Pratna Samiksha

A Journal of Archaeology

New Series

Volume 11

2020

CENTRE FOR ARCHAEOLOGICAL STUDIES & TRAINING

EASTERN INDIA • KOLKATA

Pratna Samiksha, New Series The responsibility of the facts stated, opinions expressed and
is an annual, peer reviewed, and international conclusions reached are entirely those of the author of the respective
journal published by the Centre for Archaeological article. Centre for Archaeological Studies & Training, Eastern
Studies & Training, Eastern India, Kolkata. India does not accept any responsibility for them.

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Pratna Samiksha
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email: castei5n@gmail.com
Eastern India
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Editor ISSN 2229 7979

Sharmi Chakraborty
Periodicity: Annual
Founding Editor
Gautam Sengupta
Subscription (per volume): ₹1,000.00
Editorial Assistant
Mithu Karmakar Published by the Member Secretary for the
Centre for Archaeological Studies & Training,
Editorial Advisory Board Eastern India ( An Autonomous Institution of the
Government of West Bengal )
Chairperson
State Archaeological Museum
Centre for Archaeological Studies
Old Building, First Floor
& Training, Eastern India, Kolkata
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Centre for Archaeological Studies castei5n@gmail.com
& Training, Eastern India, Kolkata
Typeset in Baskerville
K. Paddayya by Mithu Karmakar
Professor Emeritus, Deccan College, Pune mithu.karma@gmail.com
B.D. Chattopadhyaya
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Jawaharlal Nehru University, New Delhi 185/1 B.B. Ganguly Street, Kolkata 700 012
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Suchandra Ghosh
Professor, Department of Ancient Indian History &
Culture, University of Calcutta, Kolkata

The Director (ex officio)

Directorate of Archaeology and Museums
Government of West Bengal
 Contents

EXPLORATIONS
Recently Discovered Intertidal Archaeological Sites Along the Shoreline
of Bay of Bengal: East Medinipur District, West Bengal
Ahana Ghosh, Chandrima Shaha and Arshad Reza 1
Preliminary Report on Recently Discovered Archaeological Sites:
A Study on Kiul River Basin
Tanmoy Mondal 19

ART
Unspecific Mound, ‘Stray’ Sculptures and ‘Missing’ Habitation:
Revisiting an Artist’s Choice at a Lost Temple Site in Bengal
Shubha Majumder 31

POTTERY
A Typo-chronological Study of Ceramics from Lalpahari, Lakhisarai, Bihar
Anil Kumar and Siddhartha Saha 41

EPIGRAPHY AND PALAEOGRAPHY

Work Pattern Analysis at a Major Rock Edict Site: Kalsi
Susmita Basu Majumdar, Soumya Ghosh and Shoumita Chatterjee 73
A New Copperplate Inscription: Grant of the Village Kumudavillika
during the Reign of Sasaoka, Year 8
Ryosuke Furui and Arlo Griffiths 99
The Kara-Sasanas of Early Medieval Odisha
Subrata Kumar Acharya 115

ARCHITECTURE
The Temple at Paschim Jata (South 24-Parganas, West Bengal)
Sharmila Saha 135
Architecture of the Faruqis of Burhanpur: A Preliminary Study
Sutapa Sinha 157

NOTE
Mahadeo Temple at Zanzane Saswad, Phaltan Taluka, Satara District:
A Preliminary Study
Manjiri Bhalerao 189
iv CONTENTS

An Imitated Gold Coin of Huvixka Kuxapa from Radhanagar, Odisha

Umakanta Mishra, Subrata Kumar Acharya and Atula Kumar Pradhan 199
The Donor-Executor Dilemma: Notes on an Enigmatic Inscribed Sculpture
from Bihar in the Indian Museum, Kolkata
Rajat Sanyal 205
A Short Note on a Forgotten Uma-Mahesvara Sculpture from Mupdesvari
Claudine Bautze-Picron 219
A Cumulative Author Index to Pratna Samiksha: A Journal of Archaeology
New Series 1–10 (2010–19)
Mithu Karmakar 225
 Editor’s Note

We are presenting the eleventh volume of the new series of Pratna Samiksha:
A Journal of Archaeology. This volume contains articles on many subdisciplines
of archaeology. The note section at the end contains short essays on important
topics. While some of the writings exhibit the prospect of archaeology, some
offer new data, there are a few articles that present a fresh look at known
subjects. All in all, this edition of the journal reflects the trend of thoughts and
actions current in archaeology.
This edition contains an index of articles published in the journal during
2010–19. I thank Dr Rajat Sanyal for his help in this matter and many other
concerns of this journal. A special word of thanks is also due to Sri Subir
Sarkar for his suggestion of preparing an index.
We have lost two members of the Advisory Board this year. Professor Krishna
Bose had been a source of encouragement. She was also the Chairperson of
the Centre for Archaeological Studies & Training, Eastern India. Mr Pratip
Kumar Mitra has been with our institution from its inception and always
forwarded ideas for the betterment of the journal. Their presence is missed.

Kolkata S harmi C hakraborty

9 October 2020
ARCHITECTURE

Architecture of the Faruqis of Burhanpur:

A Preliminary Study
SUTAPA SINHA
Department of Islamic History and Culture
University of Calcutta

abStraCt : Burhanpur, the second capital city of the Faruqi Sultans of Khandesh (presently in Madhya
Pradesh) was established around ad 1400 on the bank of Tapti River. It prospered under the patronage of the
Faruqi rulers who held their sway over Khandesh till Emperor Akbar annexed it to his kingdom in ad 1600.
The fortified city of Burhanpur and its outskirts is dotted with numerous religious and secular architectures
of the Faruqis as well as of the Mughals which developed with a distinctive regional architectural idiom
beginning in fifteenth and continuing till early eighteenth centuries. Politically sandwiched between the
kingdoms of Malwa, Gujarat, Bijapur, Berar and Ahmednagar, the Faruqi capital of Burhanpur retained its
individuality and unlike other provincial kingdoms of Deccan, the art and architecture of Burhanpur received
scant attention from the scholars, both oriental and western, for some unknown reasons. Even earlier scholars
on Indian architecture like Fergusson and Havell failed to notice the architectural wealth of Burhanpur while
Percy Brown merely devoted half a page to architecture of Khandesh. In the works of modern scholars like
R. Nath, Catherine B. Asher and others, Burhanpur receives fleeting mention.
A fascinating architectural complex of Burhanpur is the Royal Fort right on the bank of Tapti with a
few ruins of the Faruqi period and mostly of the Mughal period. The only extant monument in it is a royal
hammam (bath) exquisitely decorated with rich colourful frescoes painted on the walls and groined ceiling of
the main chamber. Among other monuments of the Faruqi period in the city, Bibi ki Masjid, Jami Masjid,
tombs of Adil Shah and Nadir Shah deserve special mention for their architectural beauty. Tombs of Begum
Shuja and Subahdar Shah Nawaz Khan embellished with delicately painted frescoes are typical examples of
the Khandeshi architecture of the Mughal period. Secular architectures like gateways, serais and hammams
with distinctive architectural idioms are also lying unattended for years.
The present article aims to bring before the scholars the preliminary result of an archaeological
reconnaissance conducted by the author in Burhanpur, especially its architectural heritage and wall paintings
which have so far received little or no attention.

keywordS : Burhanpur, Thalner, Khandesh, Faruqis, Faruqi architecture, Jami Masjid, Idgah,
Royal Fort, palace, tombs, hammam, Mughal monuments of Burhanpur.

Burhanpur (21º17´ N and 76º17´ E), the second
capital of the Faruqi kings of Khandesh was
established by Naxir Khan Faruqi in 1399 Ce at
the behest of his spiritual mentor and famous
saint Shaikh Zainu’d-din. The city was named
after the great Deccan Sufi saint Burhanu’d-
din Gharib who lies buried at Khultabad. This
thriving capital city was under the Faruqis for
nearly two hundred years and is now reduced
to a small city situated in the Burhanpur district
(erstwhile West Nimar district) of Madhya
Pradesh, India (Plate 1).
Pratna Samiksha, New Series 11: 157–88. 2020. ISSN 2229 7979.
© Centre for Archaeological Studies & Training, Eastern India, Kolkata.
The first capital of the Faruqis was built in
1382 Ce by Malik Raja, the founder of the Faruqi
dynasty in Thalner, presently a small town in the
Dhule district of Maharashtra, it did not flourish
much during fifteenth and sixteenth century and
except a large complex of mausoleums of the
Faruqi kings, Thalner never excelled so far as
architectures of the Faruqis are concerned.
Out of seventeen rulers of the Faruqis (1382–
1609 Ce), the most prominent were Naxir Khan
Faruqi (1399–1437 Ce) and ‘Adil Khan Faruqi
II (1457–1501 Ce). Regular conflicts took place
plate 1: Map showing location of Burhanpur and city plan after
Amit Wahurwagh and Alpana Dongre (2015)
 Architecture of the Faruqis of Burhanpur
between the more powerful Malwa sultans on
one side and the Ahmadnagar kings on the other,
the Faruqis maintained their sovereignty mostly
through the help of the Gujarat kings and some
of the Faruqi kings had matrimonial alliance
with both Malwa and Gujarat. Khandesh was
eventually annexed to the Mughal territories in
1600–1 Ce by Akbar.
Previous Research
Apart from the primary sources like Tarikh-i-
Firishta (Briggs 1981: 169–93) and Ẓafar’l-Walih
(Dabir 1928),1 the political and military history
of the Faruqis has been discussed in detail in the
work of Wolseley Haig as early as in 1918 (Haig
1918). After him, S.H. Hodivala (1957) and
A.K. Majumdar (1960: 169–72) devoted either
a chapter or a section of a chapter to the socio-
political history of the Faruqis of Khandesh. No
discussion on Khandesh has been made in the
section under the cultural history of the same
works. In H.K. Sherwani’s pioneering research
on the history of medieval Deccan in two
volumes where political history of all provincial
kingdoms of Deccan including Khandesh ( Joshi
1973: 491–516) has been discussed extensively
in the first volume and whereas in the second
volume chapters have been devoted on art and
architecture of those kingdoms, but it excluded
the art and architecture of Khandesh in general
and Burhanpur, in particular. It gives us an
impression that the kingdom and capital of the
Faruqis was devoid of art and architectural
wealth worth mentioning. The later works like
Radhey Shyam (1981), M.S. Anwar (1988, 1990)
and Carl W. Ernst (1999) deal primarily with
sociopolitical and religious history of Khandesh
and Faruqi dynasty of Burhanpur. However,
Anwar writes more on Mughal period but also
discusses political relationship of the Mughals
with the Faruqis since 1526.
Earlier scholars like James Fergusson (1910)
and E.B. Havell (1913) failed to notice the
architectural wealth of Burhanpur while Percy
Brown devoted only half a page to architecture
of Khandesh (Brown 1995: 78–9). In the works
159
of modern scholars like R. Nath (1978: 84),
Catherine B. Asher (1992: 172, 210) and others,
Burhanpur receives fleeting mention. But in the
work of George Michell and Mark Zebrowski
in 1999, there is a section on the monuments of
the Faruqis of Thalner and Burhanpur and the
Mughal monuments of Burhanpur which is quite
informative but not comprehensive (Michell and
Zebrowski 1999: 53, 106–10, 113). In 2005,
Elizabeth Schotten Merklinger, in her latest
work also devoted three pages to architecture
of Burhanpur (Merklinger 2005: 112–15) with
ground plans of two prominent architectures,
namely Bibi ki Masjid and tombs of ‘Adil Khan
IV. G.S. Khwaja edited encyclopaedic volumes
on Islamic Architecture in India where in Volume
II Khandesh finds its mention in chapter 15
for one and half pages (Khwaja 2014: 332–4).
More on architectural wealth of Burhanpur can
be found in recent works of Amit Wahurwagh
and Alpana Dongre (2015), Suresh Mishra and
Nandkishore Dewra (2018) and Pushkar Sohoni
(2020). Wahurwagh and Dongre’s research
focussed on the water works of Burhanpur while
Mishra and Dewra briefly discussed monuments
and inscriptions of Faruqi period in their book.
Pushkar Sohoni in his web article on Burhanpur
mentioned a few monuments of the Faruqis and
more on the Mughal monuments.
So far as the works of art is concerned, we find
mention of three prominent schools in Deccan
namely, Bijapur, Golkunda and Ahmednagar
mentioned by the scholars like Douglas Barrett
and Basil Gray (1963) but mention of wall
paintings in the monuments of Burhanpur has
never been discussed.
Role of Archaeological Survey
of India Since 18742
In the literature of Archaeological Survey of
India, Burhanpur received adequate attention
right from the time of Sir Alexander Cunningham
and the first report was published in 1874–5
(Cunningham 1994). According to Cunningham,
‘There are several Muhammadan tombs; but the
only buildings of any archaeological interest are
160 S U TA PA S I N H A
Bibi Masjid and Jami Masjid.’ He also described
in detail architectural features of these mosques
in his report. Since 1904–5 regular conservation
work started to take place and their reports used
to be published in Annual Reports of Archaeological
Survey of India till 1935–6. After independence
it came under the jurisdiction of the state of
Madhya Pradesh and from 1953–4, not only
conservation but also preservation works of the
monuments of Burhanpur have been undertaken
quite regularly under the aegis of ASI. The centre
of attention in this case also remains with Bibi
Saheba’s Mosque and Jami Mosque for which a
regular budget used to be allotted. Apart from
those two prominent monuments, the Badshahi
Qila complex, the tombs of ‘Adil Shah and
Nadir Shah (?),3 tombs of Shah Nawaz Khan
and of Begum Shuja, the pleasure gardens like
Ahu Khana, Mahal Gulara (on the left bank of
river Tapti) and some other relics in and around
Burhanpur were under the regular conservation
works of ASI.4
Faruqi Monuments in Burhanpur
(15th–16th Centuries)
The capital city of Burhanpur appears to have
been built following the morphology of an
Islamic city along the right bank of the river
Tapti in a half-circular shape (Plate 2). Naxir
Khan Faruqi built the first Jami Mosque of the
city as early as in 1400 Ce and no other edifice
could now be ascribed to him. ‘Adil Khan Faruqi
II patronised a considerable number of building
activities in the city and also built the royal citadel
and the palace high up during middle of fifteenth
century. One of his most important contributions
towards the civic amenities of the city was to
build a water supply system made possible by his
engineers who laid pipes from the neighbouring
hills of Satpura which served as catchment areas
( Joshi 1973: 502).
In the north of the city the second Jami
Mosque of the Faruqis was built by the queen
of ‘Adil Khan III and at the centre of the city
is the huge congregational mosque complex, still
serving the same purpose, built by ‘Adil Khan
Faruqi IV at the fag-end of sixteenth century.
Several other religious and secular monuments,
either renovated or ruined, dotted the city
reflecting the tradition of flourishing building
activities and decorative art of the Faruqi period
which remained active till the Mughals held their
sway over Khandesh in early seventeenth century.
Although politically and physically wedged
between the kingdoms of Malwa, Gujarat,
Bijapur, Berar and Ahmednagar, Burhanpur
developed its individual character in building
activities as well as in administrative affairs in
spite of the strong influence of its neighbours.
But unlike other provincial kingdoms of medieval
Deccan, the art and architecture of the Faruqis
of Burhanpur and other centres never received
ample attention from the scholars for some
unknown reasons.
The surviving earliest religious monument
built under the patronage of Naxir Khan Faruqi,
is a mosque now standing amidst a thickly
populated settlement in Daulatpura mahalla
in the north, locally known as Kali Masjid. An
inscription in Arabic, fragmentary, mutilated and
obscured, is still found affixed over the entrance
gateway of the mosque at its north and left the
epigraph beyond reading.5 It is mentioned in
the local history booklets as the oldest Faruqi
mosque and the date of erection of this mosque
is mentioned as ah 802 (1399–1400 Ce), built by
Naxir Khan Faruqi (1399–1437 Ce).6 If this date
of erection is taken into consideration, i.e. the
very first year of establishment of the new capital
in Burhanpur, this Kali Mosque was possibly the
first congregational mosque built by or under
the patronage of Naxir Khan Faruqi where the
Sultan might have exercised his prerogative by
reading Khutba in his own name to proclaim his
sovereignty over Khandesh (Plate 3).
The entrance gate of the mosque on the north
is covered with a small dome having four minarets
or guldastas at the four corners. Two cells, one
each on either side of the gate covered with
cupolas and built of stone and brick certainly
reflect their Faruqi character. Fortunately there
is a photograph of nineteenth or early twentieth
century view of this Kali Mosque available online
plate 2: Fortified city of Burhanpur
plate 3: Kali Masjid, its interior and detail of central mehrab, early 15th century
 Architecture of the Faruqis of Burhanpur
in The British Library collection7 (Plate 4). The
building material used for this mosque was stone
including its two towering minar s at two sides of
the façade. These minar s are very tall, slender
and simple in appearance, gradually tapered and
almost pointed at the pinnacle unlike those of
any other mosque of the town, be it Faruqi or
Mughal or of a later date. They are divided in
seven tiers, lower four are polygonal while the
upper three are rounded in shape and capped by
stone kalasa. Since there is a grave of Hazrat Pir
Banna Saheb at the east of the main entrance of
the mosque, it is also known as ‘Pir Banna Saheb
ki Masjid’.
plate 4: Kali Masjid (early view)
163
The ground plan of the mosque is quite
distinct from others. The façade of the prayer
hall is pierced through seven arched openings
supported by two pair of double columns for the
central arch flanked by three single columns on
either side (Plan 1). Inside, there is a huge square
hall in the centre flanked by two aisles and three
bays on either side each small square is covered by
a small cupola. This central hall is supported by
four pair of double columns on four sides along
with four single columns at four corners and
eventually form a huge octagon as the base of
the central dome which has now totally collapsed
and replaced by a flat roof of concrete. The last
bay of the mosque adjacent to the qibla wall is
164 S U TA PA S I N H A
plan 1: Ground plan of Kali Masjid prepared by R.B. Chakraborty (not to scale)
covered by seven small cupolas and supported by
six single columns and two double columns in the
centre. The qibla wall is relieved with only three
mehrabs arranged alternately leaving blank arched
spaces on either side.
The mehrabs are elaborately carved on stone
in a fashion which resembles a miniature temple
with sikhara supported by series of pillars giving
a three dimensional effect (see inset of Plate 3).
The building activity under the patronage of
the new Muslim Sultans of Burhanpur was still
in its infancy and, therefore, the local masons
who used to build temples, either Hindu or Jain,
constructed the mehrabs of the mosque in more
indigenous or native fashion. The central mehrab
is now painted with metallic colour and is flanked
by a three-stepped pulpit on its left. The size of
the mosque and its exclusive ground plan speaks
itself of being the principal mosque of the newly
built capital city built as early as in 1399 Ce.
In chronological order, next comes the Royal
Fort or the Shahi Qila of the Faruqis built by
‘Adil Khan Faruqi II (1457–1501 Ce).8 On the
right bank of the river Tapti, the imposing Royal
Fort or the Shahi Qila is occupying the most
strategic location of the city enclosed by a strong
fortification wall of stone and strengthened by
the bastions (Plate 5). On its east the fort wall
is comparatively low in height while on the
north it is still very high protecting the royal
establishment from the commoner’s view. Close
to the low fort wall, the ruins of the multistoried,
awe-inspiring royal palace of Faruqi period is
seen from its back, i.e. from the river side. Ruins
of only four-storied building of the palace above
the ground level is extant and access to the
first floor is provided by an open staircase built
above a three-arched bridge like structure which
perhaps used to remain waterlogged during rainy
season. Inside the palace, the staircase with high
steps goes up to the top level extant so far and
which is the floor level of Diwan-i-Khaas of
the Mughal period. Inside the palace, one will
be surprised to see the complicated layout of
cells from ground level to third floor though the
roofs of the centre have now fallen down and so
have the connecting passages which prevented
the author from accessing most of the areas.
From the outside, the palace looks quite extant
but from inside it is a totally collapsed edifice.
 Architecture of the Faruqis of Burhanpur
plate 5: Palace and fort wall of mid-fifteenth century. A view from the river Tapti
The outer wall of the palace continues towards
north after a sharp rectangular projection with
a bastion in the middle and ends at the Diwan-
i-Aam of the Mughal period. Below it, three
distinct floor levels pierced with arched openings
and separated by bracket-supported parapet are
clearly visible from the riverside. From inside,
the Tahkhana, just below the Diwan-i-Aam can
easily be accessed which is a long arched hall
with wide openings overlooking the river.
At the southeast end of the fort, on a highly
raised plinth, remains of a mosque of the Faruqi
period survives only by its south wall with its
adjacent corner octagonal finial (Plate 6). No
written record, either literary or epigraphic, is
yet to be found mentioning this mosque which
was probably the private mosque of the royal
household. The mosque was built of stone but its
walls are now plastered with lime and decorated
with carved motifs which could be an addition
of the Mughal period. The octagonal guldasta of
165
black stone, at the southeastern corner of the
mosque having foliated decoration at its base,
angular eaves supported by stone brackets and
capped by a pointed cupola further identifies the
Faruqi character of the mosque. ASI has built
a square brick pillar to provide support to the
remains of this mosque. On the north of this
ruinous mosque, there is a small water tank for
ablution, still preserved in good condition.
At the north end of the Royal Fort there
remains a huge two-storied building with
openings on the south, the functional aspect of
which is yet to be defined (Plate 7). It could be the
royal stable on the ground floor and the quarter
of the army general on the first floor. A series of
cells in two rows, squat and robust in shape, walls
of which are built of stone having a number of
small niches on both sides of the walls with low
ceiling, either vault or shallow dome, built with
corbelled bricks. A huge chamber is covered with
a curved ceiling formed by pendentives, nets of
 plate 6: Mosque inside the fort, 15th century

plate 7: Ruins of unassigned two-storied building within Qila complex, 15th century (?)
 Architecture of the Faruqis of Burhanpur
lozenges, plastered all over and probably was
painted with different colours, could have been
used as the room of the keeper of the stable.
Some of the cells of the front row have a square
chimney like opening on their ceiling which is
also visible from the first floor. At the end, a stone
staircase from outside leading to the first floor of
the building, and unlike the ground floor, is in
complete ruins. The roof is totally collapsed and
the floor was divided in three rows of chambers
as seen from the ruins of the partition walls.
Remains of two staircases are visible in the middle
compartment whereas an octagonal shallow tank,
lime plastered, is seen on the floor of the third
compartment. As a result the functional aspect
of this floor becomes more difficult to speculate.
A ruined structure, outside the periphery of the
city wall, appeared somewhat very similar in
architectural features as mentioned above, has
been identified by the present author as another
remain of the Faruqis which is locally known as
plate 8: Ruins of a structure locally known as Barudkhana
167
Barudkhana (Plate 8). Discussion on Shahi Qila
would remain incomplete without mentioning
the ruins of the Mughal monuments like Diwan-
i-Aam, Diwan-i-Khaas and the extant Shahi
Hammam. Diwan-i-Aam was gracefully built
with its elegantly decorated groined ceilings,
richly carved niches, plastered walls painted
with floral designs of different colours seen on
the square and octagonal chambers (Plate 9).
Nothing but a single screen of three high arches
is standing as the remains of Diwan-i-Khaas at
the eastern boundary of the fort overlooking the
river Tapti (Plate 10). It is separated from the
Diwan-i-Aam by a high wall running in eastwest
direction, built of stone and probably elevated by
bricks later on.
The best preserved and most spectacular
example of the Mughal architecture in Burhanpur
is the marvellous royal bath or hammam which
was constructed by the order of Abd al-Rahim
Khan-i-Khanan in 1608 Ce. This remarkable
9a
 9b

9c
plate 9: Diwan-i-Aam and its elegantly decorated interior work
170 S U TA PA S I N H A
plate 10: Façade of Diwan-i-Khaas, Shahi Qila, Burhanpur
architecture was planned by an Iranian architect
from Khurasan (Plate 11). The intricate
plasterwork of Iranian style, faceted vaults with
rich ornamentation, is visible in the entrance
chamber only (Michell and Zebrowski 1999:
53). A few other structures and two gardens of
chahrbagh pattern glorifying the Shahi Qila to a
large extent is preserved and maintained by ASI.
The Idgah or an open mosque, built in an
area called Salimpura Pathanbari is also said to
have been built by Sultan ‘Adil Khan II in ah 861
(1456–7 Ce) and presently is being maintained by
the Muslim Numaida Committee of Burhanpur.
Like a mosque of open variety, the Idgahs also
have a vast open sahn or courtyard with a low
boundary wall on three sides and the qibla wall
on the west, this Idgah is no exception. The qibla
wall is relieved by nine deep arched niches or
mehrabs with the central one recessed in a deeper
semi-circle roofed by a cupola and stepped
mimbar on its left. The entire structure was built
of and cased by black stone (now painted with
white lime wash) with huge corner turrets on
either side (Plate 12). These two heavy corner
turrets of the Idgah, looking like bastions on the
fortification wall, were once thirty feet tall with
spiral staircases inside leading to their top level
now collapsed down to the height of the western
wall. However, it is said that when the population
of the city increased considerably, another Idgah
was built by Shah Jahan in ad 1640 which is
much larger in dimension.
Outside the fort, in the Shahbazar area of the
city, there is a ten-domed mosque adjacent to the
dargah of Sufi Shaikh Haẓart Shah Bahau’d-
din Shah Bajan (Plate 13). A stone inscription
 Architecture of the Faruqis of Burhanpur
in Arabic, now affixed inside a flat-roofed small
Mazar just on the left side of the dargah records
construction of a mosque in ah 877, i.e. 1472–3
Ce (Rahim 1987a: 49). It further records that the
mosque was constructed during the reign of the
great Khan and illustrious Khaqan ‘Adil Khan
and by Taj, son of Kila (identification of whom
is disputed) for the sake of Allah. The inscription
was earlier fixed over the gate of the mosque. 9
Another inscription of seven lines in Persian prose
attached into one of the niches of the mosque
purports to be an order of endowment for the
mosque issued in ah 877 by ‘Aẓam Humayun
(‘Adil Khan II) granting an endowment of a few
shops for the sake of the people responsible for
the maintenance of the mosque. It is an important
historical document. The mosque under review is
also unique in pattern covered by ten domes; five
in each row, the middle one is bigger and higher
than the flanking domes on either side. Each
dome is capped with a tiny cupola and fitted with
a metal finial and all are quite prominent above
the parapet of the ceiling which is now painted
with colours. On the four corners of the roof,
four small minarets or guldasta are seen which
do not deserve any special mention unlike any
other mosque of the Faruqis, whether predating
or postdating this ten-domed mosque. A tin
shade below the ceiling level has been added by
the present custodian to extend the prayer area
of the mosque. The mosque is entered through
five arched openings on the east leading inside
into five aisles and two bays and ends with five
mehrabs on the qibla wall on the west, the central
one is flanked by a mimbar of three steps. From
the qibla wall, each aisle is partitioned partially
by a thick wall and the pillars inside are also
wider, these apparently hinder the concept of
open space for prayer inside the mosque which
is an unusual phenomenon. Except the Faruqi
Idgah, we do not find any other extant mosque
built under the patronage of this most powerful
and successful Sultan ‘Adil Khan II and in that
case, we presume that the Kali Mosque, built
by the founder of this capital city Naxir Khan
Faruqi, was still serving as the Jami of the city
and continued to do so until the construction of
171
Bibi ki Masjid took place in the sixteenth century
Ce . On the northeast corner of the courtyard of
the mosque is the famous single-domed square
chamber dargah of Ha ẓ art Shah Bahau’d-
din Shah Bajan, visited daily by hundreds of
devotees irrespective of religion, also belongs
to the Faruqi period. Both the mosque and the
dargah are living and well maintained.
Bibi Saheba’s mosque alias Bibi ki Masjid is
one of the two prominent mosques of Burhanpur
which have drawn the attention of scholars since
nineteenth century and is now standing in a
dilapidated state. In recent past ASI brought it
under their protection and conservation work by
the Department is going on in full swing. Situated
towards north of Burhanpur at mahalla Itwara,
it was built after more than one hundred years
of Kali Mosque. It is said that during fifteenth
and early sixteenth centuries, the northern part
of Burhanpur was more populous and therefore
a congregational mosque was built by the queen
of ‘Adil Khan Faruqi III and is known as Bibi
ki Masjid. Two Persian inscriptions are affixed
on the pillars and one in Arabic is fixed over
the gate of the mosque, the latter is a religious
one. 10 One of the pillar inscriptions, partly
visible revealed a date of ah 936 (?) in the month
of Muharram, i.e. 1529 Ce , rest is obscured
and mutilated while the other one does not
provide any information. Purport is not clear on
either of these two epigraphs. It is said that the
building of the mosque was initiated by ‘Adil
Khan III himself but it was completed under
the patronage of his queen Begum Rokeya, a
daughter of Gujarat Sultan Muẓaffar Shah II,
quite some time after the untimely death of the
Sultan in 1520 Ce. Therefore, 1529 Ce could be
considered as the date of completion of the said
mosque. A very strong influence of architectural
features of religious monuments built under
the patronage of the Gujarat Sultans is easily
discernible on Bibi ki Masjid and G.S. Khwaja
opined in his recent work that this mosque is very
similar to Jami Masjid in Champaner, Gujarat
(Khwaja 2014: 333) (Plate 14). The mosque is
rectangular in plan and is of closed variety Jami
Mosque measuring 132.5´ × 48.5´ consisting of
11a

11b
 11c
plate 11: Royal bath or Shahi hammam with its interior decorated
with Iranian style unique plaster work
 plate 12: The Faruqi Idgah, mid-15th century

plate 13: Ten-domed Faruqi Mosque adjacent to Shah Bajan Shah’s dargah, late 15th century
plate 14: Bibi Saheba’s Mosque, early 16th century (inset: the extant minar of the mosque)
176 S U TA PA S I N H A

five bays and three aisles in the prayer hall (Plan
2). The façade of the mosque is punctuated by
five archways; the central one is much wider
and higher than those of two on either side. In
between the smaller archways of the façade,
there are small openings of 3´8˝, each of which
is covered in front by a small projecting balcony.
On the same axis with these are five slender
stone carved mehrabs on qibla wall. The central
mehrab is flanked by a pulpit on its left without
any canopy over it. Merklinger commented that
the plan of Bibi ki Masjid is similar to the plan of
Jami Masjid of Burhanpur but it is to be pointed
here that ground plans of the above two mosques
are completely different (Merklinger 2005: 114).
Respective photographs and plans presented
here would explain that these two congregational
mosques of Burhanpur built during the fifteenth
and sixteenth centuries are strikingly different.
Rather the plan of the latter is almost identical
to the Jami Masjid of Asirgarh Fort built more
or less during the same period. Two massive
five-storied towering minars or ma’dhanas used to
flank the central archway of which the left one is
totally collapsed and its finial is lying apart. The
lower two-storeys of the extant minar are built
of stone and are square in plan while the upper
three-storeys are of brick and two of them are
octagonal giving rise to a rounded top storey. This
is one of the best preserved ma’dhana crowned

plan 2: Bibi ki Masjid (after Elizabeth S. Merklinger) http://archnet.org/sites/8450

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 Architecture of the Faruqis of Burhanpur 177

with conical caps to find their way from Gujarat
to Khandesh but differs from its origin by adding
a few new features (Burton-Page 2008: 19).
The roof of the mosque was supported by four
rows of square pillars consisting of three large
domes at the centre. Four pillars opposite three
middle archways of the façade have disappeared
except their base, resultant open spaces used to
be covered by large domes springing from an
octagon and according to Cunningham ‘formed
in Hindu fashion’ (Cunningham 1994: 116).
Domes on the north and centre are entirely
collapsed now, only the south one is preserved.
All remaining squares on four sides of the mosque
are covered by small pointed cupolas. Traces of
fresco painting of multiple colours partly visible
inside the circular drum base of the domes bear
evidence of such a painting tradition which was
in vogue during the Faruqis at Burhanpur. Small
arched niche-openings, three each on the north
and south wall and four each on the east and
west wall of the mosque are covered by intricate
stone lattice which also bear strong resemblance
between those found in the monuments of
Gujarat and Malwa.
In ah 990 (1582–3 Ce), a small mosque was
built for a famous saintly person Shah Mansur,
presently located in the Khairati Bazar mahalla
of Burhanpur. An Arabic inscription is found
to be fixed on the arched façade of the mosque
which records that the mosque was ordered to
be constructed by ‘Adil Shah IV in ah 990 the
person who endeavoured for its construction was
a noble of prominence, Malik Wali Ruknu’d-
din. The façade of the mosque comprises three
arched openings flanked by two minarets at two
ends (Plan 3). Inside, the prayer hall is divided
into three aisles having mehrab at the centre of
the qibla wall. A square chamber single-domed
dargah of Shah Mansur is standing nearby and
both of these monuments belong to the Faruqi
period, are living and being maintained well by
the respective authority.
The royal congregational mosque, known
as Shahi Jami Masjid, is the latest edifice built
under the patronage of the Faruqis and the best
preserved living religious monument located in
the centre of Burhanpur (Plate 15). According
to Hira Lal, this mosque was built by ‘Adil Shah

plan 3: Mosque of Khairati Bazar mahalla

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178 S U TA PA S I N H A
plate 15: Shahi Jami Mosque, late 16th century
IV in 1646 Vikrama Samvat or 1511 Saka era (as
mentioned in the Sanskrit inscription) and in
ah 997 (as mentioned in the Arabic inscription)
and the latter corresponds to 5 January 1590
Ce (Hira Lal 1981: 306). Hira Lal, while editing
the Sanskrit inscription, has stated clearly that
every care was taken to complete it in one
year which is also recorded on another Arabic
inscription carved at the middle of the mosque.11
But S.A. Rahim in his article (Rahim 1987a:
53) mentioned that no definite information is
available from the two Faruqi inscriptions in
Arabic so far as the exact date of construction
of the mosque is concerned. It is proved beyond
doubt by the evidence of these two inscriptions
that construction of this mosque was started in
ah 997 (1588–9 Ce ) but contrary to the statement
made by Hira Lal regarding completion of the
mosque, the central mehrab inscription provides
a very important document on genealogy of the
Faruqis (Hira Lal 1932: 81–2).
This is a mosque of large dimension of
open variety with usual plan of open courtyard
surrounded on three sides by cloisters and prayer
hall on the west (Plan 4). The prayer hall is five
bays deep with fifteen pointed arched openings on
the façade which is being flanked by a towering
minaret of five-storeys at each corner. The arches
are shadowed by an angled eaves supported by
carved stone brackets and the spandrels of the
arch are decorated with rosette motifs. As a
whole the ‘building is remarkable for the perfect
proportion and symmetrical arrangement of its
various constituent parts including the arcaded
cloisters around the courtyard’ but the author
begs to differ from Rahim when he states that
‘there is nothing particular nor anything original
about its design and construction’ (Rahim 1987a:
53). The most striking feature of this largest
mosque in Burhanpur is that it is flat roofed unlike
any other mosque of the period. This flat roof
was formed by intersecting fan vaults that sprang
up from the rows of stone pillars (Plate 16). The
same technique of building roof has been echoed
in the Jami Mosque of Asirgarh Fort, also built
 Architecture of the Faruqis of Burhanpur 179

plan 4: Jami Masjid of Burhanpur, late 16th century

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under the patronage of ‘Adil Khan IV around
the same time. Cunningham opined that the
roof is vaulted throughout with pendants at all
the intersection points of the vault (Cunningham
1994: 118).
The exterior ornamentation limited in
floriated battlement which runs around the
parapet of the roof and an interwoven merlon
like motif carved over the wall below the parapets
do show some amount of artwork on the exterior
of this mosque. The interior decoration of the
mosque under question is confined to lavishly
carved pilasters and arches of the fifteen mehrabs
on the qibla wall each one is different from the
other. The elaborate carvings of the mehrabs
is completely Islamicate in design while the
carvings found in Kali Masjid (1399 Ce), built
almost two hundred years back, were more Indic
in character defining the transition phase of
artwork at Burhanpur (Plate 17). However, the
pillars are all carved with a simple monotonous
design at the base only. The pulpit of this large
mosque is very small and unassuming, it consists
of only three steps like any other mosque of the
area. The five rows of black pillars with four
upright fan vaulting intersect in a pendant and
plate 16: Intersecting fan vaults sprang up from the rows of stone pillar, Jami Masjid, Burhanpur
plate 17: Elaborate carvings on one of the fifteen mehrabs of the Jami Masjid, Burhanpur
182 S U TA PA S I N H A
devoid of any other colour or decoration create a
striking effect of tranquillity and harmony.
Situated around 3 km north of the city, in the
outskirt of Burhanpur, there stand a complex
known as ‘Huzra-e-Faruqi’ where a couple of
mausoleum and a number of tomb stones, ruins
of a mosque and other structures, all built of
black stone (basalt), are preserved and bear the
tradition of tomb architecture of the Faruqi
period. Regarding the architectural style of these
Faruqi mausoleums of Burhanpur, Michell and
Zebrowski opined that they bear closer affinity
to the building tradition of Malwa and Gujarat
than with those of the Deccan (Michell and
Zebrowski 1999: 106). Interestingly, most of the
Sultans of Khandesh of this period preferred to
have their mausoleums built in Thalner, the first
capital of Khandesh rather than to build those in
their current capital in Burhanpur. As a result, in
Thalner a large complex consisting of a number
of tombs of the Faruqi Sultans are extant
which are of special note for their architectural
merit and have drawn the attention of scholars
(Merklinger 2005: 109–12).
The tomb of Muhammad Shah Faruqi II
(ah 974–84/1566–76 Ce), the tenth Sultan of
the Faruqi lineage is built over a highly raised
plinth at the west of the complex. It is mistakenly
marked as tomb of ‘Nadir Shah’ by ASI but
the fact is there is no Nadir Shah in the Faruqi
genealogy. The layout of the tomb is square with
three recesses and four projections on its four
sides (Plan 5). The centre recess is deep on three
sides and are fitted with stone lattice screen of
beautiful workmanship. On the south, a flight of
stairs leading to an arched entrance of the tomb
flanking on either side with stone lattices reminds
one of the Hosang Shah’s tomb in Mandu. The
square edifice is surmounted by a rounded
dome based on a pronounced octagonal drum
formed by the four squinches at four corners
of the square chamber inside. Originally a
continuous projected and angled eaves supported
by carved brackets, all of stone, used to protect
the walls of the four sides of the building which
has now mostly disappeared. Above and below
these angled eaves, there are frieze of shallow
mehrab shaped panels on the façade enhance the
beauty of the monument. Inside the cubic hall
of the mausoleum, there are four tomb stones
resting on a raised platform. Each corner of the
square chamber, from where the squinch springs
up above the lintel level, is lighted by slender
openings on two sides and fitted with trellis, a
pattern found in the biggest tomb of the Faruqis
among the Thalner group of tombs, i.e. the tomb
of Mubarak Khan.
On the eastern end of the complex is the
tomb of ‘Adil Shah Faruqi IV, the builder of
the famous Jami Mosque of Burhanpur. This
tomb was built also on a square plinth, not as
high as the former one and is square in plan. On
three sides of the square chamber, one recess
and two projections provide openings for ample
lighting inside the chamber and are fitted with
lattice screen while on the south is the arched
entrance. The structure is crowned by a single
dome based on a decorated octagonal drum.
The carved panels seen above and below the
projected eaves echo the pattern of the earlier
tomb in the complex. Inside the cubical chamber
of the mausoleum there are fifteen tomb stones
of which six are on the raised platform and the
remaining nine are on the floor. The square hall
became octagonal inside above the lintel level
because of four squinches forming the drum
base of the dome. The walls are devoid of any
decoration except a frieze of arched niches on
the polygonal base immediately below the circle
of the dome (Plate 18). Just outside the tomb of
‘Adil Khan IV, on the south, there is sarcophagus
of a celebrated Faruqi nobleman Amir Yar
Ali, the Arabic inscription on sarcophagus was
published long back (Rahim 1987b: 68–70, pl.
XXII).
Another notable mosque built by the same
Sultan ‘Adil Khan IV is situated at Zainabad,12
the village located on the opposite bank of river
Tapti and was named by Naxir Khan Faruqi
after his spiritual mentor Sufi Shaikh Shah
Zainu’d-din. A large hypostyle mosque following
the typical plan of a central courtyard bordered
by cloisters on three sides and prayer hall on the
west is in much dilapidated condition. The roof
 plan 5: Tomb of Muhammad Shah Faruqi II
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plate 18: Tomb of ‘Adil Khan IV and Muhammad Khan II, late 16th century
 plate 19: Zainabad Mosque and the caravan serai, late 16th century
(the ogee arched corridor and entrance openings of the caravan serai)
186 S U TA PA S I N H A

and façade of the mosque have collapsed while
the walls on three other sides with beautifully
decorated niches and mehrabs still bear the
grandiosity of the monument. The two towering
minarets at the two corners also bear the legacy
of the Faruqi architecture. On the south of the
mosque, a huge caravan serai or inn is preserved
in much better condition instantly reminding one
about a similar one in Mandu. The surviving
inns in Burhanpur namely Akbari Serai and
Jahangeri Serai are of Mughal period, built in
a different style, the latter with a mosque on the
west. Akbari Serai is partly lying uncared for
and partly being used as a godown while the
Jahangeri Serai is an abandoned ruins except for
the mosque which is living and well maintained.
However, the mosque and serai of Zainabad are
now under the protection of State Archaeology
Department of Madhya Pradesh and the mosque
complex demands more attention so far as the
conservation and preservation of the monuments
are concerned (Plate 19).
Summary
Apart from the monuments discussed above,
there are relics and small ruins of the Faruqi
period that lie scattered throughout the fortified
city of Burhanpur and also on the outskirts of
the city. Several other prominent monuments of
the Mughal period and of Asaf Jahi period dot
the city. Burhanpur was occupied and reoccupied
by the Marathas and by the British and remains
of their architectural activity are still to be found.
But all these remain beyond the scope of the
present discourse. The author would especially
like to mention the presence of the brick built
fortification wall of the city which was constructed
at the order of the kings of Asaf Jahis replacing
the earlier mud wall built by the Faruqis and the
Mughals. The entire city was enclosed by a strong
and battered high wall, though collapsed and
broken in many points nowadays and was entered
through nine gateways situated in different parts
of the city, all deserve special mention because of
their architectural merit. The huge gateways are
mostly extant, maintained by the present civic
body and provide a newcomer with the feeling
of entering into a historical city. Unfortunately,
the cumulative effect of the growth of modern
township and its growing population, their
lack of awareness about the importance of this
historically significant city have already caused
considerable damage to this medieval capital of
the Faruqis and their rich cultural heritage. To
conclude, it may be mentioned that Burhanpur,
the principal capital city of the Faruqis and
the gateway to the Deccan certainly developed
some typical features in architecture like the
usage of typical shouldered arch in Shahi Qila
and Barudkhana, extensive use of ogee arch in
Zainabad Serai, unusual decorative mehrabs in
Zainabad Mosque, so on and so forth. Some of
these features of Faruqi period find its reflection
on the architecture of the Mughals in and around
Burhanpur.

a CknowledgementS : The author is grateful to Dr N. Taher, Bhopal Circle, Archaeological

Survey of India for providing permission and logistics for fieldwork. She is indebted
to Rakesh Chandan Shende, Ganapati Chowdhury, Sanjay Udassin and all other staff
members of Burhanpur Sub-Circle and Guest House, ASI for extending their support and
all possible help to make her sojourn comfortable and her survey work successful. She is
also grateful to Umesh Shinde for his constant cooperation in conducting field survey in
Burhanpur and Thalner. For all kinds of technical support required for this research, she
remains beholden to R.B. Chakraborty. The author is extremely indebted to her Guru
late Pratip Kumar Mitra for his unstinted guidance and encouragement during the course
of her initial research programme. She remains especially thankful to Subir Sarkar for his
spontaneous support in finalising the article.
 Architecture of the Faruqis of Burhanpur
n oteS
1. Firishta has devoted a whole chapter to the
history of the Faruqi kings, but his account, though
in detail, is not free from incorrect statements. Hajji
Dabir has given a brief but more accurate account
which he has borrowed from Husam Khan, author of
now extinct Tarikh-i-Bahadur Shahi.
2. Archaeological Survey of India will hereinafter
be referred as ASI.
3. This tomb is wrongly ascribed to ‘Nadir Shah’
since long and the issue has been discussed later.
4. The present office of ASI of Burhanpur Sub-
Circle under Bhopal Circle of Madhya Pradesh
is located within the Shahi Qila Complex and the
author is much indebted to the officials of ASI for
their unstinted support and help.
5. This inscription has been noticed in the list of
the Annual Report on Indian Epigraphy (ARIE) for 1956–
7, No. D 129, 1963, p. 124 and no date has been
mentioned.
6. A local history book by Juber Ahmad Ansari
entitled Burhanpur ka Itihas banam Jawar Bhata (in Hindi)
published from Mumbai in 2001, provided a list of
important events where the author provided the date
of building of Kali Masjid as ah 802/1400 Ce.
7. HYPERLINK "http://ogimages.bl.uk/images/
019/019PHO000001003U01259000%5bSVC1%5d.
jpg"http://ogimages.bl.uk/images/019/019PHO00
0001003U01259000[SVC1].jpg.
8. ‘Adil Khan Faruqi II, known as the Shah-i-
Jharkhand ordered the building of the citadel of
Burhanpur commanding the only fort on the Tapti
leading to the city ( Joshi 1973: 502).
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The astrological details are unique in a
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