Professional Documents
Culture Documents
Unit 5
Unit 5
A. When there was indigenous style prevailing in the areas, where the
local artisans produced finest temples, there too developed elegant
mosques and tombs.
B. When there was no local art tradition there the style was more
distinctive, foreign craftsmen found their way to the court bringing the
architectural tradition of their local land.
The majority of Buildings were grouped around the malda district of the province of Bengal.
• Here near the junction of the two rivers the ganges and Mahananda the life of the city was concentrated.
Now these areas are covered by vegetation or covered by silt and the swamp. In this place ruins of palaces,
fortresses, citadels ,causeways and embankments ,triumphal archways, mosques and tombs are found.
• Earliest was of Lakhnauti the seat of Hindu dynasties and later the two capitals of Mohameddan invaders-
Gaur and Pandua.
• The Islamic art of Bengal is divided into three phases, first two preliminary stages , third ultimate
development to a specific style.
1) The period extending from first conquest of country where the capital was at Gaur until it was moved to
Pandua. Ad 1200-1340
2)from the date when it was established to Pandua until the building of Eklaki tomb.1340-1430
3)during the period of retransfer of the capital to Gaur until the country was acquired by Moghuls 1442-1576
ADINA MOSQUE, PANDUA - BENGAL
The important example of the Bengal style is from the
second stage. During this stage monuments which were
original in design and construction evolved confirming to
their own individual ideals.
Along each side of the nave were the five tall pointed arches which leads to the aisles on
either sides.
Though it is roofless now , at one time it was covered by a superb pointed arch vault. The
whole structure is being composed of stupendous mass of brick work several feet thick and
would have collapsed due to its massive weight .
On the western wall, three outstanding elements , a central mihrab, another supplement to its
side and a mimbar or pulpit is seen. In the space above those on each side carved in a relief
is a large rosette or full blown lotus standing out crisp from the plain surfaces of the wall,
while high up is an interlaced ornamental device boldy produced so as to be seen clearly
from the ground.
The central Mihrab is in the form of trefoil arched alcove contained within a rectangular frame
work above which raise several tiers of mouldings delicately inscribed with arabesques and
calligraphic texts. The mihrab shows clearly the aesthetic conditions which existed during that
period.
• The recess has been decorated with Islamic motif of hanging lamp of light.
ADINA MOSQUE, PANDUA - BENGAL
• IMPORTANT FEATURES
MATERIAL
The drop arch which has its center below the radii is being
used through out in this mosques during the time parallel
to the Gothic decorated period.
• It is a triumphal arch, or saluting gateway aligned to face the citadel of Gaur, produced to the order
of Barbak Shah(1459-74) and its date would be 1465.
Measuring 75 feet across its front and 113 feet from front to back , it is 60 feet in height with an
arched passage carried through its centre which is 13 feet wide, 24 feet high and having guard rooms
opening on each side.
Dakhil Darwaza comprised of a great mass of masonry , but its bulk was broken up by projections
and recesses.
DAKHIL DARWAZA, GAUR - BENGAL
• Thrown out from each corner is the rounded bastion , between which and the central
opening is a pylon like buttress one on each side of the frontage and guarding the portal.
• The two pylons in front are connected with each other by an arch way, thus providing a
deep and wide portico containing an arched opening.
• The circular bastions at the corners are built to taper and is surmounted by cupolas.
Most of the structure is fallen although it was previously resolved into a picturesque
grouping of pyramidal roofs, domes and similar features forming an attractive skyline.
The alteration of the façade with buttresses and bastions produces striking contrasts of
light and shade and these surfaces are enriched by ornamentation in terracotta
consisting of motifs such as flaming suns, rosettes, hanging lamps, decorative niches and
other patterns judiciously distributed.
The surface treatment is the influence of the country where the ingenious surface
treatment is obtained by a system of vertical and upright lines and mouldings thus
presenting a pattern of rectangles.
MOSQUES OF BENGAL
After the Eklaki tomb , the following were the characteristics of the mosques in Bengal.
The traditional courtyard was discarded and closed or covered hall was adopted, a
change necessitated by the continuous rains of Bengal.
They are rectangular in plan usually oblong , their exteriors somewhat low façade with
a curved cornice above and a range of pointed arches below, sometimes as many as
ten to twelve of openings extending along the front of the building with two or three
openings on the shorter side.
At each corner a turret projects, generally octagonal , terminating in a finial.
• The walls are spaced into rectangular panels often enclosing ornamental niches.
• Patterns were carved around doorways and in the spandrels giving the whole a rich
and variegated texture.
The interior has pointed arches across the bays supported by either brick or stone
piers , the latter taken from existing Hindu structures. Each of these bays was roofed
by cupolas or by small hemispherical domes and the circular base is supported on a
pendentive of bricks at an angle resembling a simple form of stalactite
vaulting.(muqarnas)
On the inner surface of the western wall are a series of mihrabs sunk , the largest
being the most important and opposite to the central bay and all elaborately
decorated with carving.
MOSQUES OF BENGAL
Chota Sona Masjid occupied a rectangle of 85 feet x 52.5 feet and its 15 cupolas supported by 8
stone columns on the Bengali pointed arches. This mosque and Bara sona masjid were roofed
by the Bengali roof like cupola which was gllitering and hence got its name.
• QADAM RASUL MOSQUE
A substantial structure with three arches supported by excessive short pillars characteristic of
Bengal style.
The treatment of Qadam rasul mosque predicts the decline. The wall surfaces are divided into
monotonous panels. The curved cornice has lost its original charm and they became flaccid and
formless.
GUJARAT 1300 AD - 1572 AD
PROVINCIAL/REGIONAL STYLE - GUJARAT
• The two reasons why the Indo-Islamic architecture in this part of the country is pre-eminent-
1) The continuous patraonage and building ambition of the rulers .
2) Profound artistic traditions of the inhabitants.
• For centuries the craftsmen were employed to build the brahmanical and Jaina temples which
adorn this region, so that architecture became part of their consciousness.
• They began to produce the buildings under muslim overlords with the same kind of aesthetic
and constructive sense as they built before. Inspite of their
restraint they expressed themselves more abundantly. Thus the provincial style emerged in
Gujarat is the most Indigenous in India.
• So the position of the artisans here were somewhat different from else where in the sense, they
were more resourceful, more fertile and vitally artistic .
Islamic style of Gujarat span over a period of 250 years , from the 14th century , when Khalji
sultans of Delhi appointed their governors in Gujarat till the decline of the independant Ahmed
Shahi sultans in the last half of 16th century and till when it was absorbed by mughuls.
PROVINCIAL/REGIONAL STYLE - GUJARAT
THE STYLE MAY BE DIVIDED INTO 3 PERIODS.
1) The period when it had charm and considerable dignity but still in experiment and
transitional stage., It is a period of preparation-Ex- Jami Masjid ,Cambay.
2) This period is marked by increased assurance and directional authority prevailed in first
half of fifteenth century.– Ex Jami Masjid at Ahmedabad.
3) This period occupies the latter half of fifteenth century, and also in sixteenth century ,
preserving some of the freshness of previous manifestations at the same time attaining
perfect architectural achievement. – Begarha period as ruled by the king “ Beharga”Ex
Jami Masjid at Champanir .
JAMI MASJID AT CAMBAY, GUJARAT
• By the appearance of the mosque one can say that the local builders /craftsmen who built this
mosque were directed by a group of artisans from Delhi. This is shown from the fact , that the
sanctuary is not an open pillared hall as that of the mosque at Broach, but rather a screen of
arches as that of Qutb Mosque at Delhi.
Moreover from the shape and disposition of the arches and the alternative broad and narrow
course of masonry, proclaim that the creators were not only trained in Delhi tradition testifying
their indigenous nature in craftsmen ship.
JAMI MASJID AT CAMBAY, GUJARAT
The bays of the sanctuary pillars
are spanned by means of
engrailed arches similar to that of
the arches found in the sanctuary
screen of Arhai- Din-ka Jhompra.
This engrailed arch of temple
extraction , later was to became a
regular feature between the pillars
within the central openings of
sanctuary facades of later
mosques.
• Ahmedabad was built on the
banks of Sabarmathi river by
Ahmed shah I where his citadel
was found. From the citadel
towards the city he created a
grand processional route,
connecting the citadel and the
Mosqus of Jami Masjid
Ahmedabad on its northern side.
• Across this route he created a
stately triumphal arch known as
Theen Darwaza or triple gateway,
to constitute the main entrance
to the outer courtyard of the
citadel. From that he could view
his court.
TEEN DARWAZA, GUJARAT
It contains three openings resembling the triple arch ways.
• Teen darwaza is 37 feet in height.
• It is 80 feet wide and 45 feet deep in Teen Darwaza.
All the three of them are of the same height , if the composition with the arches at the sides
were much narrower than the central one , the composition would have been a pleasing
one.
The graceful shape of the arches, the parapet relieved by the oriel windows on brackets and
rich carving of the buttresses projecting in front of each pier. The whole contribution is the
shape of the pointed arches which are seen at their best when compared to the whole of
India.
JAMI MASJID AHMEDABAD, GUJARAT
Jami masjid in Ahmedabad was finished in 1423 AD and can be considered as water mark in
mosque design of western India.
The architectural effect of the mosque is concentrated in the sanctuary, especially in its façade.
• The courtyard measures 255 feet by 220 feet.
JAMI MASJID AHMEDABAD,
GUJARAT
FAÇADE OF THE SANCTUARY
In the façade design the craftsmen have
designed a screen of arches of three in
number.
• In the interior of this façade lies the bays
of slender pillared columns. This façade
of arches is placed in juxtaposition in
arrangement with the colonnade at the
back.
The façade of arches with their solidness
contrast with the airy colonnaded at the
back. The result is the combination of
solid and void, interplay of light and
shade among its frontal columns .
The three arches are well balanced in its
proportion , the large central archway
accentuated and supported by means of
richly moulded buttresses of the minarets
whose upperparts have now disappeared.
An engrailed arch spans the front two
columns with the central archway
fancifully and lightly.
JAMI MASJID AHMEDABAD, GUJARAT
INTERIOR
Interior of the mosque take the form of hypostyle hall, 210 feet long and 95 feet deep
and consists of some 300 slender pillars and their intercolumnation is less than 5 feet.
The nave is composed of two pillared galleries one above the other, the whole structure
being supported by the tall columns of the hall below.
• These galleries enclose a wide central shaft of “rotunda” except that it is not circular in
plan the lower storey being a square and the upperstorey an octagon.
JAMI MASJID AHMEDABAD, GUJARAT
JAMI MASJID AHMEDABAD, GUJARAT
INTERIOR
• The galleries are found on all three sides of then rotunda except on the front side. At each stage
of the gallery there is an overlooking balcony facing the front.
• Around the exterior of these pillared verandahs or loggias facing the terrace at each level, and in
the inner walls of these loggias are perforated screens through which light enters the galleries
illuminating them.
• The arrangement is like no direct light enters the galleries and only diffused light fills the whole
of galleries.
• There for the central compartment of nave or rotunda rises to three storeys. There is a hanging
gallery or zenana in the northern transept.
JAMI MASJID AHMEDABAD, GUJARAT
SOURCES OF THE GALLERIES OF NAVE
1) From Hindu temple architecture with innovation of rotunda in the centre, and certain
alterations made to the mandapa.
2) From the stepped wells or wavs which is found in and around this region
3) Certain temples have greater height to admit light inside the building as seen in certain
examples of earlier temple architecture.
JAMI MASJID, CHAMPANIR - GUJARAT
Champanir is situated 78 miles south east from Ahmedabad. The most striking example is Jami
masjid.
It is not excessively large ,it occupies the three quarter of the area of the Jami Masjid,a rectangle of
270’ x 180’, half the space occupied by the sanctuary, the courtyard is surrounded by cloisters of
one aisle deep.
Besides the entrance portal one in the north,
south and west, the western wall at the back of the
qibla is adorned with beautifully
moulded buttresses.
JAMI MASJID, CHAMPANIR
- GUJARAT
The sanctuary façade is of enclosed kind with five
archways , the one large arch way in the centre is
flanked by two minarets on either side , the minarets are
ornamented with mouldings on the lower storey and
unadorned in the upper storeys.
The dominating feature of the whole is the upperstructure of the nave which mounts upto three
storeys. It is similar to Jami masjid Ahmedabad, but more of the temple influence in the
composition.
The central portion of the nave has a “ rotunda” to be covered by a dome above which is three
storeyed in height.
The first floor has pillared galleries. The opening enclosing the rotunda in this floor is in the form
of a latin cross with extremely small arms.
• The first floor gallery is in line with the terrace of the rest of the sanctuary and used for
circumambulation.
The second floor entirely is confirmed by the limits of the latin cross. In this floor the balcony
enclosing the rotunda takes the form of an octagon. The gallery of the second floor is
communicating the oriel window above the arch way. Above the second floor the dome directly
rises above.
Around each of the balconies are stone seats and as they are separated from the space below
provide retreat for peaceful meditation.
MALWA 1405 AD – 1569 AD
REIONAL/PROVINCIAL STYLE - MALWA
Main regions-
DHARand MANDU
From east-
northeast From south
JAHAZ MAHAL, MALWA
Represents the classical phase of building art at
Mandu
GULBARGA -1347-1422
GOLCONDA -1512-1687
Represents the form of building art which began when the area was first
occupied by the delhi sultanate in the last years of the 13th century. And
continued until it was incorporated into the mughal empire in the 17th century, A
period of more than 350 years
The architecture produced during the Muslim rule evolved in a manner rather
different from the other provinces.
Everywhere else the ultimate result was a fusion of the original temple architecture
with the building ideals of Islam.
PROVINCIAL/REGIONAL STYLE – DECCAN
FEATURES
In stark contrast the rulers of the deccan seem to have ignored to a very large extent the
existing styles of the area that they occupied
Fundatamentaly it was a fusion of two styles FROM DELHI and FROM PERSIA
DELHI-
PERSIA-
PHASE2 - BIDAR 1422- 1512 Capital - BAHAMANI KINGS AND BARID SHAHI KINGS
• 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.
EXAMPLES - JAMI MASJID, SOLA KHUMBA-16 PILLARS, MAHMUD GAWAN MADRASSA, TOMB OF ALI
BARID
OTHER MOSQUES - Jami Masjid, Mecca Mosque, Mushirabad Mosque, Toli Masjid
JAMI MASJID, GULBARGA– DECCAN
Completed in 1367,this is a rare example of a mosque with no open courtyard.
This might be because the builder-rafi was not of Indian origin,but of north persia
Domed
chamber,
Details of
northwestern
squinch Domed
chamber,
interior
ROYAL TOMBS, GULBARGA - DECCAN
The remaining monuments in GULBARGAillustrating the bahamani period are the ROYAL
TOMBS of the rulers seven in number and are in two separate groups, their construction
covering nearly half a century
This consisted in building the tomb in a double form of two mortuary chambers conjoined
,the one containing the tomb of the king and others of his family
TOMB OF FIROZ SHAH BAHMANI TOMB OF MUJAHID SHAH TOMB OF DAUD SHAH
PHASE 2 BIDAR - DECCAN
The capital of the Bahmani empire was shifted 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 is isolated for better defense 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.
The chief architectural productions representing
the later BAHAMANI regime as this prevailed at bidar,
consists of the FORTRESS and its PALACES,TWO MOSQUES
within the fort ,a MADRASSA or college and the ROYAL
•Though the palaces are more fanciful
TOMBS.
The fortress at bidar is larger than the one at in their style and vivacious in their
gulbarga,and even more remarkable in some of its appearance,the mosques are plain and
constructional features. sombre almost to austerity
MAHMUD GAWAN MADRASA, BIDAR- DECCAN
A building so exotic in character is the MADRASSA OR
COLLEGE.
Founded in 1472 by one who figured prominently in the
history of the bahamani period –MAHMUD GAWAN, the
minister of Mahmud shah III.
As a patron of learning he established this academic
institution in the country, complete with:
Lecture Halls, Library, Mosque, Ample accommodation for
both the professor and the students
PLANNING
Rectangular space of 205 feetX180 feet
Conventional quadrangle in the centre. Open halls and
chambers surround it on all its four sides
EXTERIOR
In the middle of three of these sides are prominent semi
octagonal projections rising up to a considerable height .
elevation is in 3 stories of arched window openings and
there is a wide parapet over all.
Surmounted by TARTAR DOMES
While the fourth side which is the main façade contains
the entrance and has two tall minars in 3 stages, one at
each corner.
MAHMUD GAWAN MADRASA, BIDAR- DECCAN
DECORATION
The surface treatment is wholly composed of colour produced by Iwan and room at
brilliantly glazed tiles. three levels
Every part of the façade being overlaid with patterns. Green ,yellow,
and white are the predominate colours
Chiefly in form of floral devices or conventional arabesque.
Decorative inscriptions was used on the broad parapet.
Eastern view
INTERIORS
Owing to the increased height of the dome, it was found necessary
to cover the mortuary chamber at a suitable height with a curved
ceiling ,leaving the interior of the dome as a great unused void.
MUGHAL ARCHITECTURE
MUGHAL ARCHITECTURE
Mughal Empire was established by Babur in 1526.
The Mughal era defines the most sumptuous phase of Islamic Architecture in India, due in
part to the wealth and the settled political conditions of the empire and due to the
aesthetic nature of the emperors.
Mughal Architecture flourished under the first five ‘Great Mughals’ of the dynasty, Babur,
Humayun, Akbar, Jahangir and Shah Jahan and declined after the rule of Aurangzeb.
The two most prolific builders of the dynasty were Akbar (1556-1605) and his grandson
Shah Jahan (1627-1658), with a transitional phase observed under Jahangir (1605-1627).
The style can be broadly divided into two phases, an earlier phase when the buildings were
principally constructed of red sandstone during the reign of Akbar and a later phase when
the buildings were constructed principally of marble under the reign of Shah Jahan.
Due to the centralized political structure of the empire, the Mughal style of architecture
had no provincial or regional manifestations, but was an imperial style only moderately
affected by local influences.
The major influences seen in the Mughal style come from Persia and from the indigenous
styles of Gujarat and Rajasthan.
BABUR (1526 – 1531)
BABUR (1526 – 1531) ,MUGHAL ARCHITECTURE
The foundation of the Mughal Empire was established by Al-Din Muhammad who was also
known as Babur (“The Tiger”).
Defeated Ibrahim Shah Lodi in the First War of Panipat and established the Mughal Empire.
The Empire Babur founded was a sophisticated civilization based on religious toleration.
The surviving structural productions of this emperor are of little more consequence than
those of his father.
For owing to the successes of the Afghan usurper, Sher Shah Sur, Humayun was driven
from the throne to spend the long period of fifteen years in exile, mainly in Persian
territory.
Yet two mosques remain of the buildings erected during his reign, one in a ruinous
condition at Agra. and the other at Fatehabad, Hissar, but neither of these is of a
character that could have effected in any way the course of the style.
The Mughul building art did not reveal themselves within his lifetime, but matured after his
death, and are found in this monarch's mausoleum, the earliest building of note to be
erected during the Mughul rule.
AKBAR (1556 - I605)
HUMAYUN’S TOMB
The first Mughal building of note to be constructed in India.
Built in A.D. 1564 by Haji Begum, wife of the Emperor Humayun, eight years after his death
in Delhi in the vicinity of the city of Din Panah founded by the emperor.
The mausoleum is placed in a spacious, square park like enclosure, providing seclusion
and securing an appropriate setting.
HUMAYUN’S TOMB
An imposing gateway is introduced in the
middle of each of the four sides of the
enclosure, the western being the main
entrance with an endowed archway which
frames the view of the mausoleum.
All four sides are alike in elevation, with each face consisting of a central rectangular fronton
containing an arched recess and flanked by wings each relieved by a similar but smaller arched
alcove.
Over the whole hangs the marble dome with a height of 140’ with a cluster of pillared kiosks with
cupola roofs on each side.
The interior of the tomb chamber resolves into a group of compartments, the largest one in the centre
containing the cenotaph of the emperor, with a smaller one at each angle for the members of his
family. Each room is octagonal in plan and they are connected to one another with diagonal
passages.
Clerestory windows with perforated screens fitted into the arched recesses of the facades light the
interior.
HUMAYUN’S TOMB
The architectural style can be said to be a synthesis of the Persian and the Indian, the Persian
influence seen in such elements as the arched alcove in the façade and the shape of the dome
along with the arrangement of the rooms in the interior, while the Indian influence can be seen in
the kiosks and cupolas.
The architectural effect of the structure is achieved by the logical relation of the plan to the design
of the interior and exterior, the perfection of the proportion and relative positions of the various
elements, and the use of red sandstone with white marble for emphasis.
The dome is the first example in India of the double dome i.e. a dome with two shells, an outer one
supporting the marble casing and giving the lofty shape from the exterior and an inner one built
lower to create a better proportion with the space below.
AGRA FORT
The first example to be produced being the fortress-palace of
Agra, one of several large fortified residences which this emperor
caused to be raised at various strategic points in his dominions.
Apart from the ingenuity of its composition, this wall was treated
as a work of fine architecture, for into its structure were
embodied such features as battlements, embrasures,
machicolations and stringcourses, all so skilfully designed and
disposed as to give this very substantial fabric considerable
aesthetic character.
Within this fortified wall at Agra were two gateways. the one on
the southern side being intended for private entry, but that on
the west known as the Delhi Gate was the main entrance and
accordingly designed in keeping with the noble rampart on its
flanks.
AGRA FORT
DELHI GATE, AGRA FORT
Delhi Gate is the western gate of Agra fort, forming its main
entrance.
The city was called Fatehpur Sikri and was close to the imperial fort of Agra.
Here, within six kilometers of defensive wall, Akbar built palaces, courts of audience, hunting lodges,
mosques and triumphal portals.
FATEHPUR SIKRI
Built by Akbar as his capital about 26
miles west of Agra, Fatehpur Sikri is one
of the most ambitious projects
undertaken by the Mughals and perhaps
the most notable architectural
achievement of the dynasty next to the
Taj Mahal.
The road then continues the Jami Masjid, thus arranging the structures in such a manner that the
public areas are on the southern flank of the hill, while the private areas reserved for the Royal
family and personages of importance are on the northern flank.
Apart from the Jami Masjid, the structures in the city are for the most part trabeate, with some
diversities in detailed treatment due to the different backgrounds of the artisans brought in from all
parts of the vast empire.
The buildings can be segregated into two classes, the religious and the secular, the former all being
part of the complex comprising the Jami Masjid, its triumphal gateway and the tomb of Salim Chisti
within its courtyard.
The secular buildings are palaces, administrative buildings and miscellaneous structures.
The city consists of an arrangement of broad terraces and courtyards around which are grouped
numerous palaces and pavilions.
A majority of the buildings are aligned at an angle to the northeast to south-west direction of the
city to face north-south in order to align to the fixed orientation of the mosque.
JODH BAI’S PALACE, FATEHPUR SIKRI
Jodh Bai’s Palace is a structure built as the house of the principal queen and discloses some of the
conditions of living in the Mughal household.
The palace in plan measures 320’ X 215’, consisting of a large central courtyard with buildings
arranged around its periphery.
The only entrance is through a guarded gatehouse with staggered doorways to provide seclusion.
The external wall is 32’ high, plain and forbidding on the exterior, the buildings attached to its inner
side all facing the central courtyard.
JODH BAI’S PALACE, FATEHPUR SIKRI
The outer façade of the wall is only interrupted thrice, once by the gatehouse on the east, the
hanging pavilion of Hawa Mahal on the north and service and bathing apartments on the south.
Most of the buildings, placed symmetrically around the square courtyard are two storeyed, with
open terraced roofs at regular intervals.
In the middle of each side and at each corner the structures rise up into separate blocks.
Each of these blocks is a self-contained suite of living rooms, with corridors and passages
communicating with each block on the ground floor.
Each group of apartments could be divided off from the others, while the chambers below could be
heated in cold weather; the one’s above always remaining airy and cool.
JODH BAI’S PALACE, FATEHPUR SIKRI
In many of its elements and carved decoration, especially in the design of the niches and brackets
with their volute forms and the shapes of the pillars, an influence of Hindu temple architecture can
be seen, showing that artisans from Gujarat were assigned with the construction of the palace.
Other interesting details include the application blue glaze tiles to some of the roofs and cupolas
and the use of vault ceiling with groins in one of the upper rooms.
BIRBAL’S HOUSE, FATEHPUR SIKRI
The building known an Birbal’s house is a
two storeyed structure, complex in its
arrangements and elaborate in its
architectural ornamentation.
The aisles are accessed through archways from the nave and correspond to the arcaded wings of the
façade. In the centre of each of the aisles is a small chapel, covered by one of the two smaller
domes.
There is an admirable combination of beams and arches, the two structural systems in a well
maintained balance.
FRONT ELEVATION
BULAND DARWAZA,
FATEHPUR SIKRI
Buland Darwaza is a triumphal gateway built
by Akbar about 25 years after the
completion of the Jami Masjid. The southern
gateway to the mosque courtyard was
demolished and replaced with this monument
to commemorate Akbar’s victorious
campaign in the Deccan.
The city was abandoned soon after its construction, and the reason for this was the
lack of any reliable water supply for its inhabitants.
Its disuse as a city during the Mughal period is the reason why its buildings have
come down to us almost intact, without the changes effected by later emperors on
other imperial sites such as Agra, Allahabad and Delhi.
This means that Akbar’s genius at building can be seen fully here, as also his finely
developed aesthetic sense.
Both formally and in their detailing, the buildings at Sikri are a fine blend of Timurid
planning and aesthetics and Rajput art and architecture.
JEHANGIR (1605 – 1627)
THE TRANSITION FROM STONE TO MARBLE
JEHANGIR (1605 – 1627)
In comparison with the ceaseless architectural activity that was maintained during
the greater part of Akbar's reign, the period of the rule of his son and successor,
Jahangir, was, in the field of the building art relative uneventful.
Whenever constructional work was contemplated, it more frequently took the form of
laying out large formal gardens and similar ornamental retreats rather than the
erection of architectural monuments.
AKBAR’S TOMB
Akbar’s mausoleum was built by his son, the Emperor Jahangir,
8 years after Akbar’s death, completed in 1613.
The scheme of the mausoleum is on a grand scale, its perimeter
walls enclosing a large square garden, while the tomb structure
situated in the centre of the enclosure is a square in plan of 320’
side and over 100’ high.
In the middle of each side of the enclosure is a gatehouse, three
of which are false doorways added for symmetry and the
southern being the main entrance.
The main gateway is a minor monument in itself, with pleasing
proportions and bold inlaid ornamentation along with 4 graceful
white marble minarets, one above each corner.
The arrangement of the garden beyond the gateway shows the
collaboration between the garden designer and the builder to
create a cohesive and unified composition.
The wide flagstone causeways are expanded at suitable
locations into square terraces containing a fountain and a sunk
basin.
The tomb building takes the form of a low truncated pyramid
built up in three storeys.
The ground storey consists of a massive terrace, over 300’ side
and 30’ high, with a series of arches recessed within its sides.
AKBAR’S TOMB
In the centre of each side is a tall rectangular
structure containing an arched alcove with a
graceful marble kiosk above its parapet.
Its façade is formed of an arcade of 9 arches with double pillars between each arch and a group of
4 at each corner, thus making 40 pillars in all.
Although the structure is sandstone, it was probably originally covered with an overlay of shell
plaster, ivory polished, the technical procedure carried out by artisans from Rajputana.
DIWAN-I-AAM AT DELHI FORT
A significant feature of the interior is the alcove in the back wall where
the emperor sat in state, and where the famous Peacock Throne was
installed on special occasions.
The decoration on the walls of the alcove above the throne consists of
a series of designs in pietra dura with western subjects such as
‘Orpheus and his Lute’, which is an original example of Florentine inlay.
TAJ MAHAL, AGRA
The Taj Mahal, built by Shah
Jahan at Agra as the
mausoleum for his consort
Mumtaz Mahal, is considered
to be the perfect moment in
the evolution of Mughal
architecture in India.
1. Tomb
2. Mosque
3. Guest House
4. Yamuna River
5. Ornamental Pool
6. Main Gate
7. Fore court
8. servant’s quarters
9. Royal tombs
10. Mumtazabad
(Taj Ganj)
TAJ MAHAL, AGRA
The plan of the whole complex is in the form of a large rectangular enclosure aligned to the north-
south direction measuring 1900’ X 1000’.
The central area is occupied by a square garden measuring 1000’ side, leaving two oblong
rectangles at the north and south ends.
The southern end consists of a system of roads and service dwellings while the northern end,
abutting the Jumna River, consists of a raised terrace on which there are the tomb structure and
some subsidiary structures.
TAJ MAHAL, AGRA
The garden portion and terrace portion are surrounded by a high boundary wall with octagonal
pavilions at each corner and a monumental entrance gateway in the middle of the southern side.
Beyond the gateway on the south lie courtyards, stables, outhouses and other facilities with the
addition of a bazaar for supplies.
The entire scheme evidences the amount of preliminary thought that went into the design before any
construction began.
The structure was designed to be approached from both the road and the river, the first view of the
building from the road being framed like a picture from the fine archways of the entrance hall, while
the first view from the river augmented by its reflection in the river.
The formal garden was laid out to harmonize with the main structure. There were water courses with
fountains and an elevated lotus pool to reflect the structure from various viewpoints.
TAJ MAHAL, AGRA
The structures on the northern terrace
form the main architectural focus of the
scheme, with the tomb building at the
centre and two detached subsidiary
edifices on the eastern and western
ends.
The western structure is a mosque, while
the eastern one is a replica added for
symmetry and no real religious purpose
and is known as the jawab or answer.
It has been used as a kind of reception
hall or guest house.
The central tomb structure, the focal
point of the composition is elevated in a
plinth 22’ high. It is a square in plan with
186’ side, its sides chamfered. The
shape is carried up to a height of 108’
with a marble cupola on each corner.
Above this rises a bulbous dome, taking
the total height of the structure to 187’.
From each corner of the plinth, a
minaret in three stages and crowned by
a kiosk rising to a height of 137’
enhances the architectural effect.
TAJ MAHAL, AGRA
The scheme and proportions of the structure
are simple, for example, the façade width is
equal to the height, and the height of the
façade in the centre is the same as the height
of the dome, thus the top of the parapet
above the central alcove in the façade is the
central point of the composition.
The dome forms the crowning feature of the
composition. The shape of the feature is in
the form of a globe, its lower part truncated by
the drum on which it rests, while the curves on
its upper part rising tangentially to from the
foliated base of the finial.
The dome has two shells, making it of the
double dome variety.
The larger dome and the smaller cupolas at
its base belong to two different architectural
traditions, the larger dome belonging to the
Persian while the smaller cupolas without
constricted bases being of an indigenous
variety.
In the minarets, the face joints of the masonry
are countersunk, forming a kind of rustication
not observed in the rest of the building.
TAJ MAHAL, AGRA
TAJ MAHAL, AGRA
The interior of the tomb chamber is a copy of Humayun’s Tomb, with the
octagonal central hall connected to subsidiary chambers in the angles by
radiating passages.
The main hall is in two storeys of arcades reflecting the treatment of the
exterior.
Above this is the inner shell of the dome. Each of the subsidiary rooms at the
angles has a similar upper storey room right above it.
The ornamentation consists mainly of a restrained use of murals of inlaid
patterns over flat surfaces reserved for this purpose. In addition, there are
some carvings on the dados and the perforated screens surrounding the
cenotaphs are exquisitely carved.
The main feature apart from the lucid and coherent composition is the quality
and texture of the material itself, which is marble from Makrana.
It takes on subtle variations of tint and tone, reflecting the changes in light
that happen during the course of the day.
The cenotaph of Mumtaz Mahal occupies the central position under the finial
of the dome in the central chamber, while that of the emperor Shah Jahan is
situated to one side.
This may be due to the interment of the emperor there being an afterthought,
the construction of his own mausoleum not materializing due to the war of
succession with his son Aurangzeb.
LANDSCAPE ARCHITECTURE
UNDER THE MUGHALS
TAJ MAHAL, AGRA
Landscape architecture under the
Mughals as illustrated by the large
ornamental gardens which the rulers
laid out in various places is an
important aspect of Mughal
architecture.
Amber Fort is known for its unique artistic style, blending both Hindu
and Muslim (Mughal) elements, and its ornate and breathtaking
artistic mastery.
Like the entire fort complex, Amber Fort is also constructed of white
and red sandstone.
The walls of the interior of the fort are covered with murals, frescoes,
and paintings depicting various scenes from daily life. Other walls
are covered with intricate carvings, mosaic, and minute mirror work.
Amber Fort is divided into four sections. Each is accessible via large
staircases from a central location, or from a broad pathway leading
to each of the sections.
AMBER FORT, RAJPUT ARCHITECTURE
1. Suraj Pol 2. Jaleb Chowk 3. Shiva Devi Temple 4. Diwan-i-Am 5. Jess/Jai Mandir