Abishek P

History III
22 August, 2019

Indo-Islamic Architecture
When Mohammedans captured India from the 12th century brought them with the new conceptions
and beliefs from an exterior source, absolutely in marked contrast with the existing ones. As a
result, started the gradual emergence of change in the sphere of building construction giving birth
to the Indo-Islamic Architecture. (Brown, 1981)

Contrast in the worship places raised with mosque opening up its court to light and air whereas the
temple was dealing with massive darkness with passages leading to dim cells. (Brown, 1981)
Central shrine now essentially is the Mecca direction. To say Indian mosques are wholly visible
and comprehensible whereas Temples remained undetermined, complex and introspective.

Rhythmic Hindu minds played with natural figure compositions, vivid colours, natural tint and
texture. On contrast a formal Muslim mind patronized decorative letters, patterns and glazed
tiles (Brown, 1981). It is from these inconsistencies and amalgamations of ideas and building
arts gave birth to a new style of Architecture. Differences merged with the unified effort of
craftsmanship, dedication and personal interest of the builder. (Dr.R.Nath, 1998)
Every city possesses a main house of prayer –The Jumu’ah (Friday) mosque. This essay
explores the characteristics and uniqueness of such congregational mosques of different regions
in India. The examples that possibly helps establishing the paradigm are

Indo-Islamic Architecture
 • Quwwat-ul-Islam Mosque, Delhi
• Adhai din ka JhonpraMasjid, Ajmer
• Jama Masjid, Champanir
• Jama Masjid, Mandu
• JamiMasjid, Gulbarga
• Atala Masjid, Jaunpur

Quwwat-ul-Islam Mosque, Delhi

Also known as ‘Qutb Mosque’, Quwwat ul
Islam literally means ‘Victory of Islam’.
Construction began immediately after the
conquest of Delhi with existing materials of
temple on its plinth.

Symbolism
An arcade-screen of arches with corbelling
system was added. This acted as a necessary
element, deeming a symbol of new faith.
Arabic quotations carved serves as words of
God and dicta of Islamic creed for the local
population. (Andreas Volwaksen, 1994)

Materials
Red/grey sandstone, Quartzose sandstone
and black slate.

Decorative elements - Inscriptions

Decorated with carved inscriptional designs
in Kufic and Naskhi by talented Indigenous
artisans who can handle stone as wax. Thus,
Inscription got added as a new ornament to
the Indian continent.

‘The Islamic canons were of a recent growth

and it was necessary everywhere Islam spread that the new converts were reminded of these
religious off and on’ (Andreas Volwaksen, 1994) says the author which helps transcribe the
theoretical formulae into actual practice.

Construction technology
In short, construction was largely just a rearrangement. Relief in sandstone with no colour but with
play of light and shadow instead of standard mosque architecture with stucco and glazed tiles was
something new for Muslim ruler themselves.

Indo-Islamic Architecture
Physical response
short Space for assembly within mosque precinct is paramount as Islamic worship is congregational
in nature. Thus, the space had to be increased in accordance to the existing design language, as the
followers of the faith grew. (Andreas Volwaksen, 1994).

Adhai din ka Jhonpra Masjid, Ajmer

This mosque again sits on the site of an
ancient Hindu temple that fell victim to the
Muhammedan’s iconoclastic zeal. Occupying
a high plinth in the middle of a valley, with
hills on all sides thus being an ideal place for
Spiritual Retreat and Solace, Sufi saint
Moinuddin Christi says ‘This would have
been an oasis for the Mohammedans in the
otherwise hostile desert of Rajputana’.

Proportion
Triple columns were used to support the new
heights in the sanctuary.

Material
Totally built of yellow sandstone. Even after
exploitation of the Hindu materials for
Mosque the essential spirit of material
remained the same.

Regional influences
Flight of steps on the East almost appears as a temple approach. Special features of the mosque
include,
• Oriel windows
• Lintel below the arch
• Ogee of the archway

Technology transfer
Heavy lintel right below the arch demonstrates how the Hindu builder was not prepared to rely
wholeheartedly on the strength of the new system, were Lintel was used as a precaution.

Space configuration
Existing mandapa became the new sanctuary just with new screen of seven arches and the central
Mihrab. Mostly a rearrangement of the existing structure as even amalaka is seen crowning
cupolas.

‘The whole rhythm of the interior is so inherently in consonance with the

spirit of individualistic devotion that. It seems, the conversion of the Temple
into Mosque only succeeded in bringing about a new physical form, with the
spiritual interior atmosphere essentially remaining the same.’

Indo-Islamic Architecture
Construction technology
Lantern roofing is used where the beams are laid diagonally across the corners of a square and the
process gets repeated in successive one or two tiers, so that finally only one opening remains
which gets covered by a single slab.

Symbolism
Central archway is much broader and higher than the rest six, also crowned by two tapering
minarets. The screen designer essentially a calligrapher made sure that Arabic quotations were
boldly carved in high relief with Islamic designs in lower reliefs. Eventually, the words of God did
not distinctly outshine the other ornaments.

Jama Masjid, Jaunpur

Firoz Tughluq renamed Atala Devi

temple as Jaunpur and thus the
name of the Mosque.

Symbolism
A triumphal gateway got made
with an intention to impress the
beholder. Its position in the front of
principal part of Mosque is purely
ceremonial, thus shouting its
presence. (Dr.R.Nath, 1998).

Material
Entire construction is done in Grey
sandstone and Granite. All the
materials got sourced from the remains of ancient temples. Large scale pillars, lintels, brackets
and flat ceilings got reincarnated from the demolished temples.

Proportion
Cloisters are five aisled and double storeyed. Square pillars of bracket corbels and flat ceilings
are of Hindu extraction. Double shafts are used to achieve high ceilings supported on the
bracket-corbels that projects from the capita (Essentially the trabeate system of Hindus).

Structure
Every oblong nave has been converted into square by projecting piers from side walls and
corners so as to roof it by a dome (cupola). Squinches are incorporated at the phase of transition
Fringes along the squinches, arches and alcoves (recessed niche in the wall) (Dr.R.Nath, 1998)

Decorative elements
Elaborately carved lintels exist especially the one on the sanctuary entrance. Artistically
finished central nave gives gorgeous impression. Pylons as the most towering feature of the
mosque.

Indo-Islamic Architecture
Bibliography

Andreas Volwaksen, H. S. (1994). Islamic india. Germany: Benedikt.

Brown, P. (1981). Indian Architecture - Islamic period. Bombay: D.B.Taraporevala Sons.
Dr.R.Nath. (1998). History of Sultnate Architecture. New Delhi: Shakti Malik.
Grover, S. (1981). The Architecture of India - Islamic (727-1707 AD). New Delhi: Vikas.
Grover, S. (1996). Islamic Architecture in India. New Delhi: Galgotia.

Self evaluation

60 %

Indo-Islamic Architecture