beauty and lends
the building a sense of height.
• Decorated with lotus petals, the guldastas are topped with gold
finials.
Tomb
• The tomb is the central focus. It stands on a square plinth
Figure 144 Guldastas with gold finials • It consists of a symmetrical building with an iwan topped by a
large dome and finial. Its basic elements are Persian in origin
• On each of these sides, a huge pishtaq, or vaulted archway,

frames the iwan with two similarly shaped, arched balconies
stacked on either side.
• Multi-chambered cube
• Chamfered corners forming an unequal octagon that is

approximately 55 meters (180 ft) on each of the four long side.
• The Taj Mahal is situated on a raised platform which is over 6

meters high. The actual Tomb of Shah Jahan is in the basement
below the platform.
• Surmounted by a curving dome which is over 60m long on each

side.
Figure 145 Plan of Tomb • Height is over 60m at its pinnacle. Platform covers 94 sq m area.

RED FORT, New Delhi

• Shahjahan (1628-1658) Shifted His Capital From Agra To Delhi In
1638.
• Laid The Foundation Of The Fort On 16th April 1639, Which Was
Compeleted On 16th April On 1648.
• One Crore Of Rupees Was Spent On Its Construction And Half

Of This Amount Spent Only On The Palaces (An Inscription Over
The Southern Arch Of Khwabagh).
• It Is Roughly Octagonal On Plan, With Two Longer Sides On The

East And West.
• It Measures About 900 M (N-S) By 550 M (E -W). • Rampart Is

Constructed In Lakhauri Brick Masonry In Lime Mortar With Red
Sand Stone Veneering.
• Its Rampart Have A Perimeter Of 2.41 Km And Rises To A Height

Of 33.5 M On The Town Side (Western Side) And 18 M Along The
River Side (Eastern Side).
• Lal Quila, or the Red Fort, conjures up the image of red

sandstone walls full of turrets and bastions.
• The fort is in the form of a parallelogram measuring 930 metres

by 495 metres. It is surrounded by a strongly fortified wall.
• The walls facing Chandni Chowk are higher than those facing the
Yamuna.
• There are two gateways- Lahori Gate, which is the western

gateway, was the main and the ceremonial entrance. Some of
the prominent buildings in this fort are Diwan-i-Aam, the Diwan-i-
Khas and the Rang Mahal.
Figure 146 Plan of Redfort

• These buildings are decorated with pure white marble and inlaid
with precious stones.
• Nowadays, it is being used to house some of the military offices.
• The fort has an arrangement for continuous water supply.

After the independence of India, the Prime Minister of India
unfurls the national flag from the ramparts of the Red fort on the
Independence Day.
• The Red Fort is one of the important historical monuments in

Delhi. Its vastness, sense of proportion imposing structure and
the magnificence of its execution reflects the grandeur of the
Mughal architecture.
• The following Persian couplet which is inscribed in the Diwan-i-

Figure 147 View of Redfort Khas aptly describes its grandeur: “If there is a paradise on the
face of the earth, It is this, it is this, it is this.”
Important Structures
Lahore Gate The Lahore Gate forms the main entrance of the Red Fort. It
is from this place that the Prime Minister of India delivers a speech during
the Indian Independence Day every year right from the year 1947 onwards.
This gate is named in such way because it is highly oriented towards
Pakistan’s Lahore district. These gates are believed to have undergone
severe damages in the form of bastions during Aurangzeb’s rule. The
security in and around this area was beefed up during the 1980s as the
tower windows were blocked to avoid sniper attacks. Thereby, the gate
also got a lift added to it.
Figure 148 View of Lahore Gate

Diwan-i-Aam - The Diwan-i-Aam was used to refer the Hall of Public

Audiences. This hall was grandly decorated with stuccowork and had
many gold columns. A huge railing separated the Emperor and the
common people. It was in this hall that the Emperor sat on an alcove with
a canopy and listened to the complaints, issues, requests or suggestions
of the general public through a balcony (jharoka). The place was also big
enough to conduct state functions. There is a big courtyard, known as
Figure 149 View of Diwan-i-Khaas mardana at the back of this hall that houses many beautiful structures.
Diwan-i-Khas - The Diwan-i-Khas was used to refer the Hall of Private

Audiences. It was at this hall that confidential meetings with ministers or
guests to the state were held by the Emperor.
The rectangular chamber of the halls has intricately carved arches at

the entrances that rest on strong piers. These piers are decorated well
and adorned with the floral designs. The roofs are covered with pillared
umbrellas at the corners. The reputed ‘Peacock Throne’ that was initially
located right at the center of the rectangular chamber was stolen by Nadir
Shah when he took over this place during 1739.
Figure 150 View of Diwan-i-am One of the two marble pedestals that were robbed during the Great Mutiny
of 1857 is currently in the New York Metropolitan Museum. During 1760,
to pay for the freedom of Delhi from the Afghan invader, Ahmed Shah
Durrani, the Maratha kings melted the silver ceiling of Diwan-i-Khas. The
walls are decorated with holy verses from the 9th century. Right through
the middle of the hall, the paradise stream, known as Nahr-i-Bihisht flows
adding to the beauty of the place.
Zenana - Zenana, in the Mughal period was used to denote the women’s
quarters. The two quarters are found towards the extreme south of the
pavilion. One is the Mumtaz Mahal, which is now functioning as a museum
and the other is the Rang Mahal which is characteristic of its marble work,
elegant interiors and ceiling.
Moti Masjid - Moti Masjid means Pearl Mosque. This is found towards
the west of the Red Fort. This was a separate additional structure built
during 1659 and served as the private exclusive mosque of Mughal
Emperor, Aurangzeb. This mosque is made of pure white marble and has
three domes. The screen of the mosque has three arches which lead to
the courtyard.The measurement of the Pearl Mosque is 12m of length, 9m
of width and 8m of height. This mosque constructed for the personal use of
Aurangzeb had prayer mats made from black marble situated at a slightly
elevated level from the floor. These prayer mats were also known as
Figure 151 View of Moti Masjid
“musallas”. There are three domes on this mosque that were initially given
a plating of copper. The door towards the east of the mosque contains
leaves coated with copper. The womenfolk of seraglio were also using this
mosque in the earlier days.
Hayat Bakhsh Bagh - This influenced the Mughal emperors too as the
Hayat Bakhsh Bagh or the “Life-Bestowing Garden” was designed round
the Red Fort..

MUGHUL GARDENS
• Mughal gardens are a group of gardens built by the Mughuls in
the Persian style of architecture.
• This style was heavily influenced by the Persian styles

particularly the Chargbagh structure. Significant use of rectilinear
layouts are made within the walled enclosures. Some of the
typical features include pools and fountain and canals inside the
gardens.
• Mughal gardens design derives primarily from the medieval

Islamic garden, although there are nomadic influences that come
from the Mughals’ Turkish-Mongolian ancestry.
• Its essential features included running water and a pool to reflect

the beauties of sky and garden; trees of various sorts, some
to provide shade merely, and others to produce fruits; flowers,
Figure 152 View of Mughul Gardens
colorful and sweet-smelling; grass, usually growing wild under the
trees; birds to fill the garden with song; the whole is cooled by a
pleasant breeze.
• The garden might include a raised hillock at the center,

reminiscent of the mountain at the center of the universe in
cosmological descriptions, and often surmounted by a pavilion or
palace.
• The Mughals were obsessed with symbol and incorporated it into

their gardens in many ways.
• The standard Quranic references to paradise were in the

architecture, layout, and in the choice of plant life; but more
secular references, including numerological and zodiacal
significances connected to family history or other cultural
significance, were often juxtaposed.
• The numbers eight and nine were considered auspicious by the

Mughals and can be found in the number of terraces or in garden
architecture such as octagonal pools
Figure 153 Example of Mughul Style Gar-

dens from Taj Garden

Meena Bazaar or Mina Bazaar

• Meena Bazaar is the market area below the eastern end of Jama
Masjid. The market has a deep-rooted tradition. Previously called
‘Bazaar-i-Musaqqaf’, the Lahore Gate of the Red Fort leads to
this covered market. Shah Jahan was inspired by the arcade by
visiting one in Peshawar in 1646.
• Mukarmat Khan, who was in-charge of the construction of the

Red Fort, was asked by Shah Jahan to make a similar covered
market. Shah Jahan constructed Meena Bazaar at the entrance
of the fort as it was the place display the wealth and skills of the
Mughal Empire.
• 300 yrs ago this bazaar catered to the luxury trade of the imperial
household, specialized in exquisite carpets, rugs, jajams and
shatranjis; takia-namads and quilts; shahtus and pashmina
shawls; costumes; velvet pardahs and chiks.
• The shops of that era sold pure silks, jewellery, gems, silver
ware and other artistic objects and catered primarily to Mughal
courtiers and noble families. It is said that there were also
teashops here, where nobles used to meet and discuss the latest
court gossip and news of the kingdom. Today the shops in the
Chowk sell souvenirs and eatables and drinks. They are now
located only in the lower arcade whereas in Mughal times the
shops were located on the upper as well as lower arcades.
Figure 154 View of Meena Bazaar at

Lahore Gate

COLONIAL ARCHITECTURE
• Colonial architecture is an architectural style from a mother
country that has been incorporated into the buildings of
settlements or colonies in distant locations.
• Colonists frequently built settlements that synthesized

the architecture of their countries of origin with the design
characteristics of their new lands, creating hybrid designs.
• ‘Colonial Architecture’ consists of two words – one being

“Colonial” which refers to “colonial India” and other being
“architecture” which means the way “something is designed”
• Firstly, It is important for us to understand the context or meaning

of colonial India. Colonial India is the part of the Indian sub
continent.
• Which was under the control of European colonial powers,

through trade and conquest. The first European power to arrive in
India was the army of Alexander the great in 327- 326 BC.
• Later, in the early 19th British Empire built many masterpieces

of architecture including the Viceroy lounge in Delhi.
Figure 155 A Cartoon depiction of Banga-
lore club by Ms. Geeta Pandey

ST. PAUL’S CATHEDRAL, CALCUTTA

• The Cathedral was built to the Gothic Revival style by British
Military Engineer Major William Nairn Forbes and another
architect named CK Robinson.
• St. Paul’s Cathedral was the first ‘Episcopal Cathedral Church’ in

an oriental country.
• The foundation stone was laid in 1839 and was completed in

1847.
• A massive earthquake led to the collapse of this tower. It was

renovated but in another earthquake of 1934,it was adversely
affected again.
• The main cathedral hall is large, with beautifully carved wooden

pews and chairs along with the stained glass window to the west,
the intricate coloured artwork covering the eastern walls, the two
marvellous Florentine frescoes.
• The church is 247 ft. in length and 81 ft. in width and the tower is
201 ft. high.
• The Cathedral is set within huge grounds with several ancient

trees.
• The interiors of the church is a feast for the eyes, with excellent
floral designs on the walls. The life and work of St. Paul is vividly
Figure 156 View of St. Pauls Cathedral,
Kolkata described in pictures.
Tower
Parapet
Spires
sloping roof
Pointed arches

Raj Bhavan - Governor’s house

• The design of Government House, Calcutta, is an adaptation
of the plan of Kedleston Hall in Derbyshire which was built for
Lord Scarsdale, the great-great-grandfather of Lord Curzon of
Kedleston, in the years1759-1770 by the renowned architect
Robert Adam
• The Raj Bhavan follows a Neoclassical style with distinct

Baroque overtones.
• Government House resembles Kedleston Hall in the broad

external Features of shape, design and orientation, in the
extreme dimensions from East to West.
• The plan comprises a central core with four radiating wings. The
state rooms located in the central core are accessed from the
outside by a flight of grand steps on the north.
• On the south is another portico surmounted by a colonnaded

verandah with a dome above.
• The four wings accommodate the various offices and residential

quarters along with four sets of staircases.
• The plan of the wings allows for a great deal of natural ventilation
in the spaces while also permitting views across the gardens.
The entire compound is surrounded by a balustraded wall with a
grand arched gateways.
• The Raj Bhavan covers an area of 84,000 sq. ft. and is

Figure 157 Plan of Rajbhavan, Kolkata surrounded by a compound covering an area of 27 acres.[7] The
Raj Bhavan has 6 gate ways one each on North & South and 2
each on East & West. The 4 gates on the East & West have a
grand arch ways topped with a lion. The minor archways on the
side are topped with Sphinx. Sadly these 4 colossal gates hardly
provide a good view of the Raj Bhavan.
Figure 158 Front view of RajBhavan, Kolkata

Kolkata Town Hall

• Kolkata Town Hall was built in 1813 by the architect and engineer
Maj.-Gen. John Garstin (1756-1820) with a fund of 700,000
Rupees raised from a lottery to provide the Europeans with a
place for social gatherings
• It is a fine structure built in the Doric style of architecture with

steps leading to a grand portico in front.
• The main front portion of the structure is standing on eight long

brick pillars.
• The two storied building covers more than 1200 sq. meters.
The building is two storied and was originally used for public
meetings, receptions, balls, and concerts that generally took
place on the upper floor, which is boarded with teak with a thirty
feet high ceiling.
• The Town Hall has also been one of the most important buildings
of the Government since the British era and has nested many
Government offices for many years that include the Municipal
Magistrate’s Office, Offices of The Municipal Service Commission
and the West Bengal Public Service Commission.
• It had fallen into major disrepair in the recent past, but corrective
steps have been taken to restore the glory of the heritage
Figure 159 Roman- Doric architectural column,
in Town hall
structure. It was finally opened to the public in 1998 after
extensive restoration work.
Figure 160 VIew of Town hall in 1865

Victoria Terminus(Chhatrapati Shivaji Station) Mumbai

• The Victoria Terminus was designed in the Gothic style adapted
to suit the Indian context.
• The Gothic style, offering the colour and complexity of Mughal

and Hindu architecture, harmonized and most effectively made
reference to the indigenous preference for ornamentation, making
it the right choice of style for Victoria Terminus.
• The skyline, turrets, pointed arches and eccentric ground plans

of the Gothic Revival structure being closest in appearance to
the traditional Indian palace architecture gave an appropriate
platform for the incorporation of vernacular architecture.
• The building is a utilitarian work of art, with Steven’s wit and

play in a deceptive non-symmetrical symmetry. The building is
symmetrical about the east-west axis.
• The elements are freely changed in style, size and materials, and
yet there is an indescribable unity in totality.
• The ‘C’ shaped building is planned symmetrically about the east-

west axis. The uniaxial symmetry is crowned by a high central
dome, which acts as the focal point around which the building is
built.
• The two side wings enclose the courtyard, which opens onto the
street. The wings are anchored on all four sides by turrets that
effectively balance and frame the central dome.
• Striking features in the main entrance include ornate wooden

doors spaced between impressively crafted marble columns and
a grand cantilevered staircase that loftily skirts the walls with
eight and a half feet wide overhanging slabs of blue stone.
• beautiful wrought iron railing and rich Sienna marble wall.

Between each of the eight ribs of the dome are long, stained
glass windows decorated with the GIPR monogram, and arms
and foliage.
• The use of different coloured stone creates a striking impact.

There are carvings in white limestone contrasting with gray basalt
stone used for detailing on the dome.
Figure 161 Floor plans of CST, Mumbai • The main structure is in yellow malad stone and red sandstone
with limestone used effectively to pronounce the corner stones.
Figure 162 View of CST, Mumbai

Mayo Hall (Bangalore)

• Mayo Hall is a stone of and mortar structure built in the heart of
the city of Bangalore, India.
• The towering hall is situated next to the Public Utility Building on

Mahatma Gandhi Road. The Structure, which lies on a hill, offers
panoramic view of the Parade grounds and Ulsoor Lake on one
side and the Bangalore Race Course
• This two story building is decorated with Italian chandeliers,

ornate furniture, exquisite furnishings, architrave, pediment
windows, key stoned arches, balustrade ledges, beautiful
consoles, Greek cornices, Tuscan columns and wooden floors.
Mayo Hall is now home to numerous departments of BMP
(Bangalore Mahanagara Palike).
• When originally built, the ground floor had the Municipal Office
for the Cantonment, several public offices and law courts. The
upper floor was designed for important ‘Public meetings and
Exhibitions’.
• Inside the building had a number of exquisitely framed pictures of

the British nobility and outstanding citizens in the hall. In the first
floor there were Italian chandeliers, ornate furniture and exquisite
furnishings.
• The late Kora Chandy described the Mayo Hall as ‘one of the
most elegant public buildings of the era in Southern India.’
Several Greco-Roman elements and influences are apparent
in the building: architrave and pediment windows, key-stoned
arches, balustrade ledges, beautiful consoles, Greek cornices,
Tuscan columns, and wooden floors.
• Today Mayo Hall stands shorn of its greenery and breathing

space. Tall buildings such as the Public Utility building and the
Central Mall are its neighbours. Nearby heavy traffic generates
significant sound pollution. The future of this historical building
remains uncertain.
• There is an apprehension that many of Bangalore’s landmarks

may, as is typical of old buildings, fall into disrepair or neglect in
the future. This may be prevented, however, by an increase in
Figure 163 Mayo Hall, Bangalore communal pride and interest in history and heritage.

Mysore Palace, Mysore

• The architectural style of Mysore palace is hybrid. That is, its
design is a mixture of various schools of architecture. The palace
is made in a style collectively called Indo-Saracenic Revival style.
• The Islamic power in India by the turn of 12th century has a

brought a new style of architecture ( largely central Asian style )
to India.
• That style when merged with the native Indian styles , gave rise
to a hybrid style called Indo-Islamic style or Indo-Saracenic style.
• Mysore Palace is made in this later style. In other words , one

can see the elements of Hindu, Islamic and Gothic elements in its
design and construction.
• The domes for example is an element borrowed from the Islamic

school of architecture. There are many deep pink marble domes
projecting at the corners of the palace structure.
• To easily understand the hybrid style, take a look at the tallest

tower of the palace.
• This is a five storied tower measuring about 145 feet (45 meters)
at the center of the palace.
• This projects up from the rest of the roof-line of the palace like a
tower of a Gothic cathedral. However on top of it is a large dome,
a very typical feature of Islamic/Persian style structures. However
it is metal gilded.
• Further on top of this dome is a domed Chhatri. That is, a smaller

dome supported by slender pillars projecting up from the large
dome.
• Domed Chhatri is a typical Rajput ( Rajasthani ) architectural

Figure 164 Interior of Mysore Palace feature.

Figure 165 View of Mysore Palace
• Though each of these features are ‘cut and paste’ from various
types of architectures, on the whole this does not look like a
hotchpotch design at tall. On the other hand this hybrid tower
adds to the very character of the aesthetics.
• From the facade is the big central archway ,that is the main
entrance to the palace building. On either sides of this large
archway are two smaller arches. Further on either sides are 6
arches (3 each on either sides).
• The main archway mentioned above opens to a wide passage

(elephant gate) that finally leads to the expansive central court
• The whole superstructure of this octagonal shaped ceiling and

the pillars were specially made by the legendary Scottish foundry
Walter MacFarlane & Co. Ltd. The tinted glasses making a
peacock theme over the ceiling were brought from Belgium.
• Durbar Hall ( the Diwan-e-Am ) is a huge open hall along the

width of the palace on the first floor. The eastern side is open and
gives a panoramic view of the garden in front of the palace. The
rows of massive pillars are the special attraction of this hall. On
the south and north of the eastern portion are the galleries for the
courtiers.
• The private audience hall called Ambavilasa ( the Diwan-e-Khas )

is the most decorative of all the areas in the palace. This is where
the golden Throne of Mysore is positioned. It is unlikely that you
would find the thrown in the hall unless you happened to visit the
palace during the days of Dasara festival. Otherwise the throne is
kept in safe custody.
• There are three major exclusive temple buildings within the Old
Fort, and about 18 inside the palace heart building

NEW DELHI
WHY DELHI AS CAPITAL? Centralized location: For ease in

Administration- Proximity to all places- WEST TO EAST from Punjab
(which extended to the Now Pakistan) to Bengal (which extended to the
now Bangladesh) NORTH TO SOUTH- from Kashmir (including PoK) to
Kanyakumari.
Not an Easy Target: Difficult to Attack- Calcutta was a Port city- an easy
target for Attacks.
Vast History: Already it contained more than 7 Individual Cities within itself
and Each of them had a distinct Site, and a distinct Name- Indraprastha,
Lal Kot/Qila Rai Pithora, Kilugarhi, Siri, Tughlaqabad, Jahanpanah,
Firozabad, Mubarakabad, Dinpanah and Shahajahanabad.
Geographical position: Foothills of the Himalayas- Boundary to the Vast

Desert- Had pleasant winters as in England and Bearable Summers. Had a
lot of Greenery (the Ridge) and a Perennial source of Water (the Yamuna).
Political Reasons: Decline of the Mughals.
CIRCUMSTANCES FOR DELHI AS CAPITAL
King George V announced on 12th December 1911 that the capital be

shifted from Calcutta to Delhi when he was visiting to preside over the
Coronation Durbar- which was a public spectacle designed to emphasize
the position of the British Crown as a ‘Sovereign of the People of India’
The most Important Gesture was to Build an Impressive Capital City. The
foundation stone, in fact, was laid on the site of the Coronation Durbar
which was right next to the Ridge and had sentimental value for the British
for the armed forces had sheltered there for months during the outbreak
of the ‘Uprising of 1857’ and they had launched a counter attack from here
Design of New Capital of Delhi- Contributions of Edward
Lutyens
On December 15, 1911, King George V and Queen Mary laid the foundation
stone for New Delhi, at a Darbar under a purposely built Shah Jahani
dome. The message was clear: the British were the legitimate successors
of the Mughals and their new capital was intended to express the power
of the Raj, just as Shah Jahan’s capital had expressed the authority of the
Mughals.
Lutyens had initially designed Delhi with all the streets crossing at right
angles, much like in New York. However, Lord Hardinge told him of the dust
storms that sweep the landscape in these parts, insisting on roundabouts,
hedges and trees to break their force, giving him the plans of Rome, Paris
Figure 166 New Delhi Initial Plan and Washington to study and apply to Delhi.

Intentions of the Layout:
Lutyens’ Delhi was planned on the most spacious garden city lines with
the great avenues decorated with classical buildings with lush landscape.
The layout of Lutyens Delhi was governed by three major visual corridors,
linking the government complex with :
1) Jama Masjid 2) Indraprastha 3) Safdarjungs Tomb
Figure 167 Pattern in Settlement

(right)
Figure 168 Axis of Important struc-
ture (bottom)
Features
• The plan reflects Lutyens’ “transcendent fervour for geometric

symmetry,” which is expressed through amazing sequences of
triangles and hexagons, through sightlines and axes.
• Lutyens’ plan is also remarkable for the generous green spaces,

lawns, watercourses, flower and fruit-bearing trees, and their
integration with the parks developed around monuments.
• The attempt was to include all natural and historical wonders in

the new city.
Road Network
• Besides the major Pathway, there were extremely wide

avenues. The original design of the road network was capable of
accommodating 6000 vehicles, however these avenues, had the
potential of increasing their carriageway-the reason why the road
layout has survived till today.
• In general the road network consisted of diagonals and radials, at

Figure 169 Road Network 30 degree/ 60 degree angles to the main axis, forming triangles
and hexagons.
The Government Complex/ Administrative area
• Lutyens laid out the central administrative area of the city.
• At the heart of the city was the impressive Rashtrapati Bhawan,

located on the top of Raisina Hill. The Rajpath connects India
Gate to Rashtrapati Bhawan, while Janpath, which crosses it at a
right angle, connects South end with Connaught Place.
• The Secretariat Building, which houses various ministries of the

Government of India including Prime Minister’s Office are beside
the Rashtrapati Bhawan and were designed by Herbert Baker.
• Also designed by Baker was the Parliament House, located on

the Sansad Marg, running parallel with the Rajpath.
Figure 170 Location of Administrative
structures
The Rashtrapati Bhawan
Lutyen’s grandiose Government House (Rashtrapati Bhawan) - located

on Raisina Hill, and one of New Delhi’s major thoroughfares, Rajpath,
connects it to the Purana Qila
• Lord Hardinge chose the Raisina Hill for locating the viceroy’s
palace because: It was a well drained. Constituted of slopes and
plains between the ridge and the river.
• Its eastern and southern margins were studded with monuments

of vanished empires. A broad crescent from Shahjahanabad
and Kotla Firoz Shah, south to Tughlaqabad and the Qutub with
tombs of Safdarjung and Lodhis as well as Jantar Mantar in the
foreground could be viewed from the site.
Figure 171 View of Rashtrapathi Bhavan,

New Delh

Figure 172 Plan of Rashtrapathi Bha-

van, New Delh
The Parliament House

• The Parliament House was designed by Edwin
Lutyens and Herbert Baker.
• It was built with indigenous materials and by Indian labour and

the architecture of the building bears a close imprint of the Indian
tradition.
• The layout of fountains both inside and outside the building, the
use of Indian symbols, the “Chhajjas” and the varied forms of
Figure 173 View of Parliament House “Jali” in marble are reminders of the story of the craftsmanship
New Delhi displayed in ancient monuments and memorials.

INDIA GATE, NEW DELHI

• The monumental Roman Arch, completed in 1921 is Edwin
Lutyens adaptation of the Arc De Triomphe in Paris and stands in
a hexagonal large space with roads radiating from it.
• It is known as the War Memorial Arch and commemorates Indian

soldiers killed in World War I and other wars like the Afghan war.
• It is 138 feet high but this increased optically by the system of

steps on the roof and the utter flatness of the surrounding plain.
• Its chief character includes the fact that the arch of the main
opening although 75 feet high springs from a point less than half
way of the whole building.
• The cornice is thin and prominent- unusually so for a monument

of this kind. The mass takes the form of three irregular steps, the
topmost and deepest of which has its narrow ends interrupted by
concave recesses.
• On top of this rests a small dome, finished with a convex eye,

slightly moulded. This is a miniature adaptation of that at the
Rashtrapati Bhavan.
• The whole arch stands on a low red base. The sides are pierced
by two lesser openings, each 54 feet high and decorated with
stone pineapples above the doorways at the bottom.
• The stone yard for the construction sat over twenty-two acres
and was reputed to be the largest in the world. The stone-cutters
often came from Agra, Bharatpur and Mirzapur. The prepared
Figure 174 VIew of India Gate, Delhi material was conveyed to the site by railway carriages specifically
deployed for the purpose

Colonial Architecture – Portuguese: 1498 to 1961 - The first

Portuguese encounter with India was on 20 May 1498 when Vasco da
mGama reached Calicut on Malabar Coast. The Portuguese arrived as
merchants in the 1498 and were more driven by a Catholic missionary
zeal than gaining powers in India. The Portuguese gained a foothold in
Goa and ruled for 400 years.
Colonial Architecture – Dutch: 1605 to 1825: The Dutch entered

India with the only interests of Trade in the early 17th Century. During their
200 years in India, they colonized Surat, Bharuch, Venrula, Ahmedabad,
Malabar Coast, Kochi and Tranquebar. Apart from textiles, the items traded
in Dutch India include precious stones, indigo, and silk across India, salt
and opium in Dutch Bengal, and pepper in Dutch Malabar.
Colonial Architecture – British : 1615 to 1947 - The British arrival

in 1615 overthrew the Mughal empire. Britain reigned India for over
three hundred years and their legacy still remains through building and
infrastructure that populate their former colonies. The major cities colonized
during this period were Madras, Calcutta, Bombay, Delhi, Agra, Bankipore,
Karachi, Nagpur, Bhopal and Hyderabad.
Colonial Architecture –French: 1673 to 1954 : French expanded

their empire by colonizing coastal towns. Yanam in Andhra Pradesh,
Pondicherry, Karaikal in Tamil Nadu and Mahe in Kerala with a French
atmosphere of quiet towns around beaches. French spelling on signage
and traffic signs still remains.




List of Figures
Figure 1 Indo islamic sketch by Unda Ramumar�� 3 Figure 23 Sahn�� 13
Figure 2 Example from Moorish Architecture�� 4 Figure 24 Darwaza�� 13
Figure 3 Historical Timeline of Islam rule across globe 4 Figure 25 Hauz�� 13
Figure 4 Minaret�� 6 Figure 26 Minarets�� 13
Figure 5 Dome of Tajmahal, Delhi ��7 Figure 27 Bara Gumbad Complex, Delhi (Square tomb)
�� 14
Figure 6 Muqarnas highlighted in circle ��7
Figure 28 Tomb of Muhammad Shah Sayyid (Delhi) �� 14
Figure 7 Series of Arches from Bijapur��7
Figure 29 Ibrahim rauza�� 14
Figure 8 Typical pointed Islamic Arches��7
Figure 30 Madrasa�� 15
Figure 9 Essential parts of Mosque �� 8
Figure 31 Chaharbagh �� 15
Figure 10 Fundamental forms of Islamic Art�� 8
Figure 32 Fort consturcted during Islamic peiriod�� 16
Figure 11 Motifs�� 9
Figure 33 Development of Islamic Architecture �� 16
Figure 12 Floral pattern on domes �� 9
Figure 34 Delhi or imperial phase�� 17
Figure 13 Calligraphy inscriptions�� 9
Figure 35 Plan of Qutub complex�� 20
Figure 14 An interior of Mosque, where natural lighting
is used�� 10 Figure 36 Aerial view of Qutub complex�� 21
Figure 15 Fountain in the islamic structure�� 10 Figure 37 A bird’s-eye perspective of the Qutb complex
drawn by Gordon Sanderson, A.S.I. Conjectural resto-
Figure 16 Mosque��11 ration of the area with projected additions if completed.
�� 21
Figure 17 Sanctuary �� 12
Figure 38 plan of Quwat ul islam Mosque ��22
Figure 18 Qubba�� 12
Figure 39 BRAHMANICAL MOTIFS LIKE THEKALASA
Figure 19 Qibla & Mihrab �� 12 AND LOTUS ON PILLARS��23
Figure 20 Minbar�� 12 Figure 40 The walls and pillars are havingintrinsic

Hindu architectural motifs.��23
Figure 21 Liwan�� 12
Figure 41 Plan at different level�� 24
Figure 22 Maqsura�� 13
Figure 42 View of Qutub minar�� 24
KSSA Shanmuga Prasad M

Figure 43 Plan of Qutub complex showing different Tomb�� 36

periods of constuction.��25
Figure 67 View of Shish Gumbad��37
Figure 44 Panaromic view of qutub compelx��25
Figure 68 Front elevation of Sheesh Gumbad��37
Figure 45 Interior view of Iltumish Tomb�� 26
Figure 69 View of Sikandar Lodis tomb �� 38
Figure 46 Tomb of Sultan Iltumish (Plan)�� 26
Figure 70 Plan of Atala Masjid Jaunpur �� 41
Figure 47 Elevation view of Tomb of iltumish�� 26
Figure 71 View of Atala Masjid Jaunpur�� 41
Figure 48 Iron pillar and details (top) ��27
Figure 72 Plan of Jamma Masjid Jaunpur �� 42
Figure 49 Jali works in the opening �� 28
Figure 73 View of Jamma Masjid Jaunpur�� 42
Figure 50 Entrance arch from inside�� 28
Figure 74 View of Jamma Masjid Ahmedabad�� 44
Figure 51 View of Alai Darwaza �� 28
Figure 75 Plan of Jamma Masjid Ahmedabad�� 45
Figure 52 Alai Minar Foundation built by Alauddin Khilji
in 1311 AD�� 29 Figure 78 Interior view of Adina Mosque, Pandua ��47
Figure 53 Tomb of Ghiyas ud din tughlaq�� 29 Figure 76 Plan of Adina Mosque, Pandua��47
Figure 54 View of Tomb of Ghiyas Ud din Tughlaq�� 30 Figure 77 Interior view of Adina Mosque, Pandua (A & B
)��47
Figure 55 Front view of Khirkhi Masjid�� 31
Figure 79 Plan of Eklakhi Tomb, Pandua�� 48
Figure 57 Analysis of plan�� 31
Figure 80 Front view, Eklakhi Tomb, Pandua �� 48
Figure 56 Part Plan and elevation of Khirkhi Masjid�� 31
Figure 81 Plan of Dakhil Darwaza, Pandua �� 49
Figure 58 Plan of Khirki Masjid��32
Figure 82 View of Dakhil Darwaza, Pandua�� 49
Figure 59 View of Khirkhi Masjid from Inside��32
Figure 83 Plan, Jami Masjid Bijapur�� 50
Figure 60 Interior view - Tomb of feroz shah tughluq��33
Figure 84 View, Jami Masjid Bijapur�� 51
Figure 61 View of Tomb of Tughluq Shah��33
Figure 85 Plan of Ibrahim Rauza Bijapur��52
Figure 62 View of bridge in Lodi garden�� 34
Figure 86 View of Ibrahim Rauza Bijapur ��53
Figure 63 Master plan of Lodi Garden �� 34
Figure 87 View of Golgumbaz Bijapur�� 54
Figure 64 View - Tomb of Mubarak Shah Sayyid��35
Figure 88 Plan of Golgumbaz Bijapur��55
Figure 65 View - Tomb of Muhamad Shah Sayyid�� 36
Figure 89 Method of Arches intersecting ��55
Figure 66 Plan and Section of Mohamed Shah Sayid
Shanmuga Prasad M
KSSA
Figure 90 Interior view of dome �� 56 Figure 114 Aerial view of Jama Masjid,�� 68
Figure 91 Sectional view of Golgumbaz�� 56 Figure 115 Akbar’s Seating�� 69
Figure 92 Entrance Jami Masjid, Gulbarga �� 58 Figure 116 Diwan - I khas, Fatephur Sikri�� 69
Figure 93 Aerial View of Jami Masjid, Gulbarga�� 58 Figure 117 Detail of bracket in Diwan - i - Khaas��70
Figure 94 View of Jami Masjid, Gulbarga�� 58 Figure 118 Section and plan of Diwan-i-khaas ��70
Figure 95 View of Rangeen Mahal, Bidar fort�� 59 Figure 119 Key plan Jammi Masjid�� 71
Figure 96 Satellite image of Bidar fort �� 59 Figure 120 Brackets - Tomb of Salim Chisti �� 71
Figure 97 Quaranic inscription from Madrasa�� 60 Figure 121 Corrdior with stone jali - Tomb of Salim Chisti
�� 71
Figure 98 Views of Madrasa�� 60
Figure 122 Front side view - Tomb of Salim Chisti,
Figure 99 Pietra Dura�� 61 Fatephur Sikri �� 71
Figure 100 Hasht Bihist�� 62 Figure 123 Plan of Jodha Bai Palace ��72
Figure 101 Typical Plan of Charbagh�� 62 Figure 124 Interior Details��72
Figure 102 View of Charbagh�� 62 Figure 125 Front view of Jodha Bai palace��72
Figure 103 Aerial view of Humayuns Tomb�� 63 Figure 126 Plan of Birbals House��73
Figure 104 Plan of Humayun’s Tomb �� 63 Figure 127 View of Birbals House��73
Figure 105 View of Humayuns Tomb�� 64 Figure 128 Inlaid panels, Akbar’s Tomb ��74
Figure 107 Interior view�� 64 Figure 129 Interior view, Akbar’s Tomb��74
Figure 106 View of Humayuns Tomb �� 64 Figure 130 View of Akbar’s Tomb��74
Figure 108 Panaromic view of Fatephur sikri �� 65 Figure 131 Tajmahal Complex Master plan��75
Figure 109 Plan of Fatephur Sikri complex�� 66 Figure 132 Tajmahal Complex��76
Figure 110 Panaromic view�� 66 Figure 133 Tajmahal and its parts��76
Figure 111 Buland Darwaza, Fatephur Sikri��67 Figure 134 Aerial view of Tajmahal ��77
Figure 112 Front view of Buland Darwaza, Fatephur Figure 135 Concepts of Tajmahal��78

Sikri��67
Figure 136 Central tank of the Taj Mahal representing
Figure 113 Front view of Jama Masjid, �� 68 the “celestial pool of abundance”��79
KSSA Shanmuga Prasad M

Figure 137 Plan of Taj Gardens��79 hall�� 91
Figure 138 The dome with inlay work�� 80 Figure 160 VIew of Town hall in 1865 �� 91
Figure 140 Finial of the Dome�� 80 Figure 161 Floor plans of CST, Mumbai �� 92
Figure 139 Section of Tajmahal, highlighting the Dome Figure 162 View of CST, Mumbai�� 92
shells�� 80
Figure 163 Mayo Hall, Bangalore�� 93
Figure 141 Taj Mahal “Chattris” flank the main dome
from four sides�� 81 Figure 164 Interior of Mysore Palace �� 94
Figure 142 Four Minarets in the complex�� 81 Figure 165 View of Mysore Palace�� 95
Figure 143 The Taj Mahal Iwan with an ornate “Pishtaq” Figure 166 New Delhi Initial Plan �� 96
�� 81
Figure 167 Pattern in Settlement (right) ��97
Figure 144 Guldastas with gold finials�� 82
Figure 168 Axis of Important structure (bottom) ��97
Figure 145 Plan of Tomb�� 82
Figure 169 Road Network��97
Figure 146 Plan of Redfort �� 83
Figure 170 Location of Administrative structures �� 98
Figure 147 View of Redfort�� 84
Figure 171 View of Rashtrapathi Bhavan, New Delh�� 98
Figure 148 View of Lahore Gate�� 84
Figure 172 Plan of Rashtrapathi Bhavan, New Delh�� 99
Figure 149 View of Diwan-i-Khaas �� 85
Figure 173 View of Parliament House New Delhi�� 99
Figure 150 View of Diwan-i-am�� 85
Figure 174 VIew of India Gate, Delhi �� 100
Figure 151 View of Moti Masjid �� 85
Figure 152 View of Mughul Gardens�� 86
Figure 153 Example of Mughul Style Gardens from Taj

Garden�� 86
Figure 154 View of Meena Bazaar at Lahore Gate��87
Figure 155 A Cartoon depiction of Bangalore club by

Ms. Geeta Pandey�� 88
Figure 156 View of St. Pauls Cathedral, Kolkata �� 89
Figure 157 Plan of Rajbhavan, Kolkata�� 90
Figure 158 Front view of RajBhavan, Kolkata�� 90
Figure 159 Roman- Doric architectural column, in Town

Shanmuga Prasad M
KSSA
09ARC4.4
USN I I I I I I I I I I I
Fourth Semester B.Arch. Degree Examination, June/July 2013
History of Architecture - III
Time: 3 hrs. Max. Marks: 100
Note: 1. Answer any FIVEfull questions.

2. Draw relevant sketches.
1 a. What is meant by imperial style with respect to Islamic architecture in India? (05 Marks)
b. State the reasons behind the construction of Qutb Minar. Sketch the plan and the view of
Qutb Minar. Briefly state the design features. (15 Marks)
2 a. What is a squinch? Explain its purpose. (05 Marks)

b. Explain how the Islamic builders were able to construct a dome over a square structure,
taking the example of Tomb of Iltumish. (15 Marks)
3 a. Why is Alai Darwaza considered as a truly Islamic structure? (05 Marks)

b. Sketch the plan and front elevation of Alai Darwaza. (IS Marks)
4 a. What is meant by Provincial style? (05 Marks)

b. State the characteristics of Jaunpur style. Sketch the elevation of the western Liwan of Atala
Masjid, Jaun pur. (IS Marks)
5 a. State the special features of Ahmedabad style. (05 Marks)

b. Sketch and explain the salient features of Jami Masjid, Ahmedabad. (15 Marks)
6 a. Explain the concept of 'Tomb in a garden' during the Moghul period. (05 Marks)
b. Sketch the layout and front elevation ofHumayun's tomb. (15 Marks)
7 a. Mention the salient features of the layout of Fatehpur Sikri. (10 Marks)
b. Sketch and explain the salient features of Buland Darwaza. (10 Marks)
£
8 a. Briefly state the approach taken by Lutyens and Baker to the design of noted buildings in
o New Delhi. (10 Marks)
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b. Highlight the salient features of the layout of New Delhi by Lutyens. (10 Marks)
o
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E
*****
09ARC4.4
USN I I I I I I I I I I I
Fourth Semester B.Arch. Degree Examination, December 2012
Time: 3 hrs. Max. Marks: 100

2. Draw neat sketches.
1 a. Explain with neat sketches the Quwwat - uf - Islam mosque and its extension by various
rulers? (10 Marks)
b. Explain with neat sketches Qutb Minar, Delhi. (JO Marks)
2 What are the essential parts of an Indian Mosque? Explain with neat sketches, mentioning the
significance of each part. (20 Marks)
3 What are the special features of Jami Masjid of Ahmedabad? Explain with neat sketches.
(20 Marks)
4 a. Explain the tomb of Ghias - ud - din Tughlaq, highlighting its salient architectural features,
with neat sketches. (10 Marks)
b. Explain with neat sketches, the 'Atala Masjid' at Jaunpur. (10 Marks)
5 Explain with neat sketches, the Rashtrapati Bhavan at Delhi. (20 Marks)
6 a. Brief1y explain with neat sketches, the Khirki Masjid, Delhi. (10 Marks)
b. Explain with neat sketches, the Tomb in Ibrahim Rauza, complex at Bijapur in terms of
plan, construction and aesthetic features. (10 Marks)
7 a. How did the geographical conditions influence architecture of Bengal? (10 Marks)
b. Explain with neat sketches, the Eklakhi Tomb. (10 Marks)
8 Write short notes with neat sketches for the following:

a. Buland Darwaza,
b. Inlay work of Mug hal architecture.
c. Bombay Town Hall.
d. Alai Darwaza's decorative features. (20 Marks)
<l.l
o
z
c
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1::
o
0..
E
*****
USN I I I I I I I I I I I 09ARC4.4
Fourth Semester B.Arch. Degree Examination, June 2012

Time: 3 hI'S. Max. Marks:IOO
Note: 1. Answer any FIVE full questions.

2. Draw neat and reLevant sketches.
1 a. Illustrate and explain the architectural character and construction methods employed in
building the Maqsura screen at Qutb Mosque, Delhi by the Slave Kings. (10 Marks)
b. With suitable sketches, explain the Hindu technique of constructing Muslim Ogee arch and
shallow dome at Delhi. (10 Marks)
2 a. What is a squinch? Explain its function and explain the design advantage of a squinch over
a regu lar arch with sketches. (10 Marks)
b. Illustrate and explain the typical characteristic design features ofTughlaqan buildings.
(10 Marks)
3 a. With relevant sketches, enumerate the contribution of Lodis in developing the lomb
architecture at Delhi. (10 Marks)
b. With relevant sketches. explain the architectural character and improvements carried out by
Sayyids in developing the Octagonal tombs at Delhi. (10 Marks)
4 a. Illustrate and explain the design concept of Maqssura pylon of Jounpur Mosques. (10 Marks)
b. Illustrate and explain the arch itectural design features of Eklakh i tomb, Gaur. (10 Marks)
5 a. Sketch the layout plan of Ibrahim Rauza, Bijapur and explain the arrangement of various
parts. (10 Marks)
b. Illustrate and explain, how various elements of Hindu and Jain architecture and integrated
with the functional requirements of a Mosque at Jami Masjid, Ahmedabad. (10 Marks)
6 a. With suitable sketches, explain the design features ofthe tomb of Salim Chisti. (10 Marks)
b. With suitable sketches, explain the design features of the Bulund Darwaza. (10 Marks)
7 With relevant sketches. compare the architectural design features of Akbar's tomb. Agra with
that of Humayun 's tomb at Old Delhi. (20 Marks)
o
15
z 8 a. Sketch the layout plan of New Delhi and explain its planning principles. (10 Marks)
C b. Illustrate and explain. how the various architectural elements of different styles and periods
'"
1::
are integrated in the design or Rashtrapathi Bhavan. (10 Marks)
8.
.§
*****
USN I I I I I I I I I I I 09ARC4.4
Fourth Semester B. Arch. Degree Examination, June/July 2011

Il) Time: 3 hrs. Max. Marks: 100

.:!
~Q.
Cii
E 2. Draw relevant sketches.
~
1 Explain with sketches the design features of Qutb Minar Delhi. (20 Marks)
2 Briefly explain the following with sketches.

a. Buland Darawaza
b. Ali Darwaza. (20 Marks)
3 Explain with neat sketches :

a. Atala Masjid, Jaunpur
b. Khirki Masjid, Delhi. (20 Marks)
4 Explain with sketches the salient features of Taj Mahal, Agra. (20 Marks)
5 Explain Gol Gumbaz, Bijapur with sketches. (20 Marks)
6 Write short note on any four:

a. Saiyyid and Lodi Dynasty
b. Imperial style
c. Provincial style of Bengal
d. Mihrat
e. Town hall, Bombay. (20 Marks)
7 Explain the salient features of New Delhi with layout plan. (20 Marks)
..
iI)
(5
z 8 Explain with sketches St. Paul's Cathedral Kolkata. (20 Marks)
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ARC 4.4
Fourth Semester B. Arch. Degree Examination, May/June 2010

Time: 3 hrs. Max. Marks:lOO
Note: 1. Answer any Five full questions.

2. Draw relevant sketches.
1 a. Sketch the plans (of various stages) and view of Qutb Minar. (15 Marks)
b. Mention the salient features of Qutb Minar. (OSMarks)
2 a. What are the salient features of Tughlaq style? (OSMarks)

b. With the help of sketches, explain the salient features ofKhirki Masjid. (IS Marks)
3 a. Name the two types of tombs built by the Sayyid and Lodhi dynasties. (04 Marks)
b. Sketch one noted example for each type. (16 Marks)
4 a. What are the salient features of Jaunpur style? (OSMarks)

b. Sketch the plan and view of the Western diwan of Atala Masjid, Jaunpur. (15 Marks)
5 a. What is a rauza? (OSMarks)

b. Explain the salient features of Ibrahim Rauza, Bijapur with the help of sketches. (IS Marks)
6 With the help of sketches, explain the salient features of Humayun's tomb. (20 Marks)
7 a. Why is Akbar's tomb not a typical Islamic tomb? (OSMarks)

b. Explain the salient features of Akbar's tomb, with the help of sketches. (15 Marks)
8 Explain the salient features of St. Paul's Cathedral. Kolkota (Calcutta), with the help of
sketches. (20 Marks)
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History of Architecture - III - by Shanmuga Sir

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History of Architecture - III - 15ARC 3.

HISTORY OF ARCHITECTURE - III

OBJECTIVE: To provide an introduction to the culture and architecture of Islamic and

5. Provincial style – II – Ahmedabad and Bijapur – Architectural characteristicsa)Monumental

7. Moghul Architecture-I –Architectural Character. a)Monumental arch: Humayun’s tomb, Fatehpursikri

Shanmuga Prasad M KSSA (1)

NOTE: The following are for progressive marks

(2) KSSA Shanmuga Prasad M

List of Monuments Mahmud Gawan Madrasa, Bidar............................60

QUTUB COMPLEX................................................20 MUGHUL ARCHITECTURE...................................61

QUWWAT-UL-ISLAM (Might of Islam)....................22 MOGHUL CONCEPTS IN ARCHITECTURE.........61

QUTUB MINAR.......................................................24 HUMAYUN TOMB, DELHI......................................63

TOMB OF ILTUTMISH...........................................25 FATEHPURSIKRI:..................................................65

IRON PILLAR..........................................................27 BULAND DARWAZA:..............................................67

IQUWWAT-UL-ISLAM MOSQUE : EXTENSION BY JAMI MASJID, Fatephur Sikri.................................68

EKLAKHI TOMB, PANDUA.....................................48 Mayo Hall (Bangalore)............................................93

DAKHIL DARWAZA, GAUR....................................49 Mysore Palace, Mysore...........................................94

JAMI MASJID, BIJAPUR........................................50 NEW DELHI............................................................96

IBRAHIM RAUZA, BIJAPUR..................................52 Design of New Capital of Delhi- Contributions of

Hence the term encompasses religious buildings as well as secular ones,

Islamic architecture can be influenced by -chronology-geography-building

How did Islamic Architecture begin?

Transformation of buildings used by the people before the Muslims took

Interpretation of Islamic style

•Figurative forms are rarely depicted in decorative art as Allah’s work is

•The use of calligraphy is actually means of education and reminder as

•Use of impressive forms such as large domes, towering minarets and

Influences in Islamic Architecture

•Indo Islamic architecture

Figure 3 Historical Timeline of Islam rule across globe

(4) KSSA Shanmuga Prasad M

The reasons that led to the invasions

The Battle of Tarain (1191-1192)

Shanmuga Prasad M KSSA (5)

Muhammad Ghori. This invasion was directed against the Gahadavala

• In Muslim architectural design, the phrase “architecture of the

• The concept of “weightlessness” is also important in Islamic

Elements of Islamic Architecture

A minaret is a feature of Islamic architecture and is the place from where

(6) KSSA Shanmuga Prasad M

Focal Point and covering the main prayer hall

“The dome appears to be a general symbol, signifying power, the royal

They are used for domes, and especially half-domes in entrances

The earliest mosques were open courtyards surrounded by arcades,

Figure 7 Series of Arches from Bijapur

Figure 8 Typical pointed Islamic Arches

Shanmuga Prasad M KSSA (7)

Figure 9 Essential parts of Mosque

3 Fundamental forms of Islamic Art

In the Indian subcontinent, some northern parts of which conquered by the

(8) KSSA Shanmuga Prasad M

Motifs (geometry pattern)

Plant motifs and patterns were used to decorate architecture and objects

These patterns exemplify the Islamic interest in repetition, balance,

The integration of geometry with such optical effects as the balancing of

Figure 12 Floral pattern on domes

The proportion s of letter are all governed by mathematics

Shanmuga Prasad M KSSA (9)

In Islamic architecture, light plays a significant role in shaping the interiors

Islamic architecture is defined, in part, by an emphasis on transforming

Water is also used for cleansing in Islamic architecture, with ablution

(10) KSSA Shanmuga Prasad M

The principle building types include: