Unit Iv: Mughal Architecture M.A.A Ar - Radhikha Senthil

 Mughals in india- political and cultural history
 Synthesis of hindu-muslim culture,

 Sufi movement
 Evolution of architecture and outline of mughal cities and gardens
under the mughal rulers: important examples
1. Babur,
2. Humayun,
3. Akbar,
4. Jahangir,
5. Shahjahan,
6. Aurangazeb.
 Decline of the Mughal empire.
UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

M U G H A L S I N I N D I A - P O L I T I C A L A N D C U LT U R A L H I S T O R Y
1. The great grandson of Tamerlane, Babar,
who on his mother's side was descended
from the famous Genghiz Khan, came to
India in 1526 at the request of an Indian
governor who sought Babar's help in his
fight against Ibrahim Lodi, the last head of
the Delhi Sultanate.
2. Babar defeated Lodi at Panipat, not far from
Delhi, and so came to establish the Mughal
Empire in India.
3. Babar ruled until 1530, and was succeeded
by his son Humayun, who gave the empire
its first distinctive features.
4. But it is Humayun's son, Akbar the Great,
who is conventionally described as the glory
of the empire.
5. Akbar was succeeded by his son Salim, who
took the title of Jahangir. In his reign (1605-
1627), Jahangir consolidated the gains made
by his father.

1. The courtly culture of the Mughals
flourished under his rule; like his great
grand-father, Babar, he had an interest in
gardens, and Mughal painting probably
reached its zenith in Jahangir's time.
2. Shah Jahan, succeeded to the throne. He
inherited a vast and rich empire; and at
mid-century this was perhaps the greatest
empire in the world, exhibiting a degree of
centralized control rarely matched before.
3. As he apparently lay dying in 1658, a war of
succession broke out between his four
sons. The two principal claimants to the
throne were Dara Shikoh, who was
championed by the those nobles and
officers who were committed to the
eclectic policies of previous rulers,
and Aurangzeb, who was favored by
powerful men more inclined to turn the
Mughal Empire into an Islamic state subject Mughal Empire
to the laws of the Sharia.
FEATURES:
•Building art in northern India attained its most
sumptuous form.
•Monuments produced during this period may
be regarded as representing an Indian summer
of Moslem art and architecture.
•A form of the building art emerged expressive
of this ruling dynasty
FACTORS:
•Wealth and power of the empire.
•Relatively settled condition that prevailed in
most parts of the country.
•Pronounced aesthetic nature of the mughal
rulers culture.
•Mughal style resolves itself into two main
features:
PHASES
•1 buildings of red sandstone (akbar)
•2 buildings of white marble (shahjahan)

 PA I N T I N G
 The Mughals made a distinctive  Mughal painting was at
contribution in the field of climax under Jahangir’s
painting. They introduced many period who had a very
new themes portraying the peculiar sense of paintings.
court, battle grounds, and the  During those days, it was a
chase scenes. fashion in the Mughal
 Mughal painters also introduced School that in a single
many new colors and new painting - the face, the body,
forms. and the feet of a person to
 After the eighth century, the be painted by different
tradition seems to have decayed, artists
but palm-leaf manuscripts and
illustrated Jain texts from the  During Jahangir’s period,
thirteenth century onwards special progress was made
indicated that the tradition had in portrait painting and
not died. paintings of animals.
Mansur was the great name
in this field.

1. Confined to Mughal court:
Mughal painting remained confined to the Mughal court and did not reach the
people.
2. A synthesis of Indian and Persian elements:
The Mughal rulers brought Persian painters with them. At the same time they
patronized Indian painters and the collaboration between these two schools of
painters resulted in the synthesis.
3. Abundant use of colours:
Golden colours considered to be the symbols of prosperity of the Mughals began
to be used increasingly.
4. Zenith of Mughal painting:
Jahangir had a very discriminating eye and Mughal painting reached its climax of
glory during his reign.
5. Mughal painting during Humayun:
The foundation of Mughal painting was laid by Humayun during his exile from
India in Persia and Afghanistan. Two of Persia’s greatest painters Mir Sayyid Ali
and Abdus Samad came with him to Delhi and helped to produce some paintings.
6. Mughal painting during Jahangir:
It is generally stated that during Jahangir’s time, the art of painting reached its
climax and with him departed its soul. Jahangir was not only interested in
painting, he was also its keen judge. He established a gallery of painting in his
own garden

 S Y N T H E S I S O F H I N D U - M U S L I M C U LT U R E
1. Impact on Religious Field
2. Social Impact
3. Economic Impact
4. Impact on Culture
5. Impact on Fine Arts
6. Impact on Music
7. Impact on Painting.

 SUFI MOVEMENT Sufism, mystical Islamic belief and practice in which Muslims seek
to find the truth of divine love and knowledge through direct
personal experience of God. ... Sufis have elaborated the image
of the Prophet Muhammad—the founder of Islam—and have
thus largely influenced Muslim piety by their Muhammad-
mysticism.
“Sufism is a religion of intense

devotion; Love is its
manifestation, poetry, music and
dance are the instruments of its
worship and attaining oneness
with God is its ideal.”
It implies that the ideal before an individual should be to be one with
God. For the attainment of this ideal, intense devotion for God is needed
in the individual. Devotion is reflected in love. This love for the Almighty is
expressed through three fold activities on the part of the individual i.e.
poetry of love towards God, music of love towards God and dance of love
towards God.
MUGHAL GARDENS
• Mughal garden of INDIA is an ensemble of Islamic ideals and local
traditions and varies according to the historical and geographical
context in which each garden is found.
• Mughals, headed by Babur, brought with them the Persian
concept of gardens to India. India transformed this Muslim
concept into an eventual unique type of garden containing both
Islamic ideas and local traditions.
CONCEPT
1. Gardens are composed of both natural as well as man-made
elements and reflect the relationship between man and
nature.
2. It is often regarded as a PLACE OF RETREAT. In the Islamic
world, garden is cited as a SYMBOL OF PARADISE.
3. The plan of this paradise garden was simple- it was divided by
means of four water channels into four quarters.

1. The four water channels
symbolized the four rivers of
paradise as outlined in the
Quran- WATER, MILK, WINE
AND HONEY.
2. This is the origin of the
quartered garden known in
Persian as ‘CHAR BAGH’
3. The Concept of the garden as a
reflection of the cosmos- a
centrifugal or outward directed
force flows out from the
building into a natural paradise

MUGHAL GARDENS

 WAT E R – I N M U G H A L G A R D E N S
1. WATER was considered as the soul and life
of this paradise garden.
2. Water occupied a central position in the
Islamic gardens symbolizing purity and
paradise while offering the qualities of
tranquility, coolness and reflection.
3. Channels of water divide the traditional
Persian garden into four quadrants,
symbolizing the belief that the universe is
divided by 4 great rivers. Some times
4. The irrigation was carried by these water series of
channels or QUANATS. niches were
5. These gardens had either an octagonal pool also provided
or a tomb or any other focal point at its behind the
centre, with the surrounding landscaped waterfall which
gardens providing a series of beautiful is called
perspectives. CHINNIKHAN
6. The reflective quality of water was used to AS
the fullest extent and was used to
complement focal elements, or to reflect
sky.
 WAT E R – I N M U G H A L G A R D E N S
1. Water was used as a sculptural element
or at least give the illusion of a
scultpture.
2. From terrace to terrace the water was let
down the beautiful slopes called
CHADDARS, which means white shawls
of water where marble or stone chutes
carved in various patterns so that water
running over them were thrown up an
broken into ripples and splashes.
3. Another feature which gained
importance was the pavilion set within
water, which are called CHABUTRA were
surrounded by spouting jets of water.
These pavilions were provided at the
junction of water channels to provide
good view and as ancillary focal points.

 CHAR BAGH – IN MUGHAL GARDENS
1. The large charbagh provides the foreground for the classic

view of the Taj Mahal.
2. The garden's strict and formal planning employs raised
pathways which divide each quarter of the garden into 16
sunken parterres or flowerbeds.
3. A raised marble water tank at the center of the garden,
Charbagh in the Amber Fort,
halfway between the tomb and the gateway, and a near Jaipur, Rajasthan, 1592
linear reflecting pool on the North-South axis reflect the Taj onwards, demonstrating
Mahal. how the basic four parts can
4. The charbagh garden is meant to symbolize the four flowing divided in complex
Rivers of Paradise. geometric ways
5. The raised marble water tank (hauz) is called al Hawd al-
Kawthar, literally meaning and named after the "Pool of
Abundance" promised to Muhammad in paradise where the
faithful may quench their thirst upon arrival
01.SHERSHAH
No Building type SUR
SASARAM (1530-40) and DELHI (1540-45)
Example
01 Tombs • Tomb of Hasan khan

• Tomb of Sher shah, sasaram
• Tomb of Salim (sher shahs son)
02 Mosques • Qila-i-kuhna masjid
03 Gateways • Bara Darwaza
04 Others • Purana Qila or old fort

• Fort at Rohtas

TOMB OF HASAN KHAN
•Master builder- Aliwal khan

•Mausouleum building contained within a
walled enclosure.
•Building stands level with the ground with no
plinth.
•Middle storey is merely a bare wall of little
interst.
•Octogonal type

TOMB OF SHER SHAH
•Whole structure stands in the middle of a great lake.
•Access by means of a causeway on the northern side
of the lake.
•250’ wide 3 storeys thus producing an immense
pyramidal pile in 5 distinct stages upto 150’
•Whole structure stands in the middle of a great lake.
•Access by means of a causeway on the northern side
of the lake.
•Two stories comprise the foundation of this island
tomb.
•Stepped basement rising out of the water and tall
terrace above which is square in plan with an octagonal
tomb in three stages.
•
TOMB OF SHER SHAH
Lotus finial
Dome
Plain wall+pillared Kiosks
parapet
Arched verandah
Stepped basement
Causeway
•Surmounted by a dome
•Lowest storey is in the form of a verandah, having triple archs in each of its eight sides with a
projecting eaves above over which rises a high crenelated parapet.
•Second stage is a screened wall with a projecting window openings between.
•Third stage is the drum of the dome.
•Tomb chamber is entered through the encircling verandah by doorways.
•Single vaulted hall.

TOMB OF SHER SHAH
Sasaram - Balcony at Sher Shah Suri Tomb
Sasaram - Entrance Gate and Pathway at the Tomb of

Sher Shah Suri
SHER MANDAL
•Another solitary structure built inside
the masjid
•This is the SHER MANDAL
•Within the PURANA QILA OR OLD FORT

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QILA KUNHA MASJID
•Gem of architectural design.
•Royal chapel of the sur rules.-158x45
Feet,66’high
•Façade consists of an arrangement of
five archways.
•Centre arch sunk in an arched recess
contained within a pronounced
rectangular frontage.
•Large single lodi dome.
•Interior is formed of one large hall
divided into 5 bays by lateral arches.
• Ground floor : 8 arches

• Upper floor : 16
• Uppermost: 32
‘PURANA QILA’ OR OLD FORT-the

sixth capital city of delhi.
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02.BABUR
BABUR(1526-1531)
No Building type Example
01 Mosques 1. Jami Masjid-Sambhal
02 Others • Kabuli Bagh- Panipat

KABULI BAGH-PANIPAT,PUNJAB
Main facade Entrance Gate

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Mihrab
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03 .HUMAYUN
HUMAYUN(1531-1556)
01 Tomb 1. TOMB OF HUMAYUN-1564 AD
02 Mosque • Humayun`s Mosque in Kachpura

HUMAYUN`S MOSQUE IN KACHPURA
INTRODUCTION:
Humayun Mirza was not a leader in struggles and political matters but he was a great secular
genius, the prince with a very high culture. Humayun had a better knowledge from his youth
and before heading to the throne, he had a clear understanding about battles and state
affairs. When his father was alive, he participated in the battles near the Panipat and Qanva
and got much experienced. He controlled the government in the regions of Khisor, Sambhal,
and Badakhshan.
Humayun`s Mosque in Kachpura

• The mosque is located in front of the left bank of the Yamuna river and the Taj-Mahal.
• It is a sanctuary with a five arched facade without such paraphernalia as the cloisters,
monumental gateways or a minar.
• The mosque was built of brick, plastered walls with mortar, and the usage of decorative
patterns are rare.
• The mosque is in ruins now and only the sanctuary has survived as it is.
• The mosque has a façade with five arches and a high iwan conceals the dome on top of
the central nave, which is supported on kite-shaped pendentives and net squinches.
• There are double-aisled wings on either side of the central nave.
• The brick and mortar building had been plastered originally and one can still see that its
façade was once adorned with glazed tiles.
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1. There is no stone-work and, obviously, it has been

built in the preceding lodi style.
2. Humayun’s astronomical observatory was also
situated in its vicinity, on the river-bank.
3. It is in ruins and a large baoli (step-well) and a
monolithic stone block with 12 steps have remained in
situ. At present, it is called ‘Gyarah Sidi’
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HUMAYUN`S MOSQUE IN KACHPURA

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TOMB OF HUMAYUN-1564 AD
•Constructed 8 years after the emperors death, unusual as it was customary for these
monuments to be erected during the emperors life time.
•Built by his wife haji bagum.
•Architect- mirak mirza ghiyas.
•Indian interpretation of a Persian conception.
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INTRODUCTION:
1. Humayun's tomb is the tomb of the Mughal
Emperor Humayun in Delhi, India built by Akbar.
2. Designed by Mirak Mirza Ghiyas, a Persian
architect.
3. The Tomb stands on a 120-square-metre
platform and reaches a height of 47 metres. Built
of rubble masonry, the structure is the earliest
example of the use of red sandstone and white
marble in such great quantities.
4. The central walkways, terminate at two gates. It
has two double-storey entrances, the West gate
which used now, while the South gate, which was
used during Mughal era.
5. Aligned at the centre on the eastern wall lies a
baradari, literally a pavilion with twelve doors,
finally on the northern wall lies a hammam, a
bath chamber.
6. On the south-east of Humayun's Tomb there is a
fine square tomb of 1590-91, known as the
Barber's Tomb.
UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil 30
PLAN OF HUMAYUN TOMB:

1. In plan it is an irregular octagon with four long and four short sides.
2. It is surmounted by a 42.5 m high double dome clad with marble flanked by decorative
pillared kiosks (chhatris).
3. The middle of each side is deeply recessed by large arched vaults with a series of smaller
ones set into the face.
4. The interior is a large octagonal chamber with vaulted roof compartments interconnected
by galleries or corridors.
5. This octagonal plan is repeated on the second storey. 31
UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil 31

White Marble
140’ Pillared Kiosks
Red
Sandstone
’
22
’
22
Arcaded Chamber

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• Line: The use of horizontal and vertical lines in the elevation.

• Shape :The shape of the dome is bulbous. The arches are pointed.
• Colour :Because of the use of red sandstone and white marble the colour of the
entire structure is red and white.
• Texture: The combination of rough texture of the sandstone and the soft texture of
the white marble
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CHAR BAGH GARDEN :
• it was also placed in centre of a 30-acre Char
Bagh Garden (Four Gardens), a Persian-style
garden with quadrilateral layout and was the
first of its kind in the South Asia region in such a
scale.
• highly geometrical and enclosed Paradise
garden is divided into four squares by paved
walkways (khiyabans) and two bisecting central
water channels, reflecting the four rivers that
flow in jannat , the Islamic concept of paradise.
• Each of the four square is further divided into
smaller squares with pathways, creating into 36
squares in all, a design typical of later Mughal
gardens.
• The central water channels appear to be
disappearing beneath the tomb structure and
reappearing on the other side in a straight line,
suggesting the Quranic verse, which talks of
rivers flowing beneath the 'Garden of Paradise
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03.AKBAR
AKBAR (1556-1605)
01 Fort 1. Fortress –Palace of Agra

2. Lahore fort (Shahjahan&Akbar)
3. Allahabad Fort
4. Ajmer Fort
02 City 1. Fatehpur Sikhri

2. Jahangri Mahal
3. Delhi gate

AGRA FORT
• The Red fort at Agra is a prodigious fortification

town that was meant to be the capital of the
Mughal Empire.
• Built in an irregular semi-circle shape on the right
bank of River Yamuna, it surrounded by a double
wall of red sandstone with battlements and about
UNIT IV : MUGHAL ARCHITECTURE M.A.A ten towers and bastionsSenthil
Ar.Radhikha at regular intervals.
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AGRA FORT
Amar Singh Gate or Akbar Darwazah to the south from where visitors are allowed
inside the fort today,
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AGRA FORT
JAHANGIRI MAHAL
ENTRANCE BASTIONS JAHANGIRI MAHAL

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AGRA FORT
BATH TUB
ENTRANCE TO MAHAL
ENTRANCE TO MAHAL
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AGRA FORT
INNER COURTYARD OF JAHANGIRI MAHAL
INNER COURTYARD OF JAHANGIRI MAHAL

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AGRA FORT
KHAS MAHAL
COURTYARD OF DIWAN I KHAS

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AGRA FORT
Anguri Bagh - 85 square, geometrically arranged
gardens
Diwan-i-Am (Hall of Public Audience) - was used to
speak to the people and listen to petitioners and once
housed the Peacock Throne
Diwan-i-Khas (Hall of Private Audience) - was used to
receive kings and dignitary, features black throne of
Jehangir
Golden Pavilions - beautiful pavilions with roofs shaped
like the roofs of Bengali huts
Jehangiri Mahal - built by Akbar for his son Jehangir
Khas Mahal - white marble palace, one of the best
examples of painting on marble
Macchi Bhawan (Fish Enclosure) - grand enclosure for
harem functions, once had pools and fountains
Mina Masjid (Heavenly Mosque)- a tiny mosque; closed
to the public

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AGRA FORT
Moti Masjid (Pearl Mosque) - a private mosque
of Shah Jahan
Musamman Burj - a large, octagonal tower with a
balcony facing the Taj Mahal
Nagina Masjid (Gem Mosque) - mosque designed
for the ladies of the court, featuring the Zenana
Mina Bazaar (Ladies Bazaar) right next to the
balcony, where only female merchants sold wares
Naubat Khana (Drum House) - a place where the
king's musicians played
Rang Mahal - where the king's wives and
mistresses lived
Shahi Burj - Shah Jahan's private work area
Shah Jahani Mahal - Shah Jahan's first attempt at
modification of the red sandstone palace
Sheesh Mahal (Glass Palace) or Shish Mahal -
royal dressing room featuring tiny mirror-like glass-
mosaic decorations on the walls

Shish Mahal's glass works.

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AGRA FORT
NAGINA MASJID
MIHRAB
UNIT IV : MUGHAL ARCHITECTURE M.A.A ABLUTIONS
Ar.Radhikha FOR WOMEN
Senthil
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AGRA FORT
DIWAN I AM

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FATEHPUR SIKRI PALACE
•Most notable achievement
of the Mughals
COMPLEX
Fatehpur Sikri Palace Complex
•26 miles west of Agra

•A great complex of
residential palatial and
official and religious
buildings
•Rectangular area of 2 miles
and 1 mile braod
•Habitation lasted only for
one generation
•City with no streets ,but an
arrangement of broad
terraces and stately
courtyard around which are
grouped pavilions and
palaces

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FATEHPUR SIKRI PALACE COMPLEX
2. NEW CAPITAL CITY OF FATEPUR SIKRI:
NOBUIDING TYPE EXAMPLE
1 gateways agra gate
naubat khana or drum
house
2 secular buildings palace at jodh bai
house of Miriam
house of the sultana
birbals house
3 religious buidings jami masjid
buland darwaza or triumphal
gateway
tomb of salim chisti
tomb of islam khan
4. administrative diwan-i-khas or hall of public audience
building panch mahal or palace of five stories
khwabgah or house of drums
astrologers seat
department of records

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• Fatehpur Sikri is so large and decentralized that the city can only be experienced as a series of changing
surroundings as one travels from courtyard to courtyard.
• There are no broad boulevards or landmark buildings that can be constantly kept in view when
experiencing the city.
• Fatehpur Sikri’s architecture is laden with intricate detail; each entrance, supporting pillar and court
yard evidence of scrupulous planning.
The buildings of Fatehpur Sikri show a synthesis of various regional schools of architectural
craftsmanship such as Gujarat and Bengal. This was because indigenous craftsmen were used for the
construction of the buildings.
Influences from Hindu and Jain architecture are seen hand in hand with Islamic elements.
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PANCH MAHAL
•Pavillion of 5 stories
•The rectangular ground floor being built
over 84 columns each different in design
•The 5 stories above diminish gradually
from the northern and western sides
while the eatern and the southern sides
rise vertically upto culminate in a domed
canopy supported over the four pillars
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•Palace was designed for akbars more than 300 wives, to enjoy
their leisure hours during the hot summers
•Exterior treatment is remarkable for its wide caves and deep
shadows of pillars & brackets.
•Horizontal lines of the parapet.
•Pleasing proportions of the interior – pillars with pendant
brackets, balconies, alcoves, murals.
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•Southern entrance to the Jami
Masjid.
•Imposing structure 134’ high
approached by a flight of steps 42’
high.
•Presents itself as a masonry of
immense proportions dwarfing
every other building.
•There is little doubt that of all the
architectural productions of the
Mughals, their gateways were the
most successful achievements;
42’
whether they were

• Bold entrances to fortresses.
• Humble doorways to sarais.
BULAND DARWAZA or GATE OF MAGNIFICENCE • Elegant portals to tombs
• Porticos to palaces
•Civic archways of the city etc

•The entire structure may be resolved into
two aspects:
• The frontal and highest aspect, forming
134’
the façade with its portal.

• Back with its façade embowed by
means of three planes comprising a
large central face and a lesser one on
each side receding at an angle.
•Central plane is 86’ across, rectangular in
shape; the grate part is occupied by an
arched and domed recess.
•The narrower faces on the wings are in
three stories which varied openings in each
stage.
•Crowning the whole of this façade is a
parapet behind which rises a range of kiasks
with cupolas.


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04.JAHANGIR
JAHANGIR (1605-27)
01 Tomb 1. Tomb of Akbar

2. Tomb Of Jahangir
3. Tomb of I'timad al-daula

TOMB OF AKBAR(1612)
1. The tomb of Akbar has a tall • The mausoleum complex is square in plan and
sandstone clad gate with ornate aligned on the cardinal axis, with the tomb at its
marble inlay carvings and center and four gates, one along each wall.
inscriptions.
2. It consists of a colossal arched niche • The tomb consists of a tiered system of red
flanked on either side by double- sandstone galleries common to the traditional
stacked balconies. Surmounting the Indian methods of post and lintel construction.
gate pavilion are four towering • One of the most striking dissimilarities that
white marble minarets, one at each scholars find puzzling is the fact that the building
corner has no dome leaving the top story as an open
3. Beyond the lofty gate lies the courtyard, enclosed by a marble gallery.
charbagh divided into quadrants by • The plan consists of a simple square punctuated
watercourses designed to evoke the by octagonal piers at each of the corners of the
rivers of paradise. complex. A long narrow descending passageway
4. Hence, the mausoleum itself is leading to the mortuary chamber is closer in
physically and metaphorically resemblance to the plans of ancient Egyptian
located at the center of a heavenly pyramids than funerary monuments in the Indo-
garden, Behistan. Islamic tradition
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UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil 65 65
TOMB OF AKBAR(1612)
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TOMB OF AKBAR(1612)
• Akbar’s mausoleum was built by his son, the
Emperor Jahangir, 8 years after Akbar’s death,
completed in 1613.
• The scheme of the mausoleum is on a grand
scale, its perimeter walls enclosing a large
square garden, while the tomb structure
situated in the centre of the enclosure is a
square in plan of 320’ side and over 100’ high
• The main gateway is a minor monument in itself,
with pleasing proportions and bold inlaid
ornamentation along with 4 graceful white
marble minarets, one above each corner.
• The tomb building takes the form of a low
truncated pyramid built up in three storeys.
• The ground storey consists of a massive terrace,
over 300’ side and 30’ high, with a series of
arches recessed within its sides. In the centre of
each side is a tall rectangular structure
containing an arched alcove with a graceful
marble kiosk above its parapet
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TOMB OF AKBAR(1612)
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TOMB OF JAHANGIR
• Originally, the crypt had a second floor; a
platform still exists, built on top of the large
square one.
• Remnants of a marble screen show that it
was once enclosed, and traces indicate
where a second cenotaph may have stood.
• It is, however, believed that the second
story remained unroofed: before his death,
Jahangir, like his ancestor Babur, had
requested that his tomb be left open to the
sky.
• To the west of the charbagh tomb garden,
• The Tomb of Jahangir is a mausoleum there is a related, rectangular enclosure
built for Jahangir, who ruled the Mughal known as the Akbari Seria, which served as
Empire from 1605 to 1627. The the forecourt, or chowk-i jilo khana, for the
mausoleum is located in Shahdara Bagh mausoleum.
in Lahore, Punjab, Pakistan. • A small mosque stands at its western wall.
69
TOMB OF JAHANGIR
• The mausoleum is a building with one floor.
• The ground floor has a square shape. Its
structure consists of a platform with a tall,
octagonal tower and a projecting entrance in the
middle of each side.
• The exterior of the mausoleum, including the
lowest stage of the towers, is clad with red
sandstone facing with rich panel decoration
inlaid with marble decorative motifs.
• The four corners of the tower, with the white
marble cupolas, rise in five stages to a height of
100 feet (30m) with a zigzag inlay of white and
yellow marble.
• The building is divided into a series of vaulted
compartments.
70
TOMB OF JAHANGIR
• The interior is embellished with floral frescoes
with delicate inlay work and marble of various
colors.
• Inside the mausoleum is the white marble
cenotaph with its delicate and colorful pietra
dura flowers.
• The interior of the mausoleum is an elevated
sarcophagus of white marble, the sides of which
are wrought with flowers of mosaic in the same
elegant style as the tombs in the Taj
Mahal at Agra, India.
• On two sides of the sarcophagus the ninety-
nine attributes of God are inlaid in black.
• Carved jali screens admit light in various patterns
facing toward mecca
71
MAUSOLEUM OF I'TIMAD AL-DAULA
• Itmad-ud-daula has a special place in the

chronicles of both history as well as architecture.
• This is precisely because Itmad ud Daula is the
very first tomb in India that is entirely made out
of Marble.
• This is actually a mausoleum that overlooks the
River Yamuna and is a tomb of Mir Ghiyas Beg, a
minister in the court of Shah Jahan 72
73
• The tomb is of a modest scale, built on a
low platform 1.22 metres high.
• It has a square plan subdivided into nine
chambers, with four corner octagonal
towers in the form of minarets.
• The minarets frame the central roof pavilion
that marks the central tomb chamber
below.
• The kiosks of the minarets consist of small
hemispherical copulas resting on arches
supported by eight pilasters.
• The roof pavilion imparts a distinct Hindu
feel in its use of Bengali roof with wide
overhangs or eaves (chhajja).
• The mausoleum is set within a garden
surrounded by walls forming a perimeter of
165 metres on each side.
• The approach is from the east through a red
sandstone gateway that is decorated with
rich marble mosaics.
74
• The platform and tomb is embellished with
mosaics and inlay work of coloured
marbles.
• The interior is a series of rooms and
corridors arranged around a verandah that
surrounds the central chamber containing
the cenotaph.
• The square roof pavilion above the central
chamber allows the light to filter down
through its perforated marble screens (jalis)
to wash over the two porphyry yellow
cenotaphs of I'timad al-Daula and his wife.
• The interior boasts stucco and paintings in a
variety of patterns with motifs inspired by
motifs of Persian origin Inscribed on the
front in English: 'Interior of the Tomb of
Ittamed ud' 'Dowlah'; in Persian characters:
'Saqaf i andarun i raudah i I'timad al-Daulah
'amal i Latif' (Interior of the mausoleum of
I'timad al-Daula. The work of Latif).
75

76
04.SHAHJAHAN
1.SHAH JAHAN(1627-58)
01 Tomb 1. Tomb of Akbar

2. Tomb Of Jahangir
3. Tomb of I'timad al-daula

SHAHJAHAN
GENERAL CHARACTER OF THIS STYLE Structural ornamental elements of

The forms of this style are essentially marble curvilinear order, the fluidity of line from
forms, while the decoration is only occasionally and senouness generally reflecting those
plastic this was done by means of inlaid exalted conditions that not uncommonly
patterns in coloured stones. prevail when a ruling power has attained its
The curves of the arch which were now often greatest elevation.
foliated.
Usually in each instance by means of cusps
called cusp arch.
The dome assumed another form as the
Persian type. Bulbous in outline and
constructed at its neck.
The adoption of which brought with it the
system of true double dome.
Introduction of pillars with tapering or
baluster shafts, voluted bracket capitals and
foliated buses.

78
TAJ MAHAL-COMPLEX
•The Taj Mahal is a mausoleum complex built by Shah Jahan (reg. 1628 - 1658) in memory
of his favorite wife, Arjumand Banu Begam (d.1631), better known by her title "Mumtaz
Mahal," or "the exalted one of the palace.“
• The construction of the complex began shortly after Mumtaz's death, and accounts of
this process were popularized by foreign travelers who visited Mughal courts.

79
TAJ MAHAL-COMPLEX
•The Taj Mahal complex is organized in a
rectangle, measuring approximately 310 x 550
meters.
•It comprises a number of buildings and
structures, all functioning together as the
funerary monument for Mumtaz Mahal.
• From the south, the first part of the complex
consists of a (former) bazaar, the forecourt and
entry gates;
•the second part consists of a large garden and
garden pavilions, axially arranged along a
riverfront terrace
•with the three main structures:
•the mosque,
• the mausoleum and
•the mihmankhana (literally, "guest house,"
probably used as an assembly hall).
80
TAJ MAHAL-COMPLEX
Mihman Khanah 1900’ by 1000’
Entry gate
Mosque Forecourt
1000’ Garden
81
81
TAJ MAHAL-COMPLEX
effect a minaret in three stages and
crowned by kiosk rises from each corner of
the Plinth to a height of 137’
LOWER STOREY PLAN
186’
•on a plinth 22’0” high

•It is square in plan and 186’ side with its angles
chamfered.
•to form a building 108’ in height and having a
marble cupola above each corner while over the
centre towering to a complete height of totally UPPER STOREY PLAN
187’ is the great bulbous dome
82
TAJ MAHAL-COMPLEX

83
TAJ MAHAL-COMPLEX
ROOF
PLAN
•Its proportions are all very simple.

•The crowning glory of its elevation lies in the
shape and volume of the dome, which supported
by a lofty drum.
•The large dome being derived from a Persian
source and the smaller domes at the foot of the
bigger unconstricted at their base are indigenous.

TAJ MAHAL-COMPLEX

85
TAJ MAHAL-COMPLEX

86
TAJ MAHAL-COMPLEX
Detail view of mausoleum showing the right Detail view of mausoleum showing upper
half of the central pishtaq, engaged column corner of central pishtaq with thuluth script
with herringbone pattern, and thuluth in the frame and arabesque decoration in
inscription on the frame precious stones in the sprandels
87
87
TAJ MAHAL-COMPLEX
Detail view of the
jaliwork that surrounds
Mumtaz's and Shah
Jahan's cenotaphs inside
the mausoleum
Thuluth script in the frame and

arabesque decoration in precious
stones on the parapet and
sprandels
Detail view of mausoleum,
looking up into the entrance iwan Detail view of
the
mausoleum,
showing the
central
pishtaq, a
second-story
niche, and
drum of the
dome 88
88
TAJ MAHAL-COMPLEX
View of the mausoleum looking northwest Detail view of the western part of the
from the plinth of the riverfront terrace, mausoleum's south elevation, showing
showing the southwestern minaret and and the paneled plinth, arched niches, marble
its projecting balconies cladding and pietra dura work 89

89
TAJ MAHAL-COMPLEX

90
TAJ MAHAL-COMPLEX

91
TAJ MAHAL-COMPLEX

92
TAJ MAHAL-COMPLEX

93

Unit Iv: Mughal Architecture M.A.A Ar - Radhikha Senthil

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Unit Iv: Mughal Architecture M.A.A Ar - Radhikha Senthil

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 Mughals in india- political and cultural history

 Synthesis of hindu-muslim culture,

 Decline of the Mughal empire.

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

1. Impact on Religious Field

5. Impact on Fine Arts

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

“Sufism is a religion of intense

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

1. The large charbagh provides the foreground for the classic

01 Tombs • Tomb of Hasan khan

02 Mosques • Qila-i-kuhna masjid

03 Gateways • Bara Darwaza

04 Others • Purana Qila or old fort

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

•Master builder- Aliwal khan

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

Sasaram - Balcony at Sher Shah Suri Tomb

Sasaram - Entrance Gate and Pathway at the Tomb of

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

• Ground floor : 8 arches

‘PURANA QILA’ OR OLD FORT-the

01 Mosques 1. Jami Masjid-Sambhal

02 Others • Kabuli Bagh- Panipat

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

Main facade Entrance Gate

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

01 Tomb 1. TOMB OF HUMAYUN-1564 AD

02 Mosque • Humayun`s Mosque in Kachpura

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

Humayun`s Mosque in Kachpura

1. There is no stone-work and, obviously, it has been

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

PLAN OF HUMAYUN TOMB:

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil 31

140’ Pillared Kiosks

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

• Line: The use of horizontal and vertical lines in the elevation.

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

01 Fort 1. Fortress –Palace of Agra

02 City 1. Fatehpur Sikhri

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

• The Red fort at Agra is a prodigious fortification

ENTRANCE BASTIONS JAHANGIRI MAHAL

INNER COURTYARD OF JAHANGIRI MAHAL

INNER COURTYARD OF JAHANGIRI MAHAL

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

COURTYARD OF DIWAN I KHAS

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

•26 miles west of Agra

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil

UNIT IV : MUGHAL ARCHITECTURE M.A.A Ar.Radhikha Senthil