Regional Islamic Architecture and Mughal Architecture

UNIT V
REGIONAL ISLAMIC ARCHITECTURE,

MUGHAL ARCHITECTURE AND AFTER
•Spread of Islam into other regions of India and their architectural
expressions - Gujarat, Bengal, Malwa and the Deccan. Study of important
monuments.
•Political History of the Mughals. Mughal architecture and urbanism under
Humayun, Akbar, Shahjahan and Aurangazeb. Study of important
monuments.
•Outline of Post Mughal Islamic architecture.
•Outline of architecture related to Islam in Tamil Nadu.
REGIONAL ARCHITECTURE /
PROVINCIAL ARCHITECTURE
CHARACTERS OF PROVINCIAL STYLE
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.
C. Unusual climatic conditions necessitated special treatment of roofs in

certain regions and one kind of building material common in this
region also affected the characteristic of the building art.
PRINCIPAL PROVINCIAL STYLES
 PUNJAB 1150 AD – 1325 AD
 BENGAL 1203 AD – 1370 AD – 1573 AD
 GUJARAT 1300 AD - 1572 AD
 JAUNPUR 1376 AD – 1479 AD
 MALWA 1405 AD – 1569 AD
 DECCAN 1347 AD – 1617 AD
 BIJAPUR 1490 AD – 1656 AD
 KHANDESH 1425 AD – 1650 AD
 KASHMIR 1410 AD – 1700 AD

BENGAL 1203 AD – 1370 AD – 1573 AD
PROVINCIAL STYLE - BENGAL
 The conquest of Bengal by the muslim rulers took place in 1202 but only a century later a building of
distinctive character to be called a style was produced.
 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.
• Three great cities have been traced amidst these destructions.
• 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.
 Here during the rule of Sikander shah, (1358-89) building

of a congregational mosque began in 1364.
 The mosque was large enough to serve several thousands

of worshippers. The mosque was Adina Masjid .From the
quadrangle overlooking the archways many of them which
has fallen, it looked like an ancient forum rather than a
mosque.
 The courtyard measures 400 feet long and 130feet deep

is enclosed with pillared aisles , five bay deep on the
sanctuary side and three bay deep on the other sides
consisting of 260 pillars. The entire composition is en
closed by a wall of 507 feet x 285 feet wide nearly
equaling the great mosque of Damascus.
• The interior of the courtyard has arches to the number of

88 surmounted by a parapet 20 feet high from the
ground.
• At the south east corner three archways form the
main entrance.
• There are three other entrances on the western

walls toward its northern end.
• Two of these lead to the upperstorey of BadshahKi

takht. (King’s throne) , it is a private chapel
reserved for the king and the royal house hold.
Design and construction of this portion has several
notable features.
 Lower storey of Badshah ki takht consists of very

short ponderous thick piers, square above and
below are surmount by massive bracket capitals.
• On the other hand the pillars forming the upper

storey are more usual proportions with graceful
fluted shafts and expanding lotus capitals . These
pillars located above and below have been removed
from Hindu structures of exceptional in character.
• With in the royal chapel there were 32 mihrabs one

opposite to the centre of each bay was found, all
exquisitely designed and sculpted.
• CENTRAL NAVE OF THE SANCTUARY
 The most impressive portion is the central nave of

the sanctuary, which is now roofless still retains its
stately appearance. Nave is a well proportioned hall
aligned east –west and transversely to the five
aisles which extends from each of its sides. It
measures 70 feet in length and 34 feet across while
the height from the paved floor to the ridge of the
pointed roof is 50 feet .
 The façade which is entirely disappeared was a

rectangular screen of 50 feet across and 60 feet in
height upto the parapet. With this frontal screen
was the entrance to the sanctuary, a pointed
archway 50 feet high and 33 feet in width keeping
with the dimensions of the hall to which it gave the
access.
 The scheme of the arch was completed by minor

arch ways on either side of the rectangular screen
above the parapet and containing staircases by
which muezzin would ascend to an upper platform
to call for the prayer.
• INTERIOR OF THE NAVE
 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.
• IMPORTANT FEATURES
 MATERIAL
 The upper structure of the arches and domes were of

brick but the substructure of the façade was composed
of finely prepared basalt masonry taken from hindu
temples of Laknauti and places of its immediate
neighbourhood. The whole doorway of the entrance to
Badshah ki takt was placed, taken from readymade
spoils.
 TYPE OF ARCH AND DOMES
 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.
 Small domes were raised over each bats supported by

pendentives of interesting kind. The pendentives were
bricks of oversailing courses, the bricks in alternate
course ,set diagonally so that their corners project, the
process of transition from square to circular already
employed in some of the building s of Delhi.
PROVINCIAL/REGIONAL STYLE - BENGAL
 THIRD AND MOST MATURED PHASE OF ARCHITECTURE

 The two factors , soil and climate had its influence on the development of
architecture in this region.
• In this region, the changing course of riverbeds, silting up of water courses and
floods were common – so the buildings were of mainly transient type made up
of wood and timber so that they can be readily replaced in times of emergency.
 The other factor is the climate of Bengal, due to the heavy rains in this region, a
surface shaped to a curve was sufficient to drain away rain water. Such a curve
was achieved by means of bent bamboo , covered with thatch . This curved roof
form became a feature in almost all buildings of whatever material , or atleast a
curved cornice which represented it.
 In the 15th century an example which may be termed as the regional Islamic
style came into view.
• This is a mausoleum at Pandua known as Eklakhi tomb, that of Jalaludin
Mohamed shah ( 1414 -31) .
 Beside being a structure of remarkable character in itself it serves as a
prototype of the subsequent Islamic Architecture of Bengal.
EKLAKI TOMB, BENGAL
• A simple structure which has square substructure measuring 75 feet side and it height is 25 feet upto
the triple cornice and whole being surmounted by a hemispherical tomb of 46 feet in diameter.
 Octagonal turrets project from each corner and a string course carried horizontally across the
middle of the façade simulates an appearance of two stories. This effect is further enhance d by the
series of ornamental panels . There is an opening one on each side formed of a stone doorway, but
with a pointed arch inserted above the lintel so that the whole resembles the arch and beam
combination of Firuzian buildings at Delhi.
 Tomb chamber is an octagonal hall with no windows , light being admitted only from the doorway and
is 47 feet wide.
 In this building is seen an early example of curved cornice inherited form bent bamboo forming the
eave of the thatched cottage, and the façade itself is divided up into a series of projecting and
recessed chases suggestive of frame work of wood and wattle hut.
 Over the period of successive hundred years muslim rulers of Bengal built similar structures to that
of Eklaki tomb, but elaborated, modified or enlarged according to their functional requirements.
DAKHIL DARWAZA, GAUR - BENGAL
 Finer structures in brick work belong to the period of Bengal. One among that is Dakhil Darwaza ,
with its immense proportions is a testimony to the skill of the local builders in Bengal.
• 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.
 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.
 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.
 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 sanctuary façade is treated economically only to

be relieved by an oriel window one above the central
opening and one on each side of the minaret. The oriel
windows give charm to the buildings of Gujarat whether
Hindu, Jain or Islamic.
 When compared to the Jami masjid of Ahmedabad , the

one at Champanir could not effect any pronounced
improvement except for a fewer refinements.
 It is found that the slender pillars of
Champanir are more sophisticated as
may be seen in the vertical recessed
chases of the shafts.
JAMI MASJID, CHAMPANIR
- GUJARAT
JAMI MASJID, CHAMPANIR - GUJARAT
 THE NAVE
 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
 DHARwas the stronghold of the Hindu dynasty –

PARAMARA- during which there was no significant
contributions towards architecture.
 There were significantly numerous temples as usual

to supply materials to the early structures.
 Skilled Labour was bought in from delhi
 During this period the rule at Delhi was the

TUGLAQSTYLE.
 The Muslim invaders should have turned towards

artistically productive Gujarat which was
geographically closer but due to political reasons,
relationships between them were not amicable
GENERAL FEATURES
 Influence of Delhi
 Battering Walls
 Pointed arch with SPEAR HEADED-FRINGE of the Tughlaqs
 Arch-Lintel bracket combination
 Pyramidal roof of the Lodis

 Decorative Motifs similar to delhi style
 Actual Masonry material- SANDSTONE
 One of their innovations was an attractive method of combining two
structural systems of an arch with a pillar and beam formed out of temple
materials
 Malwa had long stately flight of steps leading to their entrances made
necessary by the high plinth
 Lofty terraces and elegant stairways
 Use of coloured stones and marbles- black,yellow,slate,jasper,agate
 Application of glazed borders and panels
 PHASE I  PHASE II OR CLASSICAL PHASE
 Monumental buildings having sober
 From 1400 AD, Developed at DHAR and massive elegance. Capital shifted
from Dhar and Mandu
 Earliest examples at Mandu
 EXAMPLES
 Effort made to disguise temple origin
 4 mosques-2 at Dhar and 2 at Mandu  ASHRAFI MAHAL
 HINDOLA MAHAL
Effort made for the disconnected members
JAHAZ MAHAL


to look connected.
 EXAMPLES
 PHASE III
 KAMAL MAULA MASJID, DHAR - 1400 AD  Less austere structure and more
fanciful
 LAT MASJID,DHAR -1405
 EXAMPLES:
 MALIK MASJID,MANDU 1452  JAMI MASJID ,CHANDERI
 DILAWAR MASJID,MANDU-1405  KUSHK MAHAL,CHANDERI
 KAMALMAULA MASJID
 JAMMI MASJID, MANDU
JAMMI MASJID, MANDU - MALWA
 Began by Hushang shah and

finished by sultan Mahmud.
 No sign of Fortified planning
 This majestic mosque consists of the
west prayer room, 5 spans in depth,
South and north corridors, three span
in depth, and the eastern corridors of
2 spans
 In the east, there is a grand entrance
gate having an octagonal room on a
square plan with a dome.
 The west prayer room has three
domes of considerable height on the
central, northern and southern part of
the roof.
 A total of 158 small domes above the Square plan of 288’ a side
room.
 The whole mosque is built
upon a basement. The wall 162 sq.ft courtyard
11 arches
dividing the basement into two VIEW FROM THE EAST
levels gives a grand appearance
to the mosque .
 The grand darwaza built in the east on a
square plan with high stairs, further enhance
the dignity of the appearance of the east front
of this mosque
 Indeed, the only departure from sobriety is
in the chattri inside the mosque, next to the
mihrab, which shows influences from florid
ENTRANCETO THE MASJID
Gujarati architecture.
 There are no decorations on most of the
pillars
 The whole building is faced with red chattri
sandstone, with little concession to decoration
 People who enter the courtyard through

the room encounter a line of 11 arch
shaped pillars and feel the majestic
atmosphere of this Jami Masjid. MIMBAROR PULPIT
 Also on the 17 mihrabs, including the large one at the
centre on the west wall, no outstanding decorations are
seen
 Central mihrab still has rather significant double arches
and medallions, around which an Arabic inscription from
the Koranis written
 This pulpit, having a small domed room, shows traces of
participation by Hindu workmen in the construction in
various points. It also suggests the legacy of Hindu
craftmanship of central India remains in this mosque, too. Mihrab
From east-
northeast From south
JAHAZ MAHAL, MALWA
 Represents the classical phase of building art at
Mandu
 May have been built by mahmud Khilji in the Last

half of the 14 century
 Palace is a Double storeyed structure, Along the

two lakes.
 Its position and name suggest the NAME-JAHAZ

MAHAL or SHIP PALACE.
 Structure appears to be Lively and entertaining

 Departure from the previously solid and
 Departure from the previously solid and somber

style at Mandu.
 The most striking thing about this monument is its
location between two water bodies,The Kaphur Talao
and the Munja Talao, which gives the building the
appearance of floating on water, hence its name,
literally the ‘ship palace’.
JAHAZ MAHAL, MALWA
 Extends 360 feet,width less than 50’

 Surfaces are filled with friezes of
brightly covered glaze
 Continuous around the front , broad
eaves is a triforium of recessed arches
and parapet diSplaying a pattern of
tiles, Roof-open pavilions and kiosks
and overhanging balconies.
 The entire building is reflected in water

 Interiors are pillared compartments,
cool corridors, sumptuous bathing
halls.
 Elegantly proportioned cupolas
alternate with pyramidal roofs while
projecting eaves and cornices
produce gratifying passage of light and
shade.
DECCAN 1347 AD – 1617 AD
PROVINCIAL/REGIONAL STYLE - DECCAN
GULBARGA -1347-1422
BIDAR -1422- 1512
GOLCONDA -1512-1687
 A definitely regional character
 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
 They ignored the Dravidian and the chalukyan temples
 Was not a very spontaneous development
 Fundatamentaly it was a fusion of two styles FROM DELHI and FROM PERSIA
DELHI-
 Due to Mohammed Tughlaq change of capital from Delhi to Daulatabad
 Shifting of people and artisans
PERSIA-
 Homeland of the original Muslim who took over India
 These people instinctively looked towards Persia for inspiration

 They considered Persia as the overhead of all real knowledge
 People from other Islamic cities were finding their way to the Deccan ports
FEATURES
 The first independent ruler of the Deccan was ALA-UD-DIN HASSAN BAHMAN SHAH, A Persian
adventurer from the court of tughlaq.
 He established the BAHAMANI DYNASTY in GULBARGAin 1347
 Architecture took an unusual form ,instead of merging with the Indo – Islamic style and
becoming indianised, ,in several instances buildings were erected in the deccan which were
purely and intentionally IRANIAN in their design and construction.
THE DECCAN STYLE CAN BE DIVIDED INTO 3 PHASES

 FIRST PHASE
 Acrude imitation of Tughlaqian architecture with sloping walls
 SECOND PHASE
 Persian elements combining with that of Delhi Examples:
 In the proportion and shape of the dome
 The detailing of the base of the dome above and the octagonal drum
 THIRD PHASE
The completesources
 independent amalgamation of the diverse architectural forms derived from all the
FEATURES
 PERIOD AND LOCATION WISE – 3 PHASES
 PHASE1 - GULBARGA 1347-1422-Capital - THE BAHAMANI DYNASTY
EXAMPLE - JAMI MASJID-GULBARGA, ROYAL TOMBS(HAFT GUMBAZ or SEVEN TOMBS )
 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
 PHASE 3 - GOLCONDA 1512-1687 - Capital - QUTB SHAHI DYNASTY
EXAMPLES- GOLCONDA FORT, ROYALTOMBS-TOMB OF QULI QUTB SHAH, CHAR MINAR
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.
 The whole structure is entirely is covered in by a roof
 This might be because the builder-rafi was not of Indian origin,but of north persia
 Measuring 216’X176’, Covering an area of 37,916 square feet

 Roofed with 68 small cupolas.
 Allows for 5000 worshippers to get together
 Four large domes mark the four corners
JAMI MASJID, GULBARGA– DECCAN
 EXTERIOR
 Grave and restrained massiveness
 Its stilted dome, poised over the square

substructure has a light and aerial effect
which is result of excellent proportions.
 In the middle of the northern side is
the main entrance, a lofty archway
breaking the otherwise austere symmetry
of the whole in a masterly way
 Although they had gone in for a
covered roof, this design did not find
favour in India and it was never repeated.
 The reason being that the design is

unorthodox and not in accordance with
the tradition
JAMI MASJID, GULBARGA–
DECCAN
 The most remarkable formation in the interior
of this mosque is the treatment of the cloisters.
 Instead of consisting of pillared aisles as in almost all

other mosques, it consists of a range of single
archways of an extremely wide span and with
unusually low imposts, creating an uncommon but not
altogether and unpleasing effect
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
 The group of bahamani tombs, known as the HAFT GUMBAZ or SEVEN

 TOMBS contains memorials of four kings of this dynasty ,the earliest being MUJAHID
BAHAMAN,who died in 1378-showing tughlaq style of architecture, they are large in size
ROYAL TOMBS, GULBARGA - DECCAN
 Three of these tombs are similar in architectural styles from that of the previous one
but they are exceptional in another aspect, as they represent a structural
arrangement not found elsewhere.
 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.
 It is interesting to note that in the foundation of the building,sheets

of lead were interposed between the masonary courses in an effort
to prevent damp from injuring the delicate glaze of the tiles.
Eastern view
Viewing north wing,

from southwest part
of courtyard
3RD PHASE – GOLGONDA – QUTB SHAHI
DYNASTY – 1512 - 1687
 GOLCONDA FORT
 Golconda fort was built on the remains of a
Kakatiya citadel by Sultan Quli in 1544.
 The main fortress dominates the town 30 metres
below.
 The fort is situated in the southwest area
within the city walls that extend about 1.5 km
from east to west and north to south.
 The city walls have 8 gates. Outside of the east

gate leading to Hyderabad, there is a large
reservoir outstretching and to the northeast of
the reservoir, Nizam ul-Mulk built the new fort
Naya Qilah in 1724.
 Graveyard of the royal family of Qutb Shah
extend to the north-west outside of the city walls
and there remain many mausoleum.
 In addition, there are some mosques from the

Qutb Shah period remaining inside and outside of
the city walls
GOLGONDA FORT - DECCAN
 The three successive walls with numerous bastions for
artillery and complex approaches for better defense testify to
a time when wars were common and imminent attack around
the corner.
 The Hindu motifs on the gates show a continued trend of

using local craftsmen and decorative vocabulary, and
may also be proof of the religious tolerance of the Qutb
Shahis.
Barah Hisah Gate
Fort view from south

CHAIRMINAR, GOLGONDA - DECCAN
 Served the same purpose as that of the “tin darwaza”

 The Char Minar is a composition of considerable size .
 Square plan 100 feet
 Four minars one at each end-186 feet high
 The ground storey
consists of four
spreading archways,
one in each side and
each 36 feet span,
over which rise a
series of diminishing
stories beginning with
a substantial arcaded
triforium and having
a smaller arcade and
perforated balustrade
above.
 Squinch as seen from
inside.
TOMB OF QUILI QUTB SHAH
ROYAL TOMBS
These monuments include some 7 tombs which include the
ruling family and other important personages.
All the qutb shahi tombs are much of the same type of design
which is based on that of the Bahamani tombs at bidar,but
the main architectural additions are of floral patterns
Bulbous Dome  ARCHITECTURAL CHARACTER
Calyx  Displays an increased use of moulded

patterns
flimsy battlements  Much of the ornamentation is in stucco of a
superficial kind, weakens the outlines of the
building and confusing its surfaces with
richly moulded but fanciful pinnacles and
flimsy battlements
 Full blown bulbous dome with the addition

of a calyx formation of a plastic order at its
base
 Lower portion being extended by mean of
an arcaded verandah and certain
effectiveness is obtained by cornices
projected on brackets
TOMB OF QUILI QUTB SHAH
 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”).
 Name comes from Persian word Mogul for “Mongol”.
 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.
 It was a mixture of Persian, Mongol, and Indian culture.
 Important monuments built by him include:
Kabuli Bagh , Panipat in Punjab (1526)
Jami Masjid, Sambhal - a town east of Delhi (1526)
Mosque At Lodi Fort, Agra

HUMAYUN (1531- 1556)
HUMAYUN (1531- 1556), MUGHAL ARCHITECTURE
 Similar to Babur, his son and successor, the emperor Humayun, did not contribute much
to the building art of the country during these formative years of the Mughul rule.
 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 architect was a Persian by the name of Mirak Mirza Ghiyas.
 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.
 The garden is laid out in a formal

arrangement of square and rectangular
compartments with flowered parterres and
flagged paths and pavements.
 These are carefully designed and

proportioned so as to form an integral part
of the overall composition, the lines and
spaces leading up to and harmonizing with
those of the central structure.
 The central building stands on a platform of

22’ height. The sides of the platform are
arcaded, with each archway leading to a
small room for visitors and their attendants.
HUMAYUN’S TOMB
 The tomb structure which is a square in plan with 156’ side occupies the middle of the platform.
 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.
 In plan this great stronghold takes the form of an irregular

semicircle with its chord, some 2700’ in length, lying parallel to
the right bank of the river Jumna.
 One of its most remarkable features is its massive enclosure wall

which consists of a solid sandstone rampart just under 70’ in
height and nearly one and a half miles in circuit, the first
application of dressed stone on such a large scale.
 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.
 Built by Akbar in A.D. 1566, one of his earliest architectural efforts.
 The structure, along with the ramparts flanking it is constructed of

red sandstone.
 The front or outer façade consists of two broad octagonal towers

joined by an archway, while the back or inner façade consists of
arcaded terraces surmounted by cupolas, kiosks and pinnacles.
 The gateway is large enough to accommodate a number of large

rooms in the interior for guards.
 Architectural and decorative features such as arcades, arched

recesses, patterns in white marble inlay give the structure an
attractive appearance from all sides without detracting from its
basic purpose as an essential part of the fortifications.
 One motif, repeated on the borders is a conventional

representation of a bird, contrary to the Islamic principle of taboo
against representation of animate objects, reflecting the tolerant
nature of Akbar’s reign.
FATEHPUR SIKRI
 After his victories over the Rajputs, Akbar commemorated his achievement by the building of a new
capital.
 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 city stands on a sandstone outcrop

which runs in a northeast to south-west
direction. It is surrounded by a
bastioned wall enclosing an irregular
area about 2 miles long and 1 mile
broad.
 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.
FATEHPUR SIKRI
 The main approach is from Agra, through the Agra Gate and a Naubat Khana which leads straight to
the Diwan-i-Aam.
 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 dominant material used is red sandstone quarried on the spot.

FATEHPUR SIKRI
 One of the earliest structures built on the site is the Stone-Cutters’ Masjid, a small mosque on the
western crest of the hill that the workmen built for themselves.
 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.
 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.
 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 ground storey is made up of four rooms

and two porches, while the upper storey is
made up of two rooms and open terraces
enclosed by screens.
 The upper rooms are roofed by cupolas while

the porches have pyramidal roofs, all of
which are constructed on a modified form of
the double dome in order to keep the
interior cool.
 The chief attraction is the treatment of the

exterior, particularly the rich character of the
eave brackets.
 Such bracket supports are common in most

of the secular structures in Fatehpur Sikri,
but they have employed most liberally and
designed and executed most elaborately in
Birbal’s House.
BIRBAL’S HOUSE,
FATEHPUR SIKRI
 Diwan-i-Khaas, or the Hall of Private Audience is the
most distinctive of the administrative building built at
Fatehpur Sikri.
 It is not a large structure, but it is conceived in an
unusual manner.
 Externally, the structure is a rectangle in plan with
two storeys having a flat terraced roof with pillared
kiosks rising over each corner.
 The interior arrangements are quite unique. It is a
single chamber whose principal feature is a large
pillar occupying the central position with a massive
expanding capital supporting a circular stone
platform.
 From the platform, stone bridges radiate along each
diagonal of the hall to connect with hanging galleries
which surround its upper portion.
 The idea behind this arrangement is that the Emperor
would occupy the central position while presiding
over the representatives from various religious
communities gathered there.
 The shaft of the central pillar branches out into 36
voluted and pendulous brackets carrying the throne
platform.
JAMI MASJID, FATEHPUR SIKRI
 The Jami Masjid at Fatehpur Sikri was built
by Akbar in A.D. 1571.
 It covers a rectangular area measuring 542’

X 438’, with a large courtyard, originally 4 5
entered by gateways on the north, south and
east.
3 1
 Of these, only the eastern or King’s Gateway

has remained unaltered by subsequent
additions.
 It is one of the largest mosques in the

country.
 The mosque follows the conventional plan

form with a central courtyard surrounded by 2
cloisters on 3 sides and the sanctuary on the

western side.
 The sanctuary façade consists of a large

rectangular fronton in the centre containing
a spacious alcove, with a pillared arcade on
each side to form the wings.
JAMI MASJID, FATEHPUR SIKRI
 Above and behind this central feature rises a large dome over the central nave and smaller domes
over the wings.
 A range of pillared kiosks all along the entire parapet breaks the skyline.
 The nave is a square hall entered through three doorways in the alcoved fronton which contains the
principal mihrab on its western wall and is covered by the main dome.
 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 gateway is 134’ high, approached by a

steep flight of steps 42’ high. Thus, the total
height of the structure comes out to be 176’
above the roadway. REAR ELEVATION
 The structure is 130’ wide and 123’ deep.
 The structure may be resolved into two

aspects, the frontal and highest aspect
forming the façade with the portal and the
back view consisting of a lower and plainer
portion intruding into the mosque courtyard.
 The façade is embowed by the means of

three planes comprising a large central face
and a lesser one on each side receding at an
angle.
BULAND DARWAZA, FATEHPUR SIKRI
 The central plane is 86’ wide and is rectangular
in shape, the greater part of its surface
occupied by and arched and domed recess
whose semi-dome is carried on five surfaces in
the form of a half-decagon down to the ground,
with a human height doorway at the base.
 The smaller planes are in three levels with

varied openings at each stage.
 The whole is crowned by a perforated parapet,

behind which pillared kiosks break the skyline.
 The rear aspect of the gateway is less

pronounced, consisting of three arched
entrances and a parapet in two stages to
accord with the arches and colonnades of the
mosque interior as far as possible.
 The main element of the decorative treatment

of the outer façade is the wide border of the
gateway emphasizing its rectangular formation,
providing ample space for a continuous
ornamental inscription.
TOMB OF SALIM CHISTI, FATEHPUR SIKRI
 The tomb of Salim Chisti is located in the
courtyard of the Jami Masjid at Fatehpur Sikri,
its construction beginning along with the
mosque in A.D. 1571.
 Originally a sandstone structure, it was

converted into a more expensive marble
structure sometime during the end of
Jahangir’s reign and the beginning of Shah
Jahan’s reign as per the style of the period, and
thus creates a contrast with the grandiose,
massive and purposeful nature of the
structures surrounding it with its own light and
airy nature which gives an appearance of
chiseled, polished and fretted exquisiteness.
 The tomb consists of a square exterior of 24’

side which contains a mortuary chamber of 16’
side, the whole covered by a low dome.
 A wide verandah is carried around the outside,

its roof supported by pillars with the
interspaces filled with perforated screens, the
whole measuring 48’ square.
TOMB OF SALIM CHISTI, FATEHPUR SIKRI
 A porch, also supported on pillars is projected from the
southern side.
 There are carved brackets all around to support the

extremely wide eaves.
 The building itself is low and unimpressive but depends

upon the material in which it is built and the ethereal
manner in which the material has been handled for its
effect.
 The pillars forming the porch with their honeycomb

capitals and the brackets springing from their patterned
shafts are its distinctive features.
 The brackets or struts are unique as they consist of

serpentine volutes with the spaces between the curves
filled in with perforated foliations, having the appearance
of carved ivory than chiseled marble.
 Their prototype can beseen in the temples of Gujarat.
 The struts serve no structural purpose, but are mainly

decorative.
PANCH MAHAL, FATEHPUR SIKRI
 The Panch Mahal, also known as "Badgir“
meaning wind catcher tower, was
commissioned by Akbar the Great.
 This structure stands close to the Zenana

quarters (Harem) which supports the
supposition that it used for entertainment
and relaxation.
 This is an extraordinary structure employing

the design elements of a Buddhist Temple;
entirely columnar, consisting of four stories
of decreasing size arranged asymmetrically
upon the ground floor, which contains 84
columns.
 These columns, that originally had jaali

(screens) between them, support the whole
structure.
 Once these screens provided purdah (cover)

to queens and princess on the top terraces
enjoying the cool breezes and watching
splendid views of Sikri fortifications and the
town nestling at the foot of the ridge.
PANCH MAHAL, FATEHPUR SIKRI
 The pavilion gives a majestic
view of the fort that lies on its
left.
 The pool in front of the Panch

Mahal is called the Anoop Talao.
 It would have been filled with

water, save for the bridge, and
would have been the setting for
musical concerts and other
entertainment.
 The ground floor has 84

columns, the first story has 56
columns and the second and
third stories have 20 and 12
columns respectively.
 The topmost story has 4

columns supporting a chhatri.
 There are 176 columns in all and

each is elegantly carved with no
two alike.
FATEHPUR SIKRI
 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.
 This emperor's aesthetic predilections lay in other directions, as he it was who

patronized so enthusiastically the school of miniature painting that is associated with
the Mughul regime.
 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.
 A doorway within the southern alcove leads to a

corridor going to the tomb chamber which is a
small cell confined within the womb of the
building.
 Above the terrace is a series of sandstone

pavilions, arcades and kiosks and is a light and
fanciful structure in complete contrast with the
powerful substructure.
 It may be assumed that this part of the

mausoleum was built under the supervision of
Jahangir who demolished what was built at this
level and reconstructed it in accordance with his
architectural ideals.
 The contrast between the ground and upper

storeys reflect the contrasting characters of
Akbar and Jahangir.
AKBAR’S TOMB
 The uppermost storey of Akbar’s tomb is in marked
contrast with the rest of the structure as it is
composed entirely of white marble instead of red
sandstone. It is a massive structure with a solid
projecting cornice with a tall and graceful kiosk over
each corner.
 The entire structure is surrounded by a range of

delicately perforated screens. The interior of this
storey is an open court surrounded by arcaded
cloisters and a cenotaph in the centre.
 It is probable that this storey was supposed to have

dome to provide a suitable apex to the pyramidal
elevation and to protect the exquisite craftsmanship
of the cenotaph.
 Akbar’s mausoleum exhibits an experimental nature,

its builders trying to depart from the conventional
structures and achieve an original composition.
 However, due to the lack of proper vision and

guidance, the experiment has produced a structure
deficient in the essentials of coherence and mass
and also unity and definition.
TOMB OF ITMAD-UD-DAULA
 Built in A.D. 1626 for a distinguished nobleman and
Jahangir’s fatherin- law, Itmad-ud-Daula at Agra.
 The structure marks a transitional phase with a fresh

interpretation of the building art in its most delicate
and refined aspect, disregarding size and
emphasizing exquisite finish.
 The structure stands in a square enclosure of 540’
side, with red sandstone gateways.
 The tomb structure, built in white marble, stands in

the centre of a garden with a formal scheme of
lawns, parterres, flagged pathways, tanks and
fountains.
 The tomb is a square in plan of only 70’ side,
comprising of a central structure with broad
octagonal towers in the form of minarets thrown out
from each angle.
 A small pavilion or kind of upper storey rises above
the roof.
 There are three arched opening in each side and
cornices on brackets and a wide eave on the upper
portion.
 The interior of the ground storey consists of a
series of rooms and passages corresponding to an
enclosed verandah which surrounds the central
chamber containing the cenotaph.
 The pavilion above is a square compartment with

walls of screens of fine marble tracery.
 There is little relief work in the ornamentation, the

walls being coloured delicately by inlaid stones.
 The inlay work was done with a new system called

pietra dura in which hard and rare stones such as
lapis, onyx, jasper, topaz cornelian and the like were
embedded in the marble in graceful foliations, as
opposed to the older system of opus sectile, a
marble intarsia of various colours.
 Three arched openings on each side provide

shadows which contrast with the gleaming surface,
while the cornice and eaves mark strong horizontal
lines.
WNDOW AND JALI DETAIL
MARBLE INLAY WORK ON THE TOMB

AND THE FLOOR IS NOTABLE IN THE INTERIOR
TOMB WALL DETAILS AND CARVINGS

ON THE EXTERIOR
 The tomb contains a central tomb
chamber surrounded by square and
rectangular rooms decorated with
carved painted plaster in the Persian
style.
 This mausoleum is surrounded by

beautiful lawns, parterres, flagged
pathways, tanks and fountains.
 The intricate inlay in yellow, brown, gray

and black, contrasting with the smooth
white marble, prefigures the later phase
of white marble garnished with gold and
precious stones that marks the most
sumptuous buildings constructed under
later Mughal patronage.
 Traditional geometric designs and

arabesques are combined with
representational motifs of drinking cups,
vases with flowers, cypress trees and
visual descriptions of Paradise from the
Holy Qur'an.
SHAH JAHAN (1627 - 1658)
THE REIGN OF MARBLE
DIWAN-I-AAM AT DELHI FORT
 The Diwan-i-Aam or Hall of Public Audience originally consisted of a square courtyard surrounded
by colonnades and the hall on the eastern side. Apart from the actual hall, the rest of the
subsidiary structures have since disappeared.
 The hall is a sandstone building measuring 185’ X 70’.
 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.
 There is a large oblong recess in the plain back wall.
 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.
 The inspiration behind the Taj

Mahal apparently comes from
two sources, Humayun’s Tomb
at Delhi, built about 50 years
before the Taj Mahal, and the
lesser known tomb of Khan
Khanan, built a few years
before the Taj Mahal.
 The tomb building itself

occupies only a small portion
of the architectural scheme as
a whole.
TAJ MAHAL, AGRA
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.
 The idea of these retreats was brought

in from Persia. Babur, the founder of
the dynasty, commemorated his
victory over Ibrahim Lodi in 1526 not
with a triumphal monument but with a
large garden called Kabul Bagh at
Panipat.
 Most of the principal architectural

projects of the Mughal rulers were
surrounded by park-like enclosures.
 Spacious gardens not associated with

buildings were also created, especially
the gardens of Kashmir, of which the
Shalimar and Nishat Baghs are the
most famous.
TAJ MAHAL, AGRA
 In the plains of India, the Shalimar Bagh at Lahore was
built by Shah Jahan in 1637.
 It is formed by means of a series of rectangular terraces

arranged in descending levels to ensure a continuous
flow of water throughout the entire system.
 Fountains, pools, basins, cascades and similar devices

turn the whole into a very effective water garden.
 The layout is rigidly conventional and axially symmetrical.
 The aim of the design is to discipline nature and not to

imitate it. Hence, this style belongs to the school of
formalists and not naturalists.
 The plan of the Mughal gardens is worked out in a regular

arrangement of squares, often subdivided into smaller
squares to form the figure of the char bagh.
 Paved pathways and water channels follow the shapes of

these squares, with oblique or curved lines used rarely or
not at all.
TAJ MAHAL, AGRA
 At central points in the scheme, masonry pavilions,
loggias, kiosks and arbours are built, a prominent
example being the pillared pavilion of black marble in
the middle of the Shalimar Bagh in Kashmir.
 The entire garden was surrounded by a high

enclosing wall to ensure privacy as is seen in the
Shalimar Bagh at Lahore, which measures an oblong
1600’ X 900’.
 The art of topiary and the science of arboriculture

were not widely practiced, the main effect being
achieved by means of parterres and borders of
flowering and aromatic plants.
 The chinar tree (Platanus orientalis) is prominently

featured in the Kashmir gardens, orchards in palace
gardens and avenues or groups of cypresses in
gardens around tombs.
 The water supply required to maintain such gardens

was often brought in from distant sources by means
of canals, which were in themselves great feats of
engineering.
POST MUGHAL ISLAMIC
ARCHITECTURE –
CROSS CULTURE INFLUENCES
RAJPUT ARCHITECTURE
AMBER FORT, RAJPUT ARCHITECTURE
 Amber Fort is located in Amber, 11 km from Jaipur, Rajasthan state,
India.
 It was the ancient citadel of the ruling Kachhawa clan of Amber,

before the capital was shifted to present day Jaipur.
 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 Fort is unique in that its outside, an imposing and rugged

defensive structure, is markedly different from its inside, an ornate,
lavish interior influenced by both Hindu and Muslim (Mughal) styles
of ornamentation.
 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
6. Ganesh Pol 7. Sukh niwas 8. Baradari 9. Zenana

INDO SARACENIC REVIVAL STYLE
MYSORE PALACE
 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.
 A large number of Islamic structures in India during the Mugal era were build in the Sassanian (Persia
) style. So the name Saracenic.
 That style when merged with the native Indian styles , gave rise to a hybrid style called Indo- Islamic
style or Indo-Saracenic style.
 Many centuries later – by the turn of 19th century – India came under the colonial powers. That
brought rise to a further new hybrid style called Indo-Saracenic Revival style.
 Here the Indo- Islamic style is further blended with the Gothic style (,that was the flavor of Victorian
rulers) .
 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 understand the hybrid style, 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.
MYSORE PALACE
 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 (

Rajastan ) architectural feature. one can
spot two more such domed Chhatris at
the top on either side of the central arch
of the facade.
 Between these two domed Chhatris and

above the central arch is a sculpture of
goddess Gajalakshmi. This is a common
feature in Hindu architecture as the
goddess Gajalakshmi is considered of
wealth, prosperity and abundance.
THIRUMALAI NAYAKAR MAHAL,
MADURAI
THIRUMALAI NAYAKAR MAHAL
 Thirumalai Nayak Palace is a 17th century
palace was built by King Thirumalai Nayak,
one of the Madurai Nayak rulers in 1636
AD in the city of Madurai, India.
 This Palace was built with the help of an
Italian Architect and is a classic fusion of
Dravidian, Islamic and European styles.
Aerial view
 The building, which can be seen today, was
the main Palace where the king lived. The
original Palace Complex was four times
bigger than the present structure. In its
heyday, Tirumalai Nayak Palace at Madurai
was considered to be one of the wonders
of the South.
 Built in 1636, as a focal point of his capital
at Madurai, Thirumalai Nayak intended the King’s court & residence
palace to be one of the grandest in South
India.
 The design and architecture is a blend of
Dravidian, Islamic and European styles. It is
the Interior of the Palace surpasses many Entrance Gateway
of its Indian contemporaries in style and
details while the exterior is minimalistic by
comparison. Madura beats Indo Saracenic
Dravidian,Architecture
Inner courtyard
ISLAMIC ARCHITECTURE IN
TAMIL NADU
ISLAMIC ARCHITECTURE IN TAMIL NADU
 Unlike north India, Islam came to the south through maritime spice trade even as it was
spreading across Arabia in the 7th Century.
 The Muslims who were traders enriched the country with precious foreign exchange, and
hence were accorded a special place by the Tamil rulers of the day, and often received grants
to build mosques.
 As mosques are called Palli Vaasal in Tamil, and they were built of kal, the Tamil word for
stone, they came to be locally known as kallupallis. These kallupalliswere essentially built
more like mandapams, better suited to Islamic requirement for the congregation to assemble
and stand together in prayer.
 With guidelines for the construction of mosques being simple - such as prayer facing Mecca,
no idol worship and clean surroundings, the masons who worked on these mosques under the
supervision of religious heads restricted themselves to carving floral and geometrical motifs
instead of human figures as in a temple. “While the raised ‘Adisthana’ of the Hindu temple was
retained, there were no ‘Garbha Grahas’ and no figurines carved on any of the pillars”
 Across Tamil Nadu, wherever Tamil Muslims lived in large numbers, from Pulicat near Chennai
to Kilakarai, Kayalpatnam, Kadayanallur, Kottar, Tiruvithancode, Madurai, etc., one finds these
beautiful kallupallis.
KALLUPALLI MOSQUE, TRICHIRAPALLI
JUMA MASJID, KILAKARAI
JUMA MASJID, KILAKARAI
MAUSOLEUM OF ALAUDIN UDAWJI, MADURAI

Regional Islamic Architecture and Mughal Architecture

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UNIT V

REGIONAL ISLAMIC ARCHITECTURE,

C. Unusual climatic conditions necessitated special treatment of roofs in

 BENGAL 1203 AD – 1370 AD – 1573 AD

 GUJARAT 1300 AD - 1572 AD

 JAUNPUR 1376 AD – 1479 AD

 MALWA 1405 AD – 1569 AD

 DECCAN 1347 AD – 1617 AD

 BIJAPUR 1490 AD – 1656 AD

 KHANDESH 1425 AD – 1650 AD

 KASHMIR 1410 AD – 1700 AD

• Three great cities have been traced amidst these destructions.

 Here during the rule of Sikander shah, (1358-89) building

 The mosque was large enough to serve several thousands

 The courtyard measures 400 feet long and 130feet deep

• The interior of the courtyard has arches to the number of

• There are three other entrances on the western

• Two of these lead to the upperstorey of BadshahKi

 Lower storey of Badshah ki takht consists of very

• On the other hand the pillars forming the upper

• With in the royal chapel there were 32 mihrabs one

 The most impressive portion is the central nave of

 The façade which is entirely disappeared was a

 The scheme of the arch was completed by minor

 The upper structure of the arches and domes were of

 TYPE OF ARCH AND DOMES

 Small domes were raised over each bats supported by

 THIRD AND MOST MATURED PHASE OF ARCHITECTURE

 The sanctuary façade is treated economically only to

 When compared to the Jami masjid of Ahmedabad , the

 DHARwas the stronghold of the Hindu dynasty –

 There were significantly numerous temples as usual

 During this period the rule at Delhi was the

 The Muslim invaders should have turned towards

 Pyramidal roof of the Lodis

 Began by Hushang shah and

 People who enter the courtyard through

 May have been built by mahmud Khilji in the Last

 Palace is a Double storeyed structure, Along the

 Its position and name suggest the NAME-JAHAZ

 Structure appears to be Lively and entertaining

 Departure from the previously solid and somber

 Extends 360 feet,width less than 50’

 The entire building is reflected in water

BIDAR -1422- 1512

 A definitely regional character

 They ignored the Dravidian and the chalukyan temples

 Was not a very spontaneous development

 Due to Mohammed Tughlaq change of capital from Delhi to Daulatabad

 Shifting of people and artisans

 Homeland of the original Muslim who took over India

 These people instinctively looked towards Persia for inspiration

THE DECCAN STYLE CAN BE DIVIDED INTO 3 PHASES

 PHASE1 - GULBARGA 1347-1422-Capital - THE BAHAMANI DYNASTY

EXAMPLE - JAMI MASJID-GULBARGA, ROYAL TOMBS(HAFT GUMBAZ or SEVEN TOMBS )

 PHASE 3 - GOLCONDA 1512-1687 - Capital - QUTB SHAHI DYNASTY

EXAMPLES- GOLCONDA FORT, ROYALTOMBS-TOMB OF QULI QUTB SHAH, CHAR MINAR

 The whole structure is entirely is covered in by a roof

 Measuring 216’X176’, Covering an area of 37,916 square feet

 Its stilted dome, poised over the square

 The reason being that the design is

 Instead of consisting of pillared aisles as in almost all

 The group of bahamani tombs, known as the HAFT GUMBAZ or SEVEN