4.1 4.2 4.3 4.4 4.5 4.6 4.7 CHAPTER IV MEDIEVAL MONUMENTS ARTISTIC GLORY AND COMMUNICATION ASPECTS Introduction Cultural Connection Mediveal Artistic Glory Critical analysis Cultural Connection Sailent features Conclusion 1634.1 Introduction "Victory Hugo has rightly observed that"!. The Medieval Indian life and Society has been shaped by Sultan as well as Mughal dyfesty. Though the rulers were alien , They had mixed with local ciffture in this connection R. Nath has rightly observed that the Mughal introduced in to medieval India a sprit of cultural elcticism almost against the theoratic conception of Islam, they were tolerant and refused to be laid by the Ulema point of view? The interaction with local culture was thus an important aspect of life of the period. In the first Glasy during Khilji and Tughlaq period efforts were made to constrveted)many buildings, but the Mughals put a step ahead . Mughal knew that lofty, beautiful and gorgeously and spondaur and evoke that since of wonder which is the source of aesthetic experience? The contrubution of Mughal was thus significant for reflecting the glory of Indian arts, Further it has been rightly observed that 'The Mughat rulers had grasped well the key- Point of architectural aestheticism + The Sultan and Mughal art can be studied in rightly directions. Z. A. Desai, has observed that In view of the diverg nt, religious, social and other conditions and customs prevailing among the Hindus and the Muslims the buildings of one were band to 1. Rege G. M. - "The World of Visual Communication" Himalya Art Book centre publication, Bombay. II" edition , 1989 P. 19 2. R. Nath - Some Aspects Of Mughal Architucture, Abhinave Publication, New. Delhi, 1976 P.68 3. Ibid P. 151 4. Ibid P. 151 164differant in form from those of the other.‘ In Indian medieval arts the function of Hindu and Muslim art is rightly reflected G.M Rege has observed that "Islamic architecture is itself product of fusion : Arab, Syrian, Byzantine, Persian and later Turkish influences can be observed in it.* The Hindu influence also added to this art during medieval period the architectural subling consists in the arousal = of the felling of wonder which is precursor to aesthetic experience it has been observed that " The most important buildings are religious in function : the mosque and the tamb the principal secular buildings are palaces and audience halls’ further it has been observed that "Indo- Islamic architecture can be divided into the following groups : Delhi imperial style provinci! style and Mughal architecture * The Sultan period art is also known as in Delhi style. The Deccan had influenced the provincial style during Bahamani period. It also viewed the Mughal style during Emperor Akbar, Shahajahan and Auranzebs period 5. Desai Z.A. - Indo-Islamic Architecture, Ministry of Infromation and Broadcasting, Govt. of India, New Delhi, 1970 P.1 6. Rege G.M. - Op, Cit, P.22 7. Ibid P. 22 8. Ibid P22 1654.2 CULTURAL CONNECTION In India both developed during ancient and medieval period cultural communication was most effective artyavas developed in India to reveal beauty of life. Pandit Jawherlal Nehru has defined, “Cultur as symbol of customs, traditions beheyfour and arts craft of people?” The flow of Indian culture has been overflowing from ancient to mediveal period. The Mughals connected there glory through Unjrotunately, palaces and gardens also, it has been observed that Untorturnately, most of the gardens, where once the Bulbuls sang so sweetly the songs of Mughal splendour, ‘have been given over to cultivation’ and a good many more have died out for want of care and cultivation” Yet there enough in the remnants to indicate the tastes of their founders and the splendour that surrounded them. The Mughalf period of) gardnes plants and flowers R. Nath has observed that "Mughal | architecture reflect the personal views, tastes and inclination of one of the other Emperor and is mainly inspired by the individulalism of the patron." These patterns must be studied in connections view point, In the cultural connection in the case of the architecture the medi is entirely objective and external to the artist and therefore, the spiritual idea is external, wholly outside the work of architectural art. The same is the case with sculpture and painting. In Mughal structures art shows and paintings real 9. Nehru Jawaharlal - Discovery of India P.11 10. Jaffar S.M. - Some Cultural Aspects Of Muslim Rule in India Idarah-| Adabiyat-! Delhi, Dethi, 1979 P.123. 41. Nath R.- Op Cit, P. 154 166the same After poetry architecture is the another effective medium of presentation. Pande has observed that, “Thus architecture has been classified as the grossest and the lowest type of art according the the grades of objectification or concretisation or in other words according to the medium as its experession poetry in the highest because the articulate word or sound that it employs as the medium of presentation of the idea that is its content is more symbol 2" The Mughal art is not an exception to this according to that, "It is true that the products of architecture have independent substantive existence in space, last through time and are characterised by all there spatial domensions '*" Islamic arts as a matter of fact, is lyric in essence and its preference is for romanticism. No where except in India it tends to become classic. The classical aspect of its art is predominantly preceptible in Mughal architecture. The later on their art has also influenced the Mughal art during Akbar’s peviod Islamic art and culture, the question of the growth and charcter of Islamic architectural decoration has never been disscussed in its entirety, the only works written on the subject have either dealt with limited areas or disscussed specific techniques of themes and even these more limited and more detailed studies have not been sufficiently numeraus to permit many generalizations!" 12. Ibid - P.615 13. Ibid - P. 616 14. Derek Hill, Islamic Architecture and Its Decoration, Faber & Faber, London, 1958 P. 72 167Further it has been observed that, "The first two techniques of decoration involved the medium of construction itself. In Anatolia, where the traditional medium of construction was stone, carved stone became the major medium for ornamentation’, it observed The technique is a very ancient one and does not require further elaboration, except on one specific point: in many instances the stone sculpture seems to have been applied to the surface of the wall rather than understood as an intrinsic part of the fabric of the wall; it often appears remarkably artificial, as though it was imitating some thing else. © Much more original than the medieval Islamic use of stone is the use made of bricks for decorative as well as constructional purposes. The origins, significance, and development of this ornamental ‘brick style’ are still some what of a example, in the sense that, except for the dome, not one part of the building escapes the ambiguity of being meaningful on two levels : as decorated surfaces as well as parts of architectural volumes such as walls, towers, or spandrels of arches.!? In later centuries, although brick was no longer the only technique of decoration, it remained as a major one and the number of uses to which it was put increased considerably variations in brick work came not merely to. emphasize the major architectural lines of the building but also to distinguish the surfaces to be ornamented Thus mediveal art and arctitecture became a medium of communications though out the one thousand year period 15 Ibid - P.73 16. Ibid - P.73 17 Ibid - 18 Ibid - 1684.3 MEDVEAL ARTISTC GLORY The glory of medieval art began during Sultan period regarding Slave dyngsty's contribution to art it has been about the contribution of Khilji dynesty it has been observed that the architectural culture which found its way at this juncture in to the building art of Delhi, was an offshoot of that prevaling in Asia minar_during the first centuries of the second mellenium, and produced under the far-reaching rule of the saljugs. As their mosques and other buildings prove, this Turkish dynesety which has inherited the traditions and the power of the Arabian Caliphate, employed the most artistic and skillful architectures” The Tughlags were also builders of repute it has been noted that, "The architecture of the Tughlaq period is charcterized by simplicity and massiveness. This was prabably due to the fact that the central Governement was hemmed in by the mughals and the hostiie Hindu Raja's . The most typical specimen of this style is the tomb of Tughluq shah, which has survived to our own times and stands near the old fort of Tughluqbad”” The period of Babar Humayun was joint period of begining of the construction it has been observed that Humayun life was too unsettled to allow him time to give free and full scope to his aesthetic fancy. Instead of using marble, or in the construction of his buildings, he used wood right through and 19. Percy Brown, Indian Architecture,(Islamic Period) Tarporwala sons & Company Ltd. Bombay, P. 17 20. Jaffar S.M.-Op Cit P. 94 169and this is the most stricking feature of his architecture.2! About Akbar, G.M.Rege has observed that Akbar (1556-1605) was the first great Mughal builder. The chiok buildings erected under his reign are Area fort building red sandstone, with its Delhi gateway forts at Lahore, Alahabad and Ajmer, Fathepur Sikri his new capital 35 km. west of area where Jama Masjid with its huge southern gate Buland Darwza is a massive monumet?? About Shajahan Rege has noted that Shajahan (1628- 1658) Mughal architecture reached the zenith of magniticence. Wherever possible, he replaced red sandstone with marble His greastest undertaking was the city of Shajahanbad” near Delhi, with its Lahore gate, Diwan-a-am, palace, Mosque, private palace, Diwan-a-khan, Fort public worship he built the great jama Masjid in Delhi. But the hiest achivement of of Shahajahan , the most exquisite of all Mughal buildings is the Taj Mahal at Agra.About emperor Aurangzebs contribution to art and architecture Percy Brown has observed that much of this downward tendency of the Mughal style of architecture was inseparable from the ancoming desintegration of the state, that not a little was due to the personal indifrence of Aurangzebe towards the subject of building construction is fairly clear. On the basis of the study of architecture, it has been observed that the glory of Sultans and Mughal art is reflected though the art and architecture which has conected the culture of medieval India 21. JaffarS.M.-OpCit P.104 22, RegeG.M.-OpCit —P.22 23. Ibid 24. PereyBrown OpCit P. 120 1704.4 CRITICAL ANALYSIS The medieval art was developed as a media of communication and it was to influence Indian art - traditions. The following aspects can be noted hear 1) During slave period As soon as the Ghaznavids and their successors made a movement to settle in India, the building of mosques became the first necessity. The importance of the Qutb Minar lies as much in its origins as in its after-effects.» A tower whence Muslims may be called to prayer is an important feature of any mosque, and thought the Qutb Minar is unique,” its elements may be traced in later minars for three hundred years. The inspiration must have come from the brick towers of Persia, and near the site of the city of Ghazni still stands a tower with a similar stellate plan. It has been argued that Qutb Minar was also based on Rajput art work The question arises regarding originality of slave art, But it is true that argued was vital due to shift of political power 2) During Khilji Period (1290-1320) Art and architecture further depected in this period there was, the Slave dynasty was followed, after a short interregnum, by a period of amazing splendour. The Khalji dynasty ruled for forty years, and although existing buildigns of this period are few, it is obvious that they are the remnants of a highly developed and vigorous school of building. The true arch formed of voussoirs had made a modest appearance in Dethi about 1280 in the tomb of 25. thid 26. Terry John - The Charm Of Indio-Islamic Architecture, Alec Tiranti Ltd., London, 1955, P. 7-8 171Balban, one of the rulers in the interregnum." According to Brown percy, the swift development is curious, and has been attributed (o political happenings further west.* The symbol of arch was developed in this period. The foregin influence was more. The Islamic art entered in Deccan during this period. 3) During Tughlaq period : (1320-1413) The islamic art further developed. It has been observed that the origins of the Tughlaks, who succeeded the Khaljis, lay in the west. The founder of the dynasty, Ghyas-ud-Din, was a soldier of Turkish decent; and this may explain cretain new features which appear in the buildings of this time.” They have an affinity with works of military engineering, and the characteristic inward slope of the outer walls would seem to reflect an origin in earthen walls built for defence. Ghyas-ud-Din's tomb stands, comparatively complete, on the edge of the ruins of his city. Firoz Shah Tughlag had built some important structures in north India. Many works were developed during this period. The economic prosperity had provided stability to art. The Islamic art is shaped to Deccan after transfer of caplital from Delhi to Daulatabad. 4) Taimurlang: He had invaded India in 1399 and he captured Delhi during this period. Cessation and migration of craftsmen.” began, The foreign influence on Indian Islamic art began during this period. 27. Ibid P. 8-9 28. Percy Brown- Op Cit P13 29. Terry John - Op Cit P10 30. Ibid 1725) During Sayeed and Lodi period :(1414-1526) ‘There was end of Delhi sultanate. It has been observed that, "It is signaficant that almost the only form of monument that appealed to the rulers and their subjects at this junture, were those expressive of dissolution they excelled in memorials to the dead In the sphere of architecture it was a period of the macabre. appropriately so-named as that word is probably derived from magbarah, the Arabic for cemetery. And at perhaps no other time has the tomb been more mainfest in the consciousness of the people than during the rule of the Sayyids and Lodis, and Delhi on account of its imperial associations, was considered the most appropriate site on which such buildings should be erected, The provincial style begeans during this period. In this period the Deccen witnessed Bahimani influence at the Fractions of Bahamani also constructed local art works at various places. The Hindu influence on art became more effective 6) Babar and Humayun : (1526-1540) Tried to establish Mughal empire in this period it is observed that, "Babar found time to build. He mentions that 680 Indian stone Mason worked daily on his buildings at Agra 1.500 wel employed on his buildings at Fatehpursikri, Bayara, Gwalior and other plac Babar constructed Babri Masjid at Auydha by Noor Mohammed, fery few Sultan were related to the Delhi. Agra was capatil of India during Humayun period 31. Percy Brown, OpCit P. 27 32. Ibid 1737) When Humayun was in exile, the state was in hands of s during this period. Little buildings Shershaha, the Afghan noble! as the main effort was directed to empire development.” SherSha's Mousoleums or Maqhbra at Sasaram in Bihar It is a beautiful structure of the period. The architectural projects of Sher Shah Sur resolved themselves into two distinct mainfestations, each produced under diverse conditions and in two different localities times. The earlier phase emerged during the period that this accomplished Afghan adventurer was all- powerful in the lower Provinces, the mausoleums that were erected at his capital seat of Sasaram in Bihar, illustrating the final fulfilment of the Lodi style by which they had been inspired.“ On the other had the second phase despicts the building art whem, having wrested the throne of Delhi from the Mughal emperor Humayun, Sher Shah proceeded by his active patronage not only io precipitate the oncoming architectural movement then in process of formation. but to make it into what was destined to be a most important stage in the development of the subsequent style of the Mughals 8) Humayun: Retained his power but he died soon hence Akbar became king of India during this period great Islamic artistic activites were engaged\ it has been observed that Akbar resided in several cities Among them Allahabad, Lahore where he held his court from 1558 to 1598 and Agra( 1598-1605) he began building the famous Agra fort in 1556and then the palace which was continued and so 33. Terry John, OpCit =P. 11 34, Percy Brown, Op Cit P.90 174much altered by his successors that the various stages of its extenssion are difficult to trace. The hall of the palace of Lahore 1583 is definitely Indian design with its projecting verandah ruff Cities like fathepur Sikri were developed during this period the Jodhabais palace at Fathepur Sikri shows Hindu influence on Islamic art 9) The marked for great technical skill.Huge wealth was used for art and of Jahangir and Shahjahan : (1605-1658)was architecture in unsurpassed manner It has been observed that . There were other examples of architecture produced during the reign of Jahangir which show the trend of the building art at this juncture, such as the western gateway to Sarai at Jullundur, a small but attractive structure although somewhat of the "precious" order, as the desingner has aimed at a nicety of detail rather than breadth or strength®® Taj Mahal, Diwan-E-Aam, Diwan-E-Khas, Redfort are best example of the this period. The Rajput influence was also be witnessed during this period. If Augustus found Rome of brick and left it of marble, Shaj jahan found the Mughal cities of sand- stone and left them of marble. The most magnificent of his monuments was the celebrated Taj Mahal at Agra, erected at a cost of 4" million sterling in modern currency in memory of his favourite queen Mumtaz-i-Mahal, ‘the elect of the palace * of the authorship of the design of this masterpiece of Mughal architecture 35. Ibid P. 107 36. Nilkanta Sastri, History of India, Part Il, $.Viswanathan, Madras, 1959 P. 207 17510) The(Cegion or Emperor Aurangzeb :(1658-1707) was not much efféctive for Mughal art It has been observed that Preserved on this site is a building of some pretentions, the mausoleum of Rabia's Daurani, wife of the emperor, whose son caused it to be erected and it was finished in 1678. A glance at this monument shows that its design was inspired by the Taj Mahal, as the entire scheme with its domed central structure, its four minarets and its garden setting, is laid out on lines similar to Shah Jahan's masterpiece at Agra, although it is little more than half its size” Nothing could depict more graphically the decline in architectural ideals that was taking place than a comparison between the memorials to these two queens, the highest achievements of two consecutive regins and separated only by an interval of less than forty years. The Mughal art in this period shows declined \of art. The Bibi-ka-Magqbara is treated as an appology to Taj 11) In post 1707 period later Emperors were loosing prestige and power the last king was rescued for)British power in 1857 it has been observed that. There was the last phase of the Mughal style was that which prevailed after this form of the building art has passed out of the hands of that dynasty, and was taken up by others. These were the Nawabs of Oudéyunder whose rule, during the latter half of the eighteenth and the first half of the nineteenth centuries this magnificent of Moslem architecture, which had maintatined a high standard for considerably over two hundred years, was brought to its conclusion’® 37. Percy Brown -Op Cit. 120 38. Ibid P. 122 176At Lucknow, which the Nawabs made their capital seat, this final develpmient is fully recorded, for these rulers were indefatigable Biilders and there are few cities in India where there is a greater display of architecture, both religious and secular, all erected within the limited period of less than hundred years. The critical anlysis of mediveal art shows that there were three Pheses 1) Sultan period 2) Mughal period 3) Provinci, period After Akbar and Shabjahan the Mughal art had declined and it appeard on provincial level. The medieval art of Marathwada has developed from Khilji, Tughlag and Akbar on during Akbar,Shahjahan and Aurangzebs period Aurangabad as it become a second capital of India the artistic activites were surrounded around this city. The art work develope during Nizams later period. 1774.5 CUL RAL ANALYSIS The medieval architecture can be described as means of mass-communication K.M. Panikar has(been pointed that Culture is a concept; which is diffcult to define. There is no single characteristic that marks its essential feature. k.M. Panikar defines culture “as the complex of ideas, conception, developed qualities and organised relationships and courtesies that exists generally in a society.*” To put it differently, culture is a complex of many strands of varying importance and vitality. This is true in the centeres of art regarding the concept of cuture ars) Khan has noted that Culture has been defined by sociologists as the complex whole that consists {as all the ways in which we think and do and everything we have as members of a society. Thus sociologically all the achievements of group iife ate collectively called culture.” We have to study of medeival culture in this connection Indian culture has been developed by Vedic, Buddhist and Jain as were as Islamic traditions according to H.V. Murthy, S.U.Kamath "The era of Islamic ascendancy between 1001 to 1707 has been called the Medieval period in Indian History. Large parts of India came under the rule of Islam. It was a period of stagnation culturally sical Age‘! On when contrased with the achievements of the Cl. this baground about the advent of Islam, “Islam was founded by 39. MurthyH. V,, Kamath S.V., Indian Culture Asia Publication House, Bombay 1972 P.4 40. Khan Rasheeduddin, Composite Culture Of india and National intregration. Allied Publishers Pvt. Ltd., New Delhi, P. 84-85 41 Murthy. V., Kamath S.V,, Indian Culture OpCitP. 57 178Mohammed the Prophet (570-632) in Arabia. His successors, the Caliphas, had created a large Islamic empire, comprising parts of Asia, Africa and Europe." It has been observed that In 712 , the sword of Islam reached India, and sind was occupied. But the Arab rule in India did not last long. This rule could not lost long. However the Turks were successfull the Turks coming from Afghanistan were the early conquerors. Mohammed of Ghazni invaded India seventeen times. He defeated Raja Jaypal of Lahore in 1001 in 1009 he captured Kunja It has been observed that the real founder of Muslim power in India was Mohammad Ghori, again a Turk from Afghanistan. North India was ruled by the Rajputs in those days but the Rajput rulers were in eternal rivalry. This Sultan of Ghor conducted regular campaigns into India for 30 years.‘ It has been pointed that when Ghori died in 1206, his genreal Dethd became free, and founded the Delhi Sultante‘* During Sultans and Mughal period Islamic culture spread in India. In case of\heré) upto Akbars(fegiow Islam was localised in India, The local traditions were adopted by people According to R.Khan most of the Bhakti saints attempted to ‘hetmonize the orthogenetic the heterogenetic elements of the great and the little Traditions of both Hinduism and Islam.** Further it 42. Murthy H. V., Kamath S.V., Indian Culture Opcit P58 43. Ibid 44. Ibid 45. Ibid 46. KhanR. Opcit P54has been noted that. "Their integrative approach generated an ethos of inter-group cordiality But more than their poetry and Shjanv what made an abiding impression on the poor, illiterate or semi literate mass of people, comprising the peasant, craftsman, the artisam, the trader, the village teacher, the small and middle functionary in services, was just their lives and life style” Has further added to the Indian Philosophy it has been observed that "Influenced by the teachings of Islam, saints like Kabir tride to bring about Hindu Muslim Unity.** Culture represents only higher achievements of group life, specially Art, Music, Literature Philosophy, Religion and Science it has been pointed that "Culture is the product of such an organization and expresses itself through language and art” Here we have to study the medieval art in this view point. The comming of Muslims to India meant the(mettitig, of two vitally strong civilization, each different from the other fa many fandamental ways. The result was that by and large neither did the ruled accept religion of the rulers, unlike what had happened in most countries of west and centeral Asia and North Africa, were the culers completely absorbed in the society of the ruled, unlike what happened with the Indio Greeks, Sakas and Huns The following trends can be observed as a matter of cultural analysis 47. Ibid 48, Murthy H. V., Kamath S.V., Op Cit p.57 49. Ibid 1801) The respect of each other became a new trend it has been observed that "After intitial hesitation the Hindus and Muslims began to respect each other's religion and to show reverence to each other's i-shads-the Gita, Vedanta and Yoga, and the Hindus were deeply impreesed by saints, The Muslims evinced keen interest in the Upan the Islamic spirit of equality and brotherhood, by its simplicity of rituals of rituals and by its insistence on monotheism.” The respect to each other was responsible for cultural exchange 2) There was a rise of new relises movements like Bhakti and Sufi culture it has been observed that, "The cross fertilization of Islam and Hinduism led to the Bhakti and Sufi movements. The Bhakti cult emphasized the fundamental equality of all religions an the unity : God perached simple devotion and faith as the means of salvation, protested against excessive ritulism and formalities of religion and condemned the caste system"s! Similarly Sufism is a mystic cult popularly regarded as an offshoot of Islam, although many of its principles and practices are contrary to Islamic tenets. 3) The religious harmony was developed through Philosophical interacations. it has been observed that, " The Sufis virtually led an isolated life and devoted themselves to realization of self and prayers and fasting, duties that are regarded as essential in Islam. They belived in 'Sulhe-kul'(peace with all). Sufism came to India from Iran and was greatly influenced by Buddhism, Vedanta and Yoga.**" It has been observed that, "Sufi saints like Moinuddin 50. Ibid P93 51. Ibid 52. Ibid P.93-94 181Chisti and Nizamuddin Aulia attracted devotees from all religions Dara Shikuh, the Mughal prince, complied the chief philosophical thoughts of Islam and Hinduism and drew a complete parallelism between the two “" He held that the two religions are identical and that the differences between them are only verbal. He wore a ring on his finger with the inscription prabhu in Sanskrit 4) The saints of medieval period were champion of humanity There were quite a few saintly reformers who tried to bring the two religions close together. Kabir preached a religion of love and adoration, which would foster a sprit of harmony between the two religions and promote unity amongst all classes and creeds. To him ‘Hindu and Turk were pots of the same clay-Ram and Rahim were but different names. 5) The unity of God and equality in society was preeched by Guru Nanak It has been pointed that, "Unity of God and devotion tc him, attracted to his fold people of all castes and creeds. he said, 'Religion consists not in mere words;he who looketh on all men as equal is religious.*' "The Period for King Akbar was a period of synthesis It has been observed that, "Akbar tried to synthesize the two religions into Din-E-Ilahi, Although he failed in his mission, nobody can doubt the sincerity of his purpose.* Thus first religious and cultural exchange occured in the field of Philosophy and later on it appeared in the field of art and architecture. 53. Ibid P. 44,94 54. Ibid P.94 55. Ibid 1824.6 SAILENT FEATURES The style of Islamic architecture in the Marathwada between 14® and 17 centuries developed rather differently from that of the architecture of the Muslim principalities in Inda. The conquerors of the Deccan attempted to produce an original and independent purely Islamic architecture. they looked for inspiration to the sultans of Delhi and Persia. A series of monuments illustrat the manner in which the Islamic architectural style in the Deccan gradually evolved and reached its final form. According to Shaerwani H.K. "The noteworthy monuments of this phase include the Fort and its palaces of Sola Khamba Masjid and the Madarsah of Mahmud Gawan, all at Bidar, the group of twelve royal tombs at Astur near Bidar and the Chand minar at Daulatabad.% The Deccan style assumed a definite regional charater development an individuality of its marked, broadly speaking, by grandeur of conception and soundness of sturctural on the one hand and by some prominent architectural forms and lavish decoration schemes on the other.” The following can be noted as salient features of medieval cultural communication these features are based on Marathwada monuments 1) Arch is an important charactor of medieval Islamic architecture The arch work has prevailed in palaces like Malik Ambers 56. Sherwani H.K. Op Cit P. 247 57. Ibid P. 230 183Nawkhanda palace, Aurangzebs Kile Ark and monuments at Khuldabad and Daulatabad. About this arch type Sherwani noted that "The typical form of the arches of Rauza-i -Shaikh and Firoz tomb did not altogether disappear, as can be such from the shape of the arches in the minister's room in the palace building at Bidar or tomb of Mahmud Shah at Astur.%* According to Elizabeth Marklinger “Arched opening in the Deccan are pointed and generally four centred, Their shape is simlar to Persion arches or what in Iran is known as the “ajami" arch. Once established, the arch profile was rarely altered, probably due to the difficulty of chaning the design of the pre-cut stone voussoir® According to Aurthur Pope. "By the mid-16" century the double reverse arch, whether ‘slim’ or 'squa’ was usually accompanied by an exterior line of cusping trefoil and cinquetoil arches were known in the Isfahan Jami Masjid. 2) Dome, is and important character of medieval art this type is used in all structers errected by Malik Amber, Khilji, Tughlaq and Emperor Aurangzeb about domes. Percy Brown has observed that, "They are flat usually standing on octagonal plinths and often barely visible behind the cresting and portal. These Paithan dames were considered of indigenous origin until K.A.C. found an The unpublished photograph of the Jabal-i Sang in Kirman increasing Persian influence on the Deccan architecture is best 58. Ibid P. 246 59. Marklinger Elizabeth, Opcit P83 60. Arthur Pope, Survey Of Persian Arts Vol.- IV London 1959 P.27 61. KAC Creswell, Persian Domes Before 1400 Burlington Magazine, Vol. 26, Feb. 1915 P.97 184illustrated in the two buildings, the Chand Minar at Daulatabad and the Madarsa of Khawaja Mahmud Gawan at Bidar which were built about this time. Both these monuments are wholly Persian in character. The influence is not partial or indirect, limited to the form and design or shape or outline of some architectural number or scheme of decoration but it is entire in design execution and decoration. Architecturally, therefore, these monuments are totally different to the other structures. According to Sherwani" The Chand Minar, built in 1435, rises up with a slight taper to a total hight of about 100 in four stages or storeys in to which it is divided by projecting galleries."® Mohammed Tahir noted that, "Form of tile-work is unique in character. The inscriptions are Persian quatrains illustrating the transience of all things earthly, and advice to wordly men. Their mode of calligraphy is between the Naskh and the Taliq sty which may be taken as the beginings of the Nastaliq style of calligraphy in India. The date of this dome is 984 AH.® According to Yazdani G.."Bahamani architecture it may be observed that the general charecter of the buildings remained massive, although the architects used different devices to reduce this effect. Arches of various forms come into fashion and the domes became stilted and where remaining round they were three fourths of an orb instead of hemispheircal. According to that, "It is fact that the Bahamani dynasty was first established in the Deccan at Gulbarga under 62. Sherwani H.K. Op Cit P. 250 63. Mohammed Tahir, Muslim Rule In Deccan Anmol Publication, Pvt. Ltd. New. Delhi. 1997 P. 20 64. Yazdani G. Bidar Oxford University Press, London, 1947 P. 24 185Ala-Ud-Din-Hasan Gazanvy(759"") Whose early history is still \questionable just after the inrodn of khiljis and Tughiqs.® 3) Floral motifs and gemetrical designs Is an important character of medieval art in Bibi-Ka-Maqbara number of flowers have been depected in paintings and many beautiful designs have been also depected. “facade of the flat roof of the entrance has been designed in Indore flower pattern. The two loggies facing each other inside the entrance gateways are fully decorated in attractive colours. The walls and cellings are tastefully ornamented with paintings of flowers many of which still retain their origional to the right and the left are small raised platforms constructed apparently for guards The specious rooms have been constructed on both sides behind these platforms to records, wepons etc. The colourful sgraffito patterns on dado based on honey suckle flower plants. rose flower plants and acanthus plants, is highly rich in its workmanship. The mosaic tiles of this pattern have not been noticed in any other part of India uptil now. @ 4) Use of marbale in important palaces is a character of medieval art 65. Mohmmed Tahir, Op Cit P.17 66. Sherwani H.K., History Of Medieval Deccan, Govt. Of Andhra Pradesh, Hydrabad, 1947 P. 313 186In Bibi-Ka-Magbara, marble is used upto plinth level about the use of marble it has been pointed that" ‘The lower part of the building is facade with marble and decorated with carving executed in the characteristic Mughal style. The decorative work is continued in the uppar parts and the entire surface of the walls, but there it is done in stucco” The enterior of the building is arranged in to gallery overlooking the sarcophagus and enclosed by an octagonal marble screen of exqusite design. According to John Baptiste,"Taj Mahal of Agra and Bibi-Ka-Magbara of Aurangabad were working under common canopy artistic implusle Aurangabad Deccan, the capital of the Mughal during sevevententh and eighteenth centuries, was not only famous for being the capital of the Deccan but also for the beautiful monuments of maqbara of Dilras Banu Begum Alious Rabia Durrani. This great tomb, with a speldendid building was crrected on the bank of the big tank." Nizami H.H. noted that, “It is modelled on the design of the Taj at Agra and like it, can be viewed from miles together in every directions of the Dudhana river vally in which this.”"" Magnificent royal town is situated it as the Taj of Deccan.” 67. Sherwani H. K. Op Cit P. 313 68. Ibid 69. Jean Baptiste Tavernier, Travel In India Willam Crooke, London, 1925 P. 118 70. Nizami H.H. , Times Of India Bombay 1884 P.22 1875) In the first face black stone was used for construction and in the second face brick work was used for construction. In the stone work five kali mosques were constructed by Malik Amber and brick work was used in Mughal period at places like Delhi, Agra, Jaipur, Fathepur Sikri and Aurangabad also during emperor Aurangzebs period, brick work was used in Aurangabad city. It has been pointed that “That Deccan Suba was far away from the capital of Mughal and it was quite different to control it when prince Aurangzeb was sent to Deccan Subhdari at the second time inl652 AD7"" 6) The symbols such as lotus and rose flowers have been used further animales like lion, elephants have been used in medieval | Daulatabad the symbols reveal the glory and strength of the period 71. R.Nath - Op Cit P.72 1884.7 CONCULUSSION The study of medieval monuments and their artistic glory thus reveals that the Marathwada region has undergone many changes from 13" century from Allau-din- Khilji times Marathwada region undergone Islamic influence. During Mohammed Tughalags period the region witnessed Urban revolution. Malik Amber who was working under Nizamshahi of Ahmednagar was responsible for art work in the city. The city Aurangabad record a majestic effect during Malik Ambers time he had named the city after his son as Fatehbad. Emperor Aurangzeb treated his political center in Deccan and was able to develop the city further ‘The fortifications of city was completed during his period and Bibi-Ka-Magbara was also consteucted in his period. The lofty gates of city were also constructed. The largest Bhadkal gate and Nawkhanda palace are remains of Malik Amber's period (1626) and later on Aurangzeb had rebuilt the lofty gats of 52 places. Thus the medieval structures of the medieval period truely reveal the cultural connection of the medieval period. We can find the provincial as well as Mughal style in the art work of Marathwada where the blend of medieval art can be observed rightly 189