General characteristics of Islamic architecture

Domes

1
 PLANING: • TYPICAL CHARACTER OF ANY OF ISLAMIC STRUCTURE IS HAVING geometrical
FORMS. • THE CONCEPT OF CENTRAL COURTYARD IN MOUSQUE IS BROUGHT IN INDIA
FROM ARABIC COUNTRIES.
ORIENTATIONS: THE MAIN HOLY PLACE OF MOSQUE IS FACING TOWARDS MACCA, WHICH IS
IN West DIRECTION FROM INDIA SO THE MAIN WALL OF SANCTURY IS ALSO TOWARDS west
DIRECTION.
USE OF WATERBODY: WATERBODY IS PLACED IN THE CENTRE OF THE CENTRAL COURTYARD
WHICH IS USED BEFORE ENTERING THE MAIN HOLY BUILDING OF MOSQUE.
ELEMENTS: ARCH,PLINTH,DOME, ARE THE MAIN BASIC ELEMENTS OF ISLAMIC
ARCHITECTURE. THE BASIC RULE OF THE ISLAMIC ARCHITECTURE IS TO MEASURE THE
DISTANCE BY AN ARCH WHILE IN INDIAN ARCHITECTURE BEAMS WERE USED FOR MEASURE
THE DISTANCE.
JAMI, SCREEN AND PARAPET: THIN WALL WHICH IS MADE BY GRILL PATTERENS OF
SYMMETRICAL DESIGN WITH PARAPET WHICH IS USED AS SCREENS. ORNAMENTATION: THIN
WALL ,DOMES, ARCHES, ALL ELEMENTS WERE ORNAMENTED WITH NATURAL COLOURS AND
SYMMETRICAL PATTERNS.
NICHE (MIHARAB) • Miharab is the semicircular niche in the wall of mosque. • The term was
used by Islamic prophet Muhammad to denote his own private prayer room FOR PRIVATE
WORSHIP.
COLUMN • Columns were often combined with arches and beams, creating a sense of
harmony. • Columns may support a roof or a beam, or they can be purely decorative. • A
column has three main parts.
THE BASE: Most columns rest on a round or square base.
THE SHAFT: The main part of the column, the shaft, may be smooth, fluted (grooved), or
carved with designs.
THE CAPITAL: The top of the column may be simple or elaborately decorated. The capital of
the column supports the upper portion of a building, called the entablature.
ARCH • Islamic architecture is characterized by arches which are employed in all types of buildings.
• Earliest form of arches employed in Islamic architecture were semi circular round arches.
MINARATES • Minarate is a slim tower rising from the mosque. • They vary in height, style and
number. • Minarates may be square, round or octagonal and are usually covered with a pointed
roof. • Originally they are used as a high point and traditionally as a decorative feature of the
mosque.
CALLIGRAPHY Calligraphy is a visual art related to writing. Like other Islamic decoration,
calligraphy is closely linked to geometry. The proportions of the letters are all governed by
mathematics. Inscriptions are most often used as a frame along and around main elements of a
building like portals and cornices.
ARABESQUE Also called Islimi. Arabesque designs are biomorphic, floral patterns representing the
underlying order and unity of nature with a great deal of accuracy. Flowers and trees might be
used as the motifs for the decoration of textiles, objects and buildings.
GEOMETRIC PATTERN These patterns exemplify the Islamic interest in repetition, balance,
symmetry and continuous generation of pattern. The integration of geometry with such
optical effects as the balancing of positive and negative areas, a skillful use of color and 2

tone values.
Islamic climates, the water from courtyard pools and fountains cools as it decorates. Water can
not only reflect architecture and multiply the decorative themes, it can also serve as a means of
emphasizing the visual axes.
Gardens These gardens provide respite during summers to the people. The gardens display
water features like large marble fountains and ponds adorned with lotuses and lilies. These
gardens often have a quadrilateral layout.
An Iwan, a rectangular hall with walls on three sides and an open side, has a vaulted roof.
Pishtaq, the entrance of the Iwan, is decorated with friezes of calligraphy, glazed tilework,
and geometric. The arched portal often opens into a courtyard.
Main Gateway(Iwan) – In India, it is on the eastern side of the mosque and is decorated
beautifully with mosaic, glazed tiles, calligraphy, etc. and contains arched entrance.
Muqarnas is a form of ornamented vaulting in Islamic architecture. It is the archetypal form of
Islamic architecture, integral to the vernacular of Islamic buildings.
Cloisters– Cloisters or pillared veranda liwan are small rooms used as madrasas. In case cloisters
are not there, then there will be pillared veranda for taking shelter by worshippers during rain.
Courtyard (sahn) – This is central place of the mosque which is open to sky and surrounded
by cloisters on north and south side and it has prayer hall on western side.
This area is used by the worshippers when large space is required.
Recessed niche on Qibla wall(Mihrab):Prayer is performed facing this niche erected in the
center of qibla wall towards mecca direction. Mihrab is decorated beautifully with quaranic
verses, inlay work,geometric design, etc. Pulpit(Minbar): Minbar is this is used by Imam to
announce the Namaaz(prayer).
Sanctuary Hall(Aiywan)– On the western side of the mosque, square or rectangular prayer
hall is built which may be having three of five arched opening

Cloisters or aisles
Mosques areopen and spacious while temples are dark and closed
Construction with dome shaped, while temples with have Shikhara and Vimanas (depending
on the Nagara or the Dravidian styles)
Prayers in front of deity, in Garbha griha. While in mecca it is pointing towards the Mihrab.
Imam presided to its right over proceeding of the prayers
Mosque were perfected by Arch shape, while temple may have known but ceiling were
mostlyflat
Lime was though known for stacking mud brick and stones However it was Islamic architecture
which used cementing age t mortar perfecting the architecture with strength and stability.
Ornamental features of Muslims were flowers, Arabic writing, decorating features while that of
temples were Deities, human forms etc.

Hindu and Islamic architecture vary

principally in that Hindu building features
figural art, especially through sculpture and
carved frescoes. Islamic architecture relies
on geometric and abstract shapes since, to
avoid idolatry, Islam forbids creative
portrayals of human figures.

Congregational v/s Individualistic

• Orientation
• Form
• Spatial Arrangement
• Mode of worship
4
• Ornamentation
 QUTUB MINAR COMPLEX
The Qutb Minar complex are monuments and buildings from the Delhi
Sultanate at Mehrauli in Delhi, India.
• Construction of the Qutub Minar "victory tower" in the complex, named after the religious figure
Sufi Saint Khwaja Qutbuddin Bakhtiar Kaki, was begun by Qutb-ud-din Aibak, who later
became the first Sultan of Delhi of the Mamluk dynasty (Gulam Vansh).
• It was continued by his successor Iltutmish (a.k.a. Altamash), and finally completed much later
by Firoz Shah Tughlaq, a Sultan of Delhi from the Tughlaq dynasty (1320-1412) in 1368 AD. The
Qubbat-ul-Islam Mosque (Dome of Islam), later corrupted into Quwwat-ul Islam, stands next to
the Qutb Minar.
• Many subsequent rulers, including the Tughlaqs, Alauddin Khalji and the British added structures
to the complex.
• Apart from the Qutb Minar and the Quwwat ul-Islam Mosque, other structures in the
complex include the Alai Darwaza gate, the Alai Minar and the Iron pillar. And tomb Iltutmish.

The Quwwat ul-Islam Mosque was originally built from the remains of 27
older Hindu and Jain temples. The pillars of the temples were reused and the original images
plastered over. Inside the complex lie the tombs of Iltutmish, Alauddin Khalji and Imam Zamin.

5
• Qutub complex consists of a mosque and two minarets enclosed within a series of cloistered
precincts.
• It was entered via four monumental gates along the north, east and south walls, of which only
the southern gate (Alai Darwaza) remains.
• The mosque, known as the Qutb or Quwwat ul Islam Mosque, occupies the southwest corner of
the complex.
• A tall screen wall with pointed archways runs along the western edge of the precinct, creating a
qibla wall for the prayer spaces. In addition to these elements, the complex also contains
several smaller buildings: the Tomb of Iltutmish, Ala al- Din Khalji's madrassa, and the Imam
Zamin Mosque.
• The Qutb Minar (minaret) stands in the southeastern part of this enclosure. QUTB COMPLEX
• The unfinished Alai Minar (minaret) stands in the northeastern part of the complex.

Quwat-ul-Islam Mosque
■ First Islamic building in India
■ Commissioned by Qutb ud din Aibak
■ Built from the ravages of 27 temples from the
neighborhood
■ Plan of the Mosque: 150’ X 212’
■ Consisted of a courtyard 108’ X 141’
■ Liwan on three sides, three isles deep on east
and 2 isles deep on north and south
■ 5 domes on the western side with the central
dome being the largest
■ In the center was the Iron Pillar, moved here
from Mathura

6
 It was the first mosque built in Delhi after the Islamic conquest of India and the oldest surviving
example of Ghurids architecture in Indian subcontinent.
• The construction of this Jami Masjid (congregational mosque), started in the year 1193 AD,
when Aibak was the commander of Muhammad Ghori's garrison that occupied Delhi. To leave
the imprint of his religion to the new territory, Aibak decided to erect a mosque epitomizing
the might of Islam and chose his site, the heart of the captured Rajput citadel of Qila Rai
Pithora.
• The Qutub Minar was built simultaneously with the mosque but appears to be a stand-alone
structure, built as the 'Minar of Jami Masjid', for the muezzin to perform adhan, call for prayer,
and also as a Qutub, an Axis or Pole of Islam.
• It is reminiscent in style and design of the Adhai-din-ka Jhonpra or Ajmer mosque at Ajmer,
Rajasthan, also built by Aibak during the same time, also constructed by demolishing earlier
temples and a Sanskrit school, at the site
• The famous iron pillar is located on the stone pavement in front of it, while Qutub Minar is
located west of the main entrance.
The central arch of the mosque is ogee in shape and is 6.5 m (21 ft) wide and 16 m (52 ft) tall.
• The side arches are smaller in size. The screen is sculpted with religious texts and floral
patterns.
Desai believes that the mosque was not constructed in scientific style but in Corbel style as
indicated by the variations in the pattern
of the arches.
Local craftsmen did not know how to achieve a true arch hence used corbelling. This was
smoothened to achieve an ogee shape
The mosque is built on a raised and paved courtyard, measuring 141 ft (43 m). X 108 ft (32 m),
surrounded by pillared cloisters added by Iltutmish between 1210 and 1220 AD.
• The stone screen between prayer hall and the courtyard, stood 16 mt at its highest was
added in 1196 AD, the corbelled arches had Arabic inscriptions and motifs.
• Entrances to the courtyard, also uses ornate mandap dome from temples, whose pillars are
used extensively throughout the edifice, and in the sanctuary beyond the tall arched screens.
What survives today of the sanctuary on the western side are the arched screens in between,
which once led to a series of aisles with low-domed ceilings for worshippers.
• Expansion of the mosque continued after the death of Qutb. Qutbuddin's successor
Iltutmish, extended the original prayer hall screen by three more arches. By the time of
Iltutmish, the Mamluk empire had stabilized enough that the Sultan could replace most of his
conscripted Hindu masons with Muslims.
This explains why the arches added under Iltutmish are stylistically more Islamic than the ones
erected under Qutub's rule, also because the material used wasn't from demolished temples.
Some additions to the mosque were also done by Alauddin Khilji, including the Alai Darwaza,
the formal entrance to the mosque in red sandstone and white marble, and a court to the east
of the mosque in 1300 AD.
• The mosque is in ruins today but indigenous corbelled arches, floral motifs, and geometric
patterns can be seen among the Islamic architectural structures. To the west of the Quwwat ul
Islam mosque is the tomb of Iltutmish which was built by the monarch in 1235. 7
 CORBEL ARCH VS TRUE ARCH
A true arch has a continuous line from one end to the other, almost dome-like. There are no
overlapping bricks or stones. Think of clean lines and wedge-shaped bricks or stones lined up
to form the archway. Trabeate and then into the Corbelled arch.
A corbel arch uses overlapping stones to create the arch-shape. In times of old, the key
differences between a corbel and a true arch would have been the structure and strength of a
true arch. The true arch used to be much stronger and more durable than the corbel arch. This
is all thanks to its design being able to carry a load better than that of a corbel arch.
An arch is a construction element that converts tensile stress
into compressive stress.
In masonry construction, a true arch is formed with a
continuous line of wedge-shaped stones, while a corbel arch
is formed by a series of overlapping stones (in which each
stone juts out farther than the one below). Compared with a
true arch, a corbel arch is less stable and less efficient at
converting tensile force into compressive force.
Corbelling is a technique whereby bricks or stones are placed overlapping each other. This allows for
each stone to act as a counterweight for the ones around it. This allows for more even spreading of
the load of the structure above the arch.
The corbel technique isn’t the best for very heavy load-bearing walls and true arches are stronger.
They are, however, great as a decorative feature.
Corbelling isn’t just a technique used in archways, they can also be brackets or cornices. These are
especially popular in old churches and cathedrals. The Victorians loved using this style in their
architectural designs as well as it gave them a more ornate appearance.
The corbel structure can be made out of stone (very common in ancient times), wood, brick, or metal.
The corbelled arch as we had mentioned in the piece last week
consisted of a series of large blocks of stone between the post and
the lintel of the Trabeate, in such a way that the projecting slabs
extended closer and closer to the opposite post while supporting
the lintel from below. The corbelled technique relied on building
with large blocks of stone fitted into each other and believing that
the weight of massive blocks gave strength to structures. This style
made minimal or almost no use of binding materials.

The True Arch drew strength from the fact that the central or Key
stone took the load of the superstructure and shifted it sideways
trebated
and gradually the load was transferred onto the post. The new
technique used smaller pieces of stone and relied on limestone or
brick and limestone mortar, the stones that formed the arch were
not wedged inside the wall as in the case of the corbelled arch but corbelled
were stand-alone wedges that sprung from the posts and were
held together because of the Key stone.
The first use of the True Arch in India is perhaps in the 8
mausoleum of the last slave king Ghiyas-ud-din Balban in 1287.
True arch
 ILTUTMISH TOMB
The tomb of Iltutmish, Qutub Minar Complex, was built in 1235 A.D. It is situated just outside the
north-west corner of the Quwwat-ul-Islam near the Qutub Minar. The central one of these is
located higher than the other two and is profusely decorated with marble.
Inside the tomb of Iltutlish, there are three prayer niches. This tomb is quite simple, but its
entrance is intricately carved with geometrical and arabesque patterns
• Sultan Iltutmish, credited for cementing the
Turkish empire in India, died in 1235, due to
high fever.
• Tomb of Iltutmish was the first Islamic tomb in
India Located outside the N-W corner of the
Quwaat-ul-Islam Mosque.
• It’s a mausoleum with exquisite workmanship.
• Square plan
• Arched entrance – eastern, southern and
northern walls.
• Western side accommodates 3 prayer niches
called mihrabs.
• Made of red sandstone,
• measuring 44 sqft on outside and 30 sqft
inside.
• Ornate with delicate stonework on the inside.
• Beautifully carved Quranic inscriptions are used
as ornamentation along with arabesque and
floral motifs covering entire walls.
• There are no inscriptions on the tomb which
credit it to Iltutmish, leading to doubts about
the tomb’s identity. However, records and
writings of contemporary and subsequent
historians have confirmed that the tomb does
indeed belong to Iltutmish.
• Built in A.D. 1235 just outside the Quwwat-ul-Islam mosque.
• A compact square structure of 42' side with entrances at three sides and western wall enclosed
to accommodate 3 mihrabs.
• Exterior is relatively plain, but interior is richly decorated. A square hall of 30' side, its walls are
relieved with white marble insertions. Quranic verses in Kufri, Tugra and Nashtalik characters
with geometrical patterns interspersed.
• Most of the roof has collapsed, but remains show it to have been a shallow dome composed of
concentric rings of masonry which collapsed due to excessive span.
• The most interesting feature is the first appearance in India of the 'Squinch'. This consists of
projecting a small arch across the upper side of the corners of the square room, turning it into
an octagon, then repeating the process to turn it into a 16 sided base in which a dome can rest.
• In this case, the squinch is a half-dome, though built on the corbelling principle. 9
• Thus, this is an Indianized version of the squinch.
Qutab Minar
■ Commissioned by Qutb ud din Aibak
■ Built as a Victory Tower, to celebrate the victory of Mohammed Ghori over
the Rajput king,Prithviraj Chauhan, in 1192 AD
■ The tower is 238’ high, 46’ in diameter at the base and 10’ diameter at the top
■ It is the tallest brick minaret in the world
■ It has 5 distinct stories
■ White marble and sandstone enhancing the distinctive variegated look of the
minar

• The Qutb Minar has a shaft that is fluted with "superb stalactite bracketing under the balconies"
at the top of each stage.
• The height of Qutb Minar is 72.5 meters, making it the tallest minaret in the world built of
bricks.
• The tower tapers, and has a 14.3 metres (47 feet) base diameter, reducing to 2.7 metres (9 feet)
at the top of the peak.
• It contains a spiral staircase of 379 steps.
• The whole tower contains a spiral staircase of 379 steps.
• At the foot of the tower is the Quwat Ul Islam Mosque. The Minar tilts just over 65 cm from the
vertical, which is considered to be within safe limits.
• The Qutb Minar consists of five stories of red and grey sandstone. It is revetted with twelve
semicircular and twelve flanged pilasters that are placed in alternating order.
• The second, third, and fourth stories were erected by Sham ud-Din Iltutmish. The second and
third stories are also revetted with twelve semicircular and twelve flanged pilasters that are
placed in alternating order.
• the fourth story was repaired after lightning struck the minaret. During reconstruction, Sultan
Firuz Shah Tughlaq elected to reduce the size of the fourth story and then separated it into two
stories 10
 ALAI MINAR

The sultan wanted the size of the enclosed Masjid Quwwat-Ul-islam to get increased by four
times than its original size. To ensure that the Sultan’s wish is granted an entrance gateway was
build in the both sides of the mosque.

The Alai Minar is an incomplete monument that lies within the Qutb complex in South Delhi.
Sultan Ala-ud-Din Khalji was an over ambitious Sultan of the Khilji dynasty and won many wars
and battles. After a win from one of his Deccan campaigns, the Sultan dreamt of constructing a
huge Tower or Minar to commemorate his victory. He wanted a structure that would double the
height of Qutub Minar in order to be remembered as the only Sultan who dared to create such
a monumental masterpiece that was grander and more spectacular than the Qutub Minar of
Qutb-ud-din Aibak of the Slave dynasty that ruled before him.

Sultan Ala-ud-din Khalji also executed the plan and increased the size of the enclosures of the
Quwwat-Ul-Islam Masjid by four times its original size to provide a ceremonial entrance
gateway on either sides of the mosque. He wanted the Alai Minar to match up with the size of
the increased height of the mosque and also wanted a second tower of victory under his name
and hence the Alai Minar began to take its shape. The construction was completed up till the
first storey and at a height of 24.5 metres but unfortunately, the construction was abandoned
after the death of Sultan Ala-ud-din Khalji in 1316 AD and the subsequent successors could not
continue the further construction as they were defeated and the Delhi Sultanate was taken over
by the Tughlaq dynasty.

The Alai Minar depicts that very high ambition, pompous attitude and ferocity of Ala-ud-din
Khilji who wanted to compete by building a structure higher than the Qutub Minar but today, is
an incomplete mammoth of a foundation that cannot even be compared with the massive
Qutub Minar beside it.
The Alai Minar in fact looks like a piece of undulating rubble core that was definitely intended
not to look like it does now but in fact would have been ornamentally decorated and covered
with stone carvings, intricate design and art work as Ala-ud-din had planned.
Today, it sits silently amidst the other elaborate and stunning structures within its proximity in
this Complex. 11
 ALAI DARWAJA

The Alai Darwaza that translates to ‘Alai Gate’ was named after the first Khalji Sultan named Ala-
ud-din Khalji (Khilji) of the Khalji dynasty in 1311 AD. It lies towards the southern end of the
ancient Quwwat-Ul-Islam Masjid within the Qutb Complex in South Delhi.
The Alai Gate was constructed with a dome shaped gate made of red sandstone and decorated
with stunning Turkic features made of white marble inlay and inscriptions engraved in the ancient
Naskh Script and screens made with Lattice stones depicting unique Turkic craftsmanship. This is
probably the first Turkic Gate seen with typical Islamic architecture, styles and ornate designs
opposed to other buildings seen here that were built before the Turkic rule that employed false
domes and arches which is very typical of the architecture seen during the rule of Qutb-ud-din
Aibak, the founder of the Slave Dynasty.
The Slave dynasty did not employ true Islamic architecture styles and used false domes and false
arches. This makes the Alai Darwaza, the earliest example of first true arches and true domes in
India. It is considered to be one of the most important buildings built in the Delhi sultanate
period.
With its pointed arches and spearhead of fringes, identified as lotus buds, it adds grace to the
Quwwat-ul-Islam mosque to which it served as an entrance
• The Alai Darwaza is the only entrance remaining of four added to the Qutb Complex .
• Located on the southeastern edge of the complex its exterior length is 17.22 meters, its
walls are 3.3 meters thick
• its interior length is 10.6 meters. From its floor to its domed ceiling, its height is 14.3 meters.
Its wide, shallow dome rests on an octagonal base, and the transition from the octagonal base
to a circular dome is achieved with squinches (muqarnas). On the exterior, the dome is
plastered.
• The gate stands on a plinth clad with red sandstone with carved friezes. exterior is clad with
carved red sandstone and white marble bands carved with calligraphic inscriptions in Naksh
script or geometric patterns.
• In the center springs the gate itself, a true arch .
• The gate is bilaterally symmetrical on its south elevation:
• flanking the gateway on either side are two small arched windows with delicate latticework
(jalis) just above the plinth level.
• the gate of the north elevation, facing into the complex, is a semicircular arch.
• The south, east, and west elevations each feature horseshoe arches with spearheaded
decorations in the intrados and a decorative parapet above.
• On the south elevation, patterns range from arabesques to more Hindu motifs such as 12
• rounded lotus buds and leafy tendrils.
 GHIYAS-UD-DIN TUGHLAQ TOMB, NEW DELHI
Tughlaq Tombs in the Indian subcontinent are mostly simple, monotonous and heavy structures
in Indo-Islamic architecture built during the Tughlaq dynasty (1320–1413).
• They look more like fortresses with walls surrounding them and have restrained decoration
and
embellishment compared to both earlier and later Indian Islamic tombs.
• Tughlaqs built three main types of tombs: square, octagonal and pavilion. The last type was
the simplest, consisting of a pavilion or a chhatri. The simple tombs are most likely to be those
of nobles and family members of the sultans. It was constructed by Ghiyas-ud-din Tughlaq.
• Ghiyas ud-Din Tughluq was the founder of Tughluq dynasty of the Delhi Sultanate in India.
Within a
year of his reign he decided to build the new fortified capital of Tughluqabad very close to the
previous
capital in Delhi, where he moved three years later.
• It is believed that Ghiyas built a tomb for himself in Multan when he was the governor there.
However, on becoming Sultan he decided to build another one for himself in Tughluqabad.
• After his death, his successor Muhammad bin Tughlaq, moved back to Delhi and left
Tughluqabad to
gradually crumble and decay, although the tomb of Ghiyas remains there in a very well
preserved
condition.
• The tomb was constructed in 1325 and is built of red sandstone and white marble, materials
commonly used in Islamic structures at that time.
• It has a dome of white marble. It is considered to be one of the earliest masterpieces built of
red
sandstone and white marble.
• The square tomb is in the center of a pentagonal enclosure with high walls.
• There are entrances on the north, east and south sides. There are no Minarets surrounding
the tomb.
• The architectural style of the tomb is inspired by the Khalji portal- Alai Darwaza- in the Qutb
Minar complex. This is hardly surprising as Ghiyas was originally a Khalji slave who later became
one of
the governors.
• A notable feature of the tomb are the sloping walls, at a 75 degree angle with the ground
instead of
vertical walls. This architectural style is similar to the sloping walls of the Hindola Mahal (Swing
palace)
in Mandu, Madhya Pradesh. It is so called because of the distinctive sloping walls which give an
impression that the palace is swaying from side to side.
• Perhaps the wall design was intended to buttress the heavy stone arches that support the
ceiling. The inside walls are vertical and plain.

13
The Ghiyas tomb exhibits peculiar Hindu influences in the form of a kalassa (pinnacle)
on top of the white marble dome and a redundant stone lintel installed just below the arch.
The kalassa adorns tops of most shikharas of ancient and modern Hindu temples in India.
The pinnacle was planted at the apex of the Tughluq dome.
The stone lintel was installed either to ensure stability, to fit a rectangular timber door in the
arched opening,
or purely for aesthetic reasons, to continue the white marble band along the facade

Conical bastion
court
tomb
Battlement perimeter wall

Arched and vaulted corridors staggered entrance

causeway 18.74 m

Sloping /battered walls

West wall with mihrab

Walls of rubble masonry

Arched opening

Kalasa pinnacle

Hemispherical dome

Blind arch

Battered walls 75 degree

Red sandstone claddimg 14

 FIROZ SHAH TIGHLAQ TOMB, NEW DELHI
Firuz Shah Tughluq used simple design and cheap materials such as rubble and whitewashed
plaster instead of the stone and marble combination. The remains of the three tombs built by him
in Delhi are still visible. These are: Fateh Khan's tomb, Firoz Shah's tomb, and the tomb of Khan-i-
Jahan Tilangani. Firoz Shah's tomb is located in Hauz Khas (New Delhi), close to the tank built by
Alauddin Khalji. Attached to the tomb is a madrasa built by Firoz Shah in 1352-53.
• The entrance to the tomb is through a courtyard.
• The archway of the entrance gate has a date engraved on it- 1507-08, the reign of Sikandar Lodi,
which suggests that he may have had the tomb repaired.
• The tomb is square in plan, heavy and massive in appearance with plain cemented walls unlike
the marble on the facade of the Ghiyas tomb, and a slightly pointed dome supported by an
octagonal drum.
• The lower curves of the dome arches are decorated with intersecting coloured bands.
• The arched pendentives contain Koranic inscriptions and the walls are decorated with floral
designs.
• Firoz Shah's tomb differs from that of Ghiyas in the use of construction materials. Unlike the
latter, it is not built of stone; instead a thick layer of durable stucco is used which was probably
painted.
• It has a paved verandah, enclosed by Buddhist stone railings of the type found in Sanchi. It is not
clear why these stone railings were used.
square in plan
•One view is that Firoz Shah used these pre-Muslim
,cement
Indian forms as a means of associating himself with plaster
earlier greatness.
There are no inscriptions on the four graves inside the
tomb. It is believed that the central grave is that of
Firoz Shah, and the two similar ones are probably
those of his son, Nasir ud din Mahmud, and grandson,
Coloured
Ala-ud-din Sikandar Shah. bands
• Squinches and muqarnas are seen in the solid
interior walls of the tomb and these provide the basic
support to the octagonal spherical dome of the tomb.
• The ceiling in the dome depicts a circular gold
medallion with Quranic inscriptions in Naksh
characters.
• Foliated crenellations are seen on the outer faces of the base of
the tomb.
• Interesting features seen on the northern and southern sides of
the tomb, considered typical of the Tuglaq period layout, are the
ceremonial steps provided at the ground level that connect to the
larger steps leading into the reservoir.
• The door, pillars and lintels were made of grey quartzites while
red sandstone was used for carvings of the battlements. buddhist stone
• The door way depicts a blend of Indian and Islamic architecture. railings
• Another new feature not seen at any other monument in Delhi,
15
built at the entrance to the tomb from the south,
is the stone railings.
 SHISH GUMBAD, NEW DELHI

• Shish Gumbad is a tomb from the Lodhi Dynasty and

is thought to have possibly been
constructed between 1489 and 1517 CE.
• The Shish Gumbad (glass dome) houses graves, whose
occupants are not unequivocally identifiable.
Historians have suggested, the structure might have
been dedicated either to an unknown family, which was
part of the Lodhi family and of Sikandar Lodi's court, or
to Bahlul Lodi (died 12 July 1489) himself, who was chief
of the Afghan Lodi tribe, founder and Sultan of the Lodi
dynasty of the Delhi Sultanate.
• Constructed between 1489-1517 CE, the Shish Gumbad
is constructed in square shape.
• Combination of bracket and lintel beams, the
architecture is a blend of Islamic and Indian
architectures.

• Although the Gumbad has an external semblance of spanning in two floors, the structure
made
only in one floor.
• The western wall of the Gumbad consists of mihrab which also served as a mosque. The
main chamber
of the monument measures 10 square metres (108 sq ft).
• The ceiling is decorated with plaster work that contains Quranic inscriptions and floral
designs. The
monument was originally decorated with blue enameled tiles that shined like glass 16
 MUBARAK SHAH SAYYID TOMB, DELHI

The tomb of Mubarak Shah (died 1434) is situated within Kotla Mubarakpur, at the heart of
the modern day New Delhi South Extension I.
• The structure is one of the early tombs to be modelled on the typical octagonal style that
rose to prominence during this period.
• The central octagonal chamber is surrounded by an octagonal verandah, with three
identical arches piercing each face.
• Each corner of the verandah is reinforced by a sloping buttress.
• An octagonal domed ‘chattri’ sits above each side of the verandah.
• The central chamber supports a sixteen sided battlemented drum, which in turn supports
the broad,Low dome.
• The dome itself is crowned by a lantern, an unusual feature unique to this tomb.
• Lying within one the very congested areas of the locality, the structure merits more
attention.
This is a general view of Mubarak Sayyid’s tomb (c.1435).
The building has an octagonal pillared verandah
surrounding the central chamber with a large central
dome surrounded by smaller chhatris.
Mohammad Shah (1434-1444) was the third ruler of the
Sayyid and his tomb is the oldest in the historical garden
which ha S 10 monuments. The tomb has been built in a
typical octagonal chamber, verandahs, three arched
openings on each side and sloping buttress. Inspired by
Mubarak Shah's tombthis tomb has a more compact plan,
a high dome, matching chhatris and better proportions. 17
 KHIRKI MOSQUE , NEW DELHI

Khirki Mosque, approached from the Khirki Village in South Delhi and close to the Satpula or the
seven
arched bridge on the edge of southern wall of Jahanpanah (the fourth city of Medieval Delhi), was
a mosque built
by Khan-i-Jahan Junan Shah, the Prime Minister of Feroz Shah Tughlaq (1351–1388) of the Tughlaq
Dynasty.
The word 'Khirki' prefixed to mosque is an Urdu word that means "window" and hence is also
called "The
Mosque of Windows".
• The Mosque has a 52 m (170.6 ft)x52 m (170.6 ft) square plan in an area of 87 m2
(936.5 sq ft). It is
raised on a plinth of 3 m (9.8 ft).
• There are four open courtyards (square in size of 9.14 m (30.0 ft) on each side) encircled by
arcades
built with 180 square structural columns and 60 pilasters, which run in north–south direction and
divides
into aisles.
• The open courtyards are the source of light and ventilation to the internal prayer spaces.
• The roof is partitioned into 25 squares of equal size with 9 small domes in each square (totaling
to
81 domes) and alternated by 12 flat roofs to cover the roof.
• The four courtyards provide light and ventilation.
• The four corners of the mosque are adorned with towers with three protruding gateways, one in
the
middle of each face, with tapering turrets flanking each gate.
• The southern gate, with imposing steps at the main entrance, exhibits a combination of arch and
trabeated construction.
• It has an ornamental rectilinear frame.
• The turrets flanking the southern and northern gates are circular in shape; the articulation on
these gives
them a three storied appearance.
• The main gate, which leads to the qibla on the western wall, has a projecting mihrab.
• Above the vaulted first floor cells, ubiquitous arch windows (carved out of stone guard) with
perforated
screens or jalis or tracery, known as "Khirkis", are seen on the second floor.
• However, the foyer in front of the mihrab is not well lighted since light from the latticed windows
on the
second floor do not penetrate this space.
• The approach to the roof of the mosque is from the east gate, and the view from the roof leaves
a lasting
impression of the geometrical design of the Mosque.
• 18
The mosque's walls are of rubble masonry construction with plastered surface on the outside.
• The interior walls are bland but provided with traditional carved stone screens.
• The symmetrically designed admirable mosque is considered one of “the finest architectural
compositions
of the Sultanate history.”
• The importance of the Khirki Mosque's architectural elegance has been considered a
precursor to the
intensely metaphorical Mughal architecture (1526-1857), with the Lodhi period's (1451–1526)
architecture
– the Delhi Sultanate's last dynasty – marking the transition.

19
 FEROZ SHAH KOTLA , FIROZABAD
The Feroz Shah Kotla or Kotla was a fortress built by Sultan Feroz Shah Tughlaq to house his
version of Delhi city called Firozabad.
• Firuz shah, who succeeded Mohammed tughlaq, to whom was bequeathed a depleted empire,
must have had to make heroic efforts. He was very desirous to build many public buildings.
• There are enough evidences, that he had built hundreds of gardens, towns, mosques, villages,
reservoirs, dams, bridges, hospitals, baths, and tanks.
• Since Firuz shah Tughlaq prince of buildings’ successes. Muhammed, the so called prince of
moneyers’ who had bankrupted the Delhi treasury by his experiments with the finances of the
empire.
• Firuz shah’s 37 years of experiments with architecture proved more successful than those of
his predecessor with the economy.
• The confidence with which Firuz shah set out to give concrete shape to his dreams of building
is apparent from the choice of his first buildings venture in Delhi.
• That is, the erection of a new capital city and that too on a territory well away from the earlier
sites his was the first Islamic city of Delhi to be built on the banks of the river Yamuna.
• It appears that the source of water supply around the Qutb area was no longer reliable. In
choosing to build in the banks of Yamuna well north of the earlier three cities of Delhi, Firuz shah
set up precedent that was to be followed for centuries.
• In order to receive both fresh air and the water of the Yamuna uncontaminated by the dying
remains of an old city, the builders of the new cities sited the locations along the banks of river
Yamuna and thus moved to north of the existing city

20
Apart from making a more rational choice of the site. Firuz, in the planning of his new city, set up
precedents that remained valid for centuries.
• His city palace, in fact became the prototype of the great mughal palace cities of the 16th century.
These planning standards were possible because the Muslim administration of India was gradually,
jailing into a discernible pattern that could be interpreted in terms of town planning.
• The Firuz shah Kotla, as the palace city of Firuz shah Tughlaq came to be known, is planned as a
slightly irregular rectangle, half a mile (800m) long and a quarter mile (400m) wide, defined by
moderately defensive walls.
• The eastern and longer side of the rectangle was parallel and abutted the banks of the river. In the
middle of the side opposite the river was the main entrance gate planned in the usual manner of a
protective barbican.
• Directly opposite this was a large rectangle court defined by cloisters, meant to be the Diwan-IAm
(hall of public audience) where the king, when in residence, would daily give audience to the
common public.
• Just behind this was the Diwan-I-Khan (hall of private audience) where the king held his cabinet
meetings and met the important officers of his administration.
• Right along the river banks that were not only comparatively safe against military attacks but also
afforded the finest view were located all the private palaces, mosques and the harems of the royal
court.
• The areas north and south of the central axis were divided into various square and rectangular
courtyards, in which were a great variety of structures such as pavilions for different purposes, grape
and water gardens, Baths, Tanks, Barracks (a building or group of buildings used to house military
personnel), Armory and servants quarters all conveniently disposed and
communicating with one another.
• The broad planning principles of a Muslim city center enunciated for the first time by Firuz shah
consisted in locating the Diwan-I-Khas at the heart of the complex backed up by a series of private
palaces along the river front, well protected on the other side by army barracks and other sundry
structures, with the limited access for the common public to the Diwan-i-am.
• Feroz Shah Tughlaq (r. 1351–1388), the Sultan of
Delhi, established the fortified city of Firozabad in
1354, as the new capital of the Delhi Sultanate,
and included in it the site of the present Feroz
Shah Kotla.
• Kotla literally means fortress or citadel.
• The pillar, also called obelisk or Lat is an Ashoka
Column, attributed to Mauryan ruler Ashoka. The 13.1
meters high column, made of polished sandstone and
dating from the 3rd century BC, was brought from
Ambala in the 14th century under orders of Feroz
Shah.
• It was installed on a three-tiered arcaded pavilion
near the congregational mosque, inside the
Sultanate’s fort.
• Unlike other baolis, which are mostly rectangular in
21
shape, the step well here has a circular structure with
a triangular base
Within the Kotla is located a curious three-tiered structure, every platform of which is set back
from the preceding one to create terraces infront of the series of compartments on the
periphery.
• No doubt designers of this building were inspired by the terraced Buddhist Viharas that
abounded the Indian countryside.
• The structure was most probably inhabited by the numerous concubines of the King.
• The picturesque quality of this indigenously inspired structure is appropriately completed by a
stone stambha of the Asoka period planted at its apex.
• The latter is believed to have been brought here from its original site somewhere near Ambala.
Jami Masjid
Jami Masjid or mosque on the side of the Ashoka pillar is still a practicing mosque. You have to
climb a flight of stairs, which seem to be recent construction. And then pass through a gate with a
dome to enter the mosque.
The arches around the corridors have been marked green. Most of the structure is nothing but
open space. In the center of the courtyard is what looks like an erstwhile tank, which is now filled
to make a smooth ground.
Most of the other parts are not visible now. But it was supposed to be a beautiful mosque. As the
literature tells us that invader Timur was so impressed by this mosque that he got a similar one
built in Samarkand.
• Jami Masjid is one of the most ancient and largest surviving mosque and monument, still in use.
Architecturally it was built on a series of underground cells made of quartzite stone, covered with
limestone. It is surrounded by a large courtyard with cloisters and a Prayer Hall.
• The Prayer Hall now in complete ruins was once used by the Royal Ladies. The masjid and its
architecture is an example of Tughluq architecture.
• The entrance of Jami Masjid lies on the northern side.
FIRUZ SHAH AND THE HAUZ KHAS
• The Indian tomb under the innovative hands of Firuz Shas’s
builders followed the formal aspects set by Ghias-ud-din,
though built with inferior materials. But Firuz Shah, with an
uncanny eye for situation rather than mere self exaltation,
decided to be buried in unostentatious but beautiful
environment of the Hauz Khas built by Ala-ud-din Khilji some
75 years earlier. The Hauz Khas palaces had obviously
remained a favourite ‘picnic spot’ for the Khilji kings. Firuz
Shah, comprehending the innate peace and beauty of the
surroundings and to fulfil his pious ambitions, decided to
build a mosque at the northern end of the existing tank and
to install a ‘Madrassa’ or ‘college of theology’ in the buildings
along the northern and western banks. The college buildings
are two storey domed and pillared halls. The upper storey is
at ground level with ample cross-ventilation while the lower
is just above water level and closed on one side. The two
storeys together were an ideal combination to combat the
varying extreme climates of Delhi. At the corners where the
22
two wings of the college buildings met, Firuz shah decided to
erect his own tomb
MEENA BAZAAR, DELHI
Bazaars in 17th century India were normally in the open air. A covered bazaar although of a design
common to West Asia, was an innovation in India. Shah Jahan had heard about the arcade in
Isfahan, and it seems that the notion of a covered bazaar, stimulated to him by the one he saw in
Peshawar in 1646. He instructed Mukarmat Khan who was supervising the construction of the Red
Fort, to build a similar covered market there. Shah Jahan was greatly impressed as its design was
suitable for the hot climate of Delhi.
Presently known as 'Chhatta Chowk Bazaar' or 'Meena Bazaar' , this bazaar earlier was known as
'Bazaar-i-Musaqqaf' (the market with 'saqaf' means roof) or 'Chhatta-bazaar' (a roofed market).
Lahori-Gate entrance of the Red fort leads into the shadows of this ' Covered Market' or 'Vaulted
Arcade'. Shah Jahan was perhaps impelled by political reasons to position Chhatta Bazaar at the
principal ceremonial entrance to the fort, as an appropriate place to exhibit the Mughal Empire's
growing wealth, talents and capabilities.
The linearity of this market has formulated a strong longitudinal link and emphasized the straight
axis with the Naubat-Khana & Diwan-i-Am. Walking through the Lahori-Gate one immediately
enters this covered two storied arcade, with octagonal court in the middle for sunlight & natural
ventilation, known as 'Chhattar Manzil' which divided the market into two sections, eastern and
western, which have vaulted roofs supported on series of broad arches given at regular interval.
Their edges, supported by stone and the intermediary space ( i.e. a vault) bears stalactite (honey
comb motifs) in stucco, which has been universally used in Islamic art, structurally as well as
ornamentally. As it appears, the whole of the market, in the interior and on the exterior, was
originally stuccoed, painted and gilded to give a gorgeous effect. Bazaar on each side contained 32
arched bays that served as shops, just as they do today. The lower cell consisted of two rooms, the
front one was possibly used for the actual display and the one at the back for storage, manufacture
or business transaction. The upper cells may perhaps have been used for the official transactions
related to the commercial function.
300 yrs ago this bazaar catered to the luxury trade of the imperial household, specialized in
exquisite carpets, rugs, jajams and shatranjis; takia-namads and quilts; shahtus and pashmina
shawls; costumes; velvet pardahs and chiks; embroideries with zari and brocades; and a wide
variety silks, woolens, velvets and taffetas which the Mughals used in their daily life; precious
stones, exotic jewelry and indigenous ornaments; gold and silver utensils, fine wood and ivory
work; brass and copper wares; fine arms and armaments; coloured ganjifas and indoor games;
jafran (saffron), kasturi (musk) and other spices; and innumerous other stuff which could not be
had even in the adjoining Chandani Chowk market, and it was privilege of the king that this rare
and precious things were available only in the 'Fort market' for their exclusive choice.
As you enter the Lahore Gate, arcaded apartments flank the passage, which is known as
Chatta Chowk. Also known as Meena Bazaar, this was one of the first covered bazaars of the
17th century.
The shops of that era sold pure silks, jewellery, gems, silver ware and other artistic objects and
catered primarily to Mughal courtiers and noble families. It is said that there were also teashops
here, where nobles used to meet and discuss the latest court gossip and news of the kingdom.
Today the shops in the Chowk sell souvenirs and eatables and drinks. They are now located only in
the lower arcade whereas in Mughal times the shops were located on the upper as well as lower
arcades. 23