AAR 315 History Of Eastern Architecture - II

Indo – Islamic Architecture: Provincial Style of Sultanate Period

Unit - 3

Ar. Nihaarika Kamisetty

Asst. Professor
School of Architecture, Hyderabad
GITAM (Deemed to be) University
nkamiset@gitam.edu

GITAM SCHOOL OF ARCHITECTURE UNIT - 3 B.ARCH (SEMESTER V) 2023

Provincial Sultanates
Provincial Architecture :
Provincial architecture refers to the architectural style that developed in regional or provincial areas, distinct from the
dominant architectural styles of the time. It often reflects the local culture, materials, and influences while
incorporating elements from broader architectural traditions.
Geography:
• The specific geographical location of a region influences provincial architecture
• Different regions may have unique topography, climate, and available building materials, which can shape the
architectural style. For example, coastal regions may feature architecture focusing on maritime elements, while
mountainous areas might have structures adapted to withstand harsh weather conditions.
Material:
• Provincial architecture utilizes locally available building materials.
• This can include regional stones, woods, bricks, or other indigenous materials.
• The choice of materials affects the aesthetics and functionality of the structures.
• For instance, regions abundant in red sandstone may showcase buildings with intricate carvings, while areas with
timber resources may have wooden structures with intricate joinery.
Architecture:
• Provincial architecture often combines local traditions with external influences, such as Islamic, Hindu, or colonial
styles. It adapts and incorporates these influences to create a unique regional architectural language. This can be
observed in the design of roofs, windows, doors, columns, and the overall layout of buildings.
Aesthetics:
• The local cultural context and the prevailing architectural trends of the time shape the aesthetics of provincial
architecture.
• It reflects regional identity, values, and artistic sensibilities.
• Local crafts, folklore, religious beliefs, and historical events often influence decorative elements, patterns, motifs,
and colors.
Punjab
Provincial style of Punjab :
• One of the first provinces, where Islam made its presence in the cities of Multan and Lahore. Ghaznis first
occupied Multan in the 8th century, and its connectivity to Persia made it a favorite spot for the invaders.
• Lahore later came under Islam rule through Multan. Multan has had more inclination in Persia than India for many
centuries now and can be seen in the tile work legacy of the region.
• Given their proximity, connectivity, and derivations, the Architecture of Multan has Arab- Persian resemblances,
while that of Lahore has Ghazanivede-Saljuqian influences.
• Much of the architecture in Lahore was done in wood, from a specific variety known as “ber”, (Ziziphus jujuba),
but discontinued later due to its rarity.
• In the alluvial plains of Punjab, with the unavailability of stone, much of the architecture used fine bricks, with
thin sections and reinforced with wooden brackets for additional strength.
• Beam and bracket system prevailed in the region with no arches. These brick and timber walls were sloped for
additional strength, resembling the mud architecture of the previous era.
• Apart from wooden reinforcement in the walls, other wooden members include doorways and windows beautifully
relieved and artistically decorated.
• Facades were decorated with painted plaster, and panels of glazed tiles in brilliant colors were also present.
• The wooden work on the doorways and over the façade is so fanciful, to be found in any other Islamic province.
• Not many buildings from this era are present to understand their character, except for five barely present tombs
constructed over one hundred and seventy years.
• The five tombs are- Shah Yusuf Gardizi (1152), Shah Bahau-I-Haqq (1262), Shadna Shahid (1270), Shah Shams-
ud-din Tikirizi (1276), Shah-Rukn-i-Alam (1320-24).
• Tomb of Shah- Rukn-i-Alam, has an octagonal base measuring 90’ in diameter, total height, including its finial, is
115’, and the dome is 50’ vast.
• Mostly built of brick, its appearance was considerably enhanced using bands of timber sunk into the wall at
appropriate intervals.
• This provided a rich texture and coloring, and the brickwork is elaborately chiseled and inlaid with brilliantly
colored glazed tiles.
• With its sloping and diminishing mass, suggesting a pyramid, the inclined buttresses suggest stability and
permanence.

• Also, the height of the building suggests dominance over the surrounding area, creating a focal point in an
otherwise plain landscape.
• The brightly colored tiles were an effort to bring a note of color to the dull, dusty tint of the surrounding desert.
• Walls were thirteen feet thick solid, with clerestory grilles, allowing subdued light and resisting the glare and hot
conditions of the region, keeping the inner sanctuary at a much lower temperature.
• This monument especially presents three styles- Iranian, Indian, and Arabian combining the best building
traditions.
Tomb of Hazrat Shah Rukn-e-Alam :
• The Tomb of Hazrat Shah Rukn-e-Alam is a renowned architectural marvel in Multan, Punjab, Pakistan. It is a
mausoleum dedicated to Hazrat Shah Rukn-e-Alam, a revered Sufi saint and scholar who lived during the 13th and
14th centuries.
• Constructed in the early 14th century, the tomb is a testament to the rich Islamic architectural heritage of the region. It
follows the distinct architectural style of the Tughlaq dynasty, showcasing a fusion of Central Asian, Persian, and
Indo-Islamic influences.
• Its grandeur and intricate detailing characterize the exterior of the tomb. The structure is built with red bricks and is
adorned with blue and white glazed tile work, showcasing geometric patterns, floral motifs, and calligraphy. The
central dome is the centerpiece, complemented by smaller domes and minarets.
• The entrance to the tomb is through a majestic gateway adorned with intricate tile work and Quranic inscriptions. The
tomb’s interior features a central chamber containing the grave of Hazrat Shah Rukn-e-Alam. The walls are
embellished with beautiful frescoes depicting floral designs and Islamic calligraphy.

• The architectural design of the Tomb of Hazrat Shah Rukn-e-Alam exhibits a harmonious blend of different elements.
It reflects artisans’ mastery of incorporating local traditions with influences from Islamic architectural styles.
• As an essential pilgrimage site and cultural landmark, the tomb attracts devotees, tourists, and scholars worldwide. It
stands as a symbol of religious devotion, architectural brilliance, and the historical legacy of Punjab.
Elevation
Section
Bengal
Bengal :
• It is possible to resolve the Islamic building art of Bengal into three phases,
(1) The period extending from the first conquest of the country and while the capital was at Gaur until it was
moved to Pandua. from A.D. 1200 to 1340;
(2) From the date when the capital was established at Pandua until the building of the Eklakhi tomb-1340 to 1430
(3) During the period from the date of the re-transfer of the capital to Gaur until the country was acquired by the
Mughals, cir. 1442 to 1576.
• It is most probable that the Mohammedans first established themselves at Tribeni and then pressed inland from
the river about 1340, bringing a considerable area within the present districts of Hughli and Burdwan under their
control.
• The principal mosque at Pandua was a very large structure
- Its walls and arches are of brick, but its pillars are of basalt
- And taken from dismantled Hindu temples.
• The central aisle still stands to the right of the main ", mihrab or the mimbar or pulpit in carved stone.
• Although in a sad state of decay, this village mosque is a landmark in developing Muslim architecture in Bengal.
It appears to be the earliest example of a multi-domed mosque with a quadrangular plan.
• A Tower of Victory, which, according to tradition, was erected by a Muslim saint named Shah Suri-ud-din to
commemorate his conquest of the Raja of Pandua in 1340.
• Remains at Tribeni- an early mosque bearing an inscription dated 1298 AD and re-constructed to its present form
in the 16th Century.
Provincial Sultans of Bengal :
Many mosques of this style have been produced at intervals every few years after the Tantipara Mosque in 1475.
Most of them are at Gaur and are
(i) The Chamkatti or Chamkhan masjid. 1475
(ii) The Daras Bari masjid, and
(iii) The Lotan masjid both about 1480
(iv) The Gunmant masjid, c. 1484;
(v) The Chota Sona masjid; 1510
(vi) The Bara Sona M'asjid 1526; and
(vii) The Qadam Rasul mosque, 1530.
Qadam Rasul Mosque, Gaur, West Bengal Firuz Minar, Gour, West Bengal
• Firuz Minar was built about 1448 and appears to have been erected to serve two purposes- the Tower of Victory and
as a “manarah". for the call to prayer.
• It is about eighty-four feet in height and in five stories, the three lowest beings are twelve-sided while the two upper
are round.
• It was finished above by a rounded cupola in the Firuzian style of Delhi, but the upper part has fallen.
• Built in brick and terra-cotta, also included certain patterns in blue and white glazed tiles.
• The relief decoration on the walls, as a rule, was not molded but curved in the clay when it was in the ductile state
between the wet and the dry and afterward fired.
• Represents folk art from Hindu Mythology and traditions

Summary :
• Not a very impressive style.
• Built structures of moderate proportions, owing to the realistic conditions, and evolved the style over the third phase.
• Though the buildings were not monumental, they understood the local materials, climatic conditions, and style and
were sound in construction principles.
• Penetrated deep into Assam, a few examples could be found in Dimapur, Sibsagar district, Assam.
Adina Mosque: –
• Adina mosque was constructed in the 14th century in the medieval period by Sikandarshah.
• The most striking aspect of its contribution is the existence of Hindu influence.
• It was constructed after obliterating and superimposing upon a Hindu construction
• It measures 400 feet long by 130 feet wide and is enclosed within the usual ranges of pillared aisles, five bays deep
on the western or sanctuary side and three on the remainder, consisting of 260 pillars.
• Moreover, the entire composition is encircled by a wall, making its outside dimensions a rectangle of 507 feet long
by 285 feet wide, nearly equalling that of the Great Mosque of Damascus (eighth century).
• Courtyard is surrounded by a screen of arches, 88 in number, surmounted by a parapet 22’ high and mounted by
domes over each bay, totaling 306 in all.
• At the southeast corner, three archways are open to the outside and constitute the main entrance.
• There are three other entrances but relatively small doorways in the western wall towards its northern end.
• Two of these lead to an upper story, a compartment imposed on the northern aisles of the sanctuary and known as
the Bad-shah-ka-Takht (King's Throne).
 Plan

5 Bay aisle on the west side. High vaulted

sanctuary on the western side

3 Bay deep aisle on north, east and south

Open central courtyard measures 400ft X 130ft

Total of 260 pillars within the structure

Façade with a rectangular screen

of 50ft X 60ft
 Domes one over each bay amounting to 306 in all
They are surmounted by a parapet 22 ft in height
Screen of 88 arches forms a regular façade around
the interior screen
The central nave of the sanctuary is in the form of a well-
proportioned hall aligned east and west, earlier had a barrel
West Sanctuary of the mosque
vault. In length, it is 70 ft and 34 ft across, while the height
from the paved floor to the ridge of its pointed roof was
probably 50ft.

Range of arches
carried by pillars

Graceful fluted
shafts, expanding
lotus capitals
To the upper story is a compartment imposed on the
northern aisles of the sanctuary – Badshah – Ka- Takhta, a
private chapel for kings and ladies of the Royal household
 Alcoves containing mihrab

Within this royal chapel and all along Rectangular framework

the inner face of the western wall,
alcoves containing mihrab 32 in no. Trufoil arch alcove

have been inserted, one opposite the

center of each bay, all exquisitely Recess paneled with hanging
designed and sculptured. lamp of the motif of Islam

Badshah – Ka - Takht

The pillars are somewhat short ponderous piers, abnormally

thick, square above and below, and surmounted by massive
bracket capitals
Eklakhi Tomb (1425 A.D) :
• Built by Sultan Jalal-ud-din Mohammed Shah (A.D 1414-31) in Pandua.
• Situated in the southwest of Adina Mosque.
• Important because of three reasons:-
1. It is a structure of marked architectural character.
2. It forms the evolutional landmark as it is the initial building of its kind.
3. It is the prototype of most of the subsequent Islamic architecture of Bengal.
• Four stone doorways tore bodily from the Hindu temple.
• The Pointed arches with lintels crowning the doorjambs span the doorways, a feature derived from the original
Hindu temples through the architectural style of the Tuglaq Dynasty.
• Light in the octagonal hall (47ft wide) is being admitted through these doorways as there are no windows or
openings.
• The jambs and the lintels are marked by carved Hindu deities that of the lintel of the southern entrance being the
figure of Lord Vishnu, and of the Jambs those of Dvarpal, proof of their appropriation from Hindu temples.
• A peculiar feature of the spacious inner room is its four alcoves built at the corners, often taken as cells for readers
of the holy Quran.
 A. Stone Hemispherical
Doorways Cornice Dome Turrets

B. Octagonal
Hall

C. Octagonal
Turrets

A. Stone Doorways C. Octagonal Turrets

Moulding on Turrets
B. Octagonal Hall
• The dome (46ft dia) of this mosque, like all other
domes of the Sultanate Bengal, appears to be covered
with a round rim in the form of a Harmica, a Buddhist
feature.
• The hemispherical dome is, in fact, very much in the
shape of the domes of the Great Stupas.
• The interior of the dome was once ornamented with
plaster Terracotta Moldings
• The ornamentation of the Eklakhi Masjid or mosque
consists of braced string mouldings of the corner
towers, a divider moulding of the whole external
appearance, and the cornice mouldings in three tiers
beside the terracotta plaques in panels underneath now
broken imitated from the designs of the Adina Mosque.