Islamic Architecture: History of Architecture & Human Settlement Ii

ISLAMIC ARCHITECTURE

HISTORY OF ARCHITECTURE & HUMAN SETTLEMENT II

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CHRONOLOGICAL DISTRIBUTION OF ISLAMIC DYNASTIES
• Slave dynasty: 1191-1246AD
• Khalji/Khilji: 1290-1320AD
• Tughlaqs: 1320-1413AD
• Sayyeds: 1414-1444AD
• Loddhis: 1451-1557AD
• Mughals(Babar): 1557 onwards

ISLAMIC
ARCHITECTURE
RELIGIOUS SECULAR
Even
House Town Wells & Palaces &
MOSQUES TOMBS entire
pavilions gates Gardens Forts
cities
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BUILDING
TYPES
MOSQUES PALACES MADARASA SARAI TOMB
MAQBARA ROUZA DARGAH
> Predominant
building type
Mosque &
> Built along College of Under- tomb built in
with tombs, Inn or same Tomb of
Theology ground
schools, (Religious Hotels enclosure the
shelters, etc.
burial surrounded
Study) saints
chamber by garden
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PARTS OF MOSQUE
1. Main Gateway on the eastern
side N
2. ‘Sahn’ or courtyard (open to sky)
3. ‘Hauz’ - Water tank or Fountain
4. Ibadat Khana – Prayer Hall
5. Liwan – Cloister on all 4 sides
6. Qibla wall – west (Mecca) wall
7. Mihrab or small niche with arch
on western side /Qibla wall for
direction
8. Mimbar or Pulpit (raised
platform)
9. Minarets
10.Maqsura or western screen wall
of the Liwan (having series of
pointed arch with central bigger
arch)
11. Central bigger dome on Nave
Plan of a typical Mosque
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PARTS OF TOMB & TYPES OF TOMB
• Tomb chamber – Hujra

• Underground burial chamber
– Maqbara
• Centre of the tomb chamber –
Cenotaph
• Mihrab on western wall
• Two types of tomb structure:

– Square
– Octagonal
MOSQUES
1. Quwwat-ul-islam Mosque, Delhi 1195AD

2. Kirki Mosque, Delhi 1375AD
3. Jami Masjid, Gulbarga 1367AD
4. Jami Masjid, Ahmedabad 1423AD
QUWWAT-UL-ISLAM MOSQUE, DELHI
1195AD – IMPERIAL STYLE
• First examle of Indo-islamic

Architecture, built on a Hindu temple
site.
• Quwwat-ul-islam means ‘THE
POWER OF ISLAM’
• Built by Qutubuddin Aibak in
1195AD
• Materials from 27 neighboring, raided
temples were used to built this
mosque.
Sketch view of Quwwat-ul-islam, Delhi
• Mosque measure 66x46m.
• The arches on the screen were
constructed with new method
introduced by Muslim
masons/builders – TRUE ARCH or
VOUSSOIR ARCH.
 1st phase – Qutubbudin Aibak
 2nd phase – Iltutmish
 3rd phase – Alauddin Khilji
Plan of Quwwat-ul-islam showing different phases

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QUWWAT-UL-ISLAM MOSQUE, DELHI
• IInd stage - by Iltutmish in 1229 AD
• Expanded it by 3 times
• Final extension was made by
Alauddin Khilji in 1305 AD & he
enlarged it by more than 6 times.
• Alai Minar – 70ft & incomplete
• Alai Darwaza – built by Alauddin
Khilji in 1305AD.
– Southern entrance to Quwwal-ul-
islam mosque Alai Minar
– Cubical central hall of 16.76m side
with a 18.28m high dome
– Is the first basic module of Islamic
architecture of cube & Hemisphere.
– Most striking feature: Blend of red
sandstone & white marble as facing or
cladding materials.
– Has pointed arches and spearhead of
fringes, identified as lotus buds.
– Quran inscriptions, marble jallis are
other remarkable features. Alai Darwaza
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QUWWAT-UL-ISLAM MOSQUE, DELHI - QUTUB MINAR – 1199AD
• Tower of victory of the Islamic power over the east.
• Built by Qutubbudin Aibak in 1199AD
• Height – 238ft. (73m)
• Staggering diameter throughout height – 40ft. (12m) Dia.
at base & 10ft. (3m) Dia. at top
• 5 storied structure built in stages
• Each of the stages are of different external profile &
pattern in plan
 First storey- Alternate wedge shaped and round projections
– Qutubbudin Aibak
 Second storey- Circular projections - Iltutmish
 Third storey- Star shaped - Iltutmish
 Fourth storey- Round – Iltutmish & Alauddin Khilji
• Uppermost (5th) storey in casing of marble was added
later by Alauddin Khilji to increase height.
• Each storey has a balcony around it supported by
stalactite brackets
• These 4 balconies are supported by stalactite vaulting,
represented by clusters of miniature arches with brackets
in between, influenced by the tracery of temple ceilings. Qutub Minar -Floor
plans at Different Stages
Stalactite brackets supporting
Balconies
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KIRKI MOSQUE, DELHI
1375 AD – IMPERIAL STYLE
• Built by Firoz Shah Tughlaq in

1375AD.
• An attempt to create a completely
covered mosque
• Chief innovative aspect was the
covering of ‘Sahn’ by a combination of
domed & flat roof, leaving 4
symmetrical open to sky courtyard for
light & ventilation.
• Courtyard was covered to avoid the
scorching sun of long summers in India.
• Mosque named after Windows (Khirki)
which were placed on all 4 sides (12 nos.
on each side) in big numbers as
compared to earlier mosque.
• No minarets
• The cloisters were spanned with Tudor
arch with heavy piers & square bay was
covered with Cup-shaped dome.
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SHER SHAH SURI TOMB, SASARAM, BIHAR
1545 AD – AFGHANI / SURI STYLE
 Built by Sher Shah and his son Islam

Shah during 1540-45
 Afghani architecture or Suri
architecture of 16th century
 The chief architect of this structure was
Alawal Khan.
 This beautiful mediaeval structure is
made of fine sandstone.
 Sher Shah Suri’s tomb lies in the middle
of an excavated lake.
 This three-storied mausoleum rises to a
height of 46 meter, 13 feet higher than
that of the Taj Mahal of Agra.
 The imposing structure is surrounded by
all sides with large stone stairways
leading to water of the excavated lake.
 The upper terrace is enclosed by a tall
wall surrounding the tomb.
 There are four octagonal domed
chambers at four corners of this great
tomb on the eastern side there is a grand
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doorway
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Tomb. Meskar
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JAMI MASJID, GULBARGA, KARNATAKA
1367 AD – DECCAN STYLE
• Built in A.D. 1367 under the architect Rafi
from Kazwin in northern Persia.
• It is a rare example of an Indian mosque
without a courtyard as the entire
structure is covered with a roof.
• The style is neither Persian nor Indian,
but both are amalgamated so as both can
be unidentifiable.
• The structure measures 216' X 176', with
cloisters on three sides and a spacious
sanctuary with a dome on the western
side.
• The central area is filled in with rows of
aisles forming 68 bays, each roofed by a
cupola.
• The external appearance of the central
dome is made lofty and prominent by
raising it on a square clerestory, its shape
being repeated by the smaller cupolas.
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JAMI MASJID, GULBARGA, KARNATAKA
1367 AD – DECCAN STYLE
• The dome is supported on the clerestory by means of squinches, some of
the arches being gracefully foliated.
• Other constructional methods such as oversailing courses of masonry and
vaulting are used in the aisles. This indicates a ripe technical knowledge
and experience of the builders.
• The cloisters consist of a series of single archways of a very wide spans
and low imposts.
• In the middle of the northern cloister is a large archway with the entrance
which breaks the symmetry of the design.
• The interior is composed of a perspective of square bays with solid piers
and vaulted ceilings in both directions.
• The building has very little in terms of ornamentation, but is more of an
example of intellectual greatness and originality.
• The mosque had a great impact on Deccani architecture, its features like
the stilted dome raised on the clerestory and the cloister arches with wide
spans and low imposts.
• The style of this mosque did not find favour in India, though it may have
inspired in a limited way the design of the Kali Masjid and Khirki Masjid
built in Delhi shortly afterwards.
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JAMI MASJID, AHMEDABAD, GUJARAT
1423 AD – GUJARAT STYLE
• Built by Sultan Ahmed Shah in A.D.

1423.
• Considered to be the high water mark
of mosque design on western India.
• Most of the architectural effect is
concentrated in the sanctuary.
• The flagged courtyard is 255' X 220‘
• The sanctuary is a hypostyle hall 210'
X 95'.
• It consists of around 300 slender
pillars, closely set at an average
intercolumniation of 5'.
• The columns are symmetrically
arranged to form 15 bays across the
long axis of the hall, each surmounted
by a dome and connected to the next
through a columned interspace.
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JAMI MASJID, AHMEDABAD, GUJARAT
1423 AD – GUJARAT STYLE
• The central compartment of the nave
rises up to 3 storeys, the side aisles
are 2 storeys and the rest of the hall is
single storeyed.
• The nave is composed of two pillared
galleries one above the other. The
enclosed triple height space which is
overlooked from the galleries
is square in plan on the first floor and
octagonal on the second and is covered
by a dome.
• Each overlooking balcony is provided
with an asana or a sloping backed seat
as seen in temples.
• Around the exterior of the balconies
are pillared verandahs or loggias and
in the arcade between the pillars are
stone jalis through which the galleries
are illuminated.
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Indo -Islamic Architecture
Delhi Sultanate Mughal Empire
Delhi or Imperial Deccan Style

Gujarat Style
style (provincial)
Slave Khalji Tughlaq Lodhi

Gulbarga Bidar Bijapur Golkonda
Dynasty Style Style Style
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MUGHAL STYLE
• Mughal Empire established by Babur in 1526.
• Mughal Architecture flourished under the first five ‘Great Mughals’ of the dynasty,
Babur, Humayun, Akbar, Jahangir and Shah Jahan and declined after the rule of
Aurangzeb.
• The two most prolific builders of the dynasty were Akbar (1556-1605) and his
grandson Shah Jahan (1627-1658), with a transitional phase observed under Jahangir
(1605-1627).

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Mughal Empire Delhi or Imperial style
1. Humayun’s Tomb Delhi [1564 AD]

2. Tomb of Sher Shah Suri 1545
3. Fathpur sikri capital of the Mughal Empire from 1571 to 1585
4. Akbars Tomb at Sikandra (New Agra) 1613
5. Tomb of Idmad-Ud-Daulah (Agra) 1626
6. Taj Mahal (Agra) 1634
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Mughal Empire Delhi or Imperial style
Humayun’s Tomb Delhi [1564 AD]

• Built by Humayun’s wife Hamida
Begum
• Inspired by Persian style
• Octagonal interior and exterior
• Polycromatic inlay work- marbal inlay
on red sand stone
• Char bagh concept of garden design
• Double dome construction technique
• Indian chattri
• Later became model for Taj-Mahal
• The central building stands on a
platform of 22’ height. The sides of the
platform are arcaded, with each
archway leading to a small room for
visitors and their attendants.
• The tomb structure which is a square in
plan with 156’ side occupies the
middle of the platform.
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Humayun’s Tomb Delhi [1564 AD]
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• The first Mughal building of note to be constructed in India.
• Built in A.D. 1564 by Hamida Begum, wife of the Emperor Humayun , 8 years after his death
in Delhi in the vicinity of the city of Din Panah founded by the emperor.
• The architect was a Persian by the name of Mirak Mirza Ghiyas.
• The mausoleum is placed in a spacious, square park like enclosure, providing seclusion and
securing an appropriate setting.
• An imposing gateway is introduced in the middle of each of the four sides of the enclosure,
the western being the main entrance with an embowed archway which frames the view of
the mausoleum.
• The garden is laid out in a formal arrangement of square and rectangular compartments
with flowered parterres and flagged paths and pavements.
• These are carefully designed and proportioned so as to form an integral part of the overall
composition, the lines and spaces leading up to and harmonizing with those of the central
structure.
• All four sides are alike in elevation, with each face consisting of a central rectangular fronton
containing and arched recess and flanked by embowed wings each relieved by a similar but
smaller arched alcove.
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• Over the whole hangs the marble dome with a height of 140’ with a cluster of
pillared kiosks with cupola roofs on each side.
• The interior of the tomb chamber resolves into a group of compartments, the largest
one in the centre containing the cenotaph of the emperor, with a smaller one at each
angle for the members of his family. Each room is octagonal in plan and they are
connected to one another with diagonal passages.
• Clerestory windows with perforated screens fitted into the arched recesses of the
facades light the interior.
• The architectural style can be said to be a synthesis of the Persian and the Indian, the
Persian influence seen in such elements as the arched alcove in the façade and the
shape of the dome along with the arrangement of the rooms in the interior, while the
Indian influence can be seen in the kiosks and cupolas.
• The architectural effect of the structure is achieved by the logical relation of the plan
to the design of the interior and exterior, the perfection of the proportion and
relative positions of the various elements, and the use of red sandstone with white
marble for emphasis.
• The dome is the first example in India of the double dome i.e. a dome with two
shells, an outer one supporting the marble casing and giving the lofty shape from the
exterior and an inner one built lower to create a better proportion with the space
below.
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Akbars Tomb at Sikandra (New Agra) 1613
• Ground floor was built by Akbar in red sand stone
• Upper stories were added in step like construction by Jahangir with
marble inlay work
• Top floor was constructed by of marble and cenotaph was placed
over there.
• Overall structure lost the proportion and lacked the central dome
• Shah-Jahan, in gate way added 4 marble minarets which distributed
the proportion.

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Tomb of Idmad-Ud-Daulah (Agra) 1626
• Idmad-Ud-Daulah – Pillar of the power – title given to Ghiyas Beg (minister

in Jahangir’s court)
• Noor Jahan built for her father
• Completely built in Makrana (White marble) with precious stone inlay
work
• Cenotaphs of of Idmad-Ud-Daulah and his wife were kept in the first floor
chamber which is surrounded by marble Jali
• Minarets, central roof (domical on rectangular base) ornamentation
displayed extravaganza
• Built in A.D. 1626 for a distinguished nobleman and Jahangir’s father-in-
law, Itmad-ud-Daula at Agra.
The structure marks a transitional phase with a fresh interpretation of the
building art in its most delicate and refined aspect, disregarding size and
emphasizing exquisite finish.
The structure stands in a square enclosure of 540’ side, with red sandstone
gateways.

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• The tomb structure, built in white marble, stands in the centre of a garden with a
formal scheme of lawns, parterres, flagged pathways, tanks and fountains.
• The tomb is a square in plan of only 70’ side, comprising of a central structure with
broad octagonal towers in the form of minarets thrown out from each angle.
• A small pavilion or kind of upper storey rises above the roof.
• There are three arched opening in each side and cornices on brackets and a wide
eave on the upper portion.
• The interior of the ground storey consists of a series of rooms and passages
corresponding to an enclosed verandah which surrounds the central chamber
containing the cenotaph.
• The pavilion above is a square compartment with walls of screens of fine marble
tracery.
• There is little relief work in the ornamentation, the walls being coloured delicately by
inlaid stones. The inlay work was done with a new system called pietra dura in which
hard and rare stones such as lapis, onyx, jasper, topaz cornelian and the like were
embedded in the marble in graceful foliations, as opposed to the older system
of opus sectile, a marble intarsia of various colours.
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Taj Mahal (Agra) 1634
• Tomb building was placed at the end of the formal garden rather than
the centre
• The scheme maintained stict symmetry – the octagonal tomb
chamber with the building was placed on 22’ high platform with 4
minarets at corners
• Two side buildings – one mosque in the western side and one guest
house in the eastern side
• Plan – square plan of 186’x186’ with its corners champhered
• onion shaped or bulbous dome of total ht. 187’from plinth
• Free standing minarets up to ht. 137’ from plinth

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• Beauty and asthetic of Taj lies in
1. Back ground river and sky
2. White makarana marble – gives different tints in different times
3. Forms and lines
4. Solid and void – arcade, alcoves, chajja, balconies
5. Effect of height – domes, pinnacles, chhatries

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• The Taj Mahal, built by Shah Jahan at Agra as the mausoleum for his consort Mumtaz Mahal,
is considered to be the perfect moment in the evolution of Mughal architecture in India.
• The inspiration behind the Taj Mahal apparently comes from two sources, Humayun’s Tomb
at Delhi, built about 50 years before the Taj Mahal, and the lesser known tomb of Khan
Khanan, built a few years before the Taj Mahal.
• The tomb building itself occupies only a small portion of the architectural scheme as a whole.
The plan of the whole complex is in the form of a large rectangular enclosure aligned to the
north-south direction measuring 1900’ X 1000’. The central area is occupied by a square
garden measuring 1000’ side, leaving two oblong rectangles at the north and south ends. The
southern end consists of a system of roads and service dwellings while the northern end,
abutting the Jumna River, consists of a raised terrace on which there are the tomb structure
and some subsidiary structures.
• The garden portion and terrace portion are surrounded by a high boundary wall with
octagonal pavilions at each corner and a monumental entrance gateway in the middle of the
southern side.
• Beyond the gateway on the south lie courtyards, stables, outhouses and other facilities with
the addition of abazaar for supplies. The entire scheme evidences the amount of preliminary
thought that went into the design before any construction began.

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• The structure was designed to be approached from both the road and the river, the first
view of the building from the road being framed like a picture from the fine archways of the
entrance hall, while the first view from the river augmented by its reflection in the river.
• The formal garden was laid out to harmonize with the main structure. There were water
courses with fountains and an elevated lotus pool to reflect the structure from various
viewpoints.
• The structures on the northern terrace form the main architectural focus of the scheme,
with the tomb building at the centre and two detached subsidiary edifices on the eastern
and western ends.
• The western structure is a mosque, while the eastern one is a replica added for symmetry
and no real religious purpose and is known as the jawab or answer. It has been used as a
kind of reception hall or guest house.
• The central tomb structure, the focal point of the composition is elevated in a plinth 22’
high. It is a square in plan with 186’ side, its sides chamfered. The shape is carried up to a
height of 108’ with a marble cupola on each corner. Above this rises a bulbous dome, taking
the total height of the structure to 187’.
• From each corner of the plinth, a minaret in three stages and crowned by a kiosk rising to a
height of 137’ enhances the architectural effect.
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• The scheme and proportions of the structure are simple, for example, the façade width is
equal to the height, and the height of the façade in the centre is the same as the height of
the dome, thus the top of the parapet above the central alcove in the façade is the central
point of the composition.
• The dome forms the crowning feature of the composition. The shape of the feature is in the
form of a globe, its lower part truncated by the drum on which it rests, while the curves on
its upper part rising tangentially to from the foliated base of the finial. The dome has two
shells, making it of the double dome variety.
• The larger dome and the smaller cupolas at its base belong to two different architectural
traditions, the larger dome belonging to the Persian while the smaller cupolas without
constricted bases being of an indigenous variety.
• In the minarets, the face joints of the masonry are countersunk, forming a kind of rustication
not observed in the rest of the building.
• The interior of the tomb chamber is a copy of Humayun’s Tomb, with the octagonal central
hall connected to subsidiary chambers in the angles by radiating passages. The main hall is
in two storeys of arcades reflecting the treatment of the exterior. Above this is the inner
shell of the dome. Each of the subsidiary rooms at the angles has a similar upper storey
room right above it.

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• The ornamentation consists mainly of a restrained use of murals of inlaid patterns over flat
surfaces reserved for this purpose. In addition, there are some carvings on the dados and
the perforated screens surrounding the cenotaphs are exquisitely carved.
• The main feature apart from the lucid and coherent composition is the quality and texture
of the material itself, which is marble from Makrana. It takes on subtle variations of tint and
tone, reflecting the changes in light that happen during the course of the day.
• The cenotaph of Mumtaz Mahal occupies the central position under the finial of the dome
in the central chamber, while that of the emperor Shah Jahan is situated to one side. This
may be due to the interment of the emperor there being an afterthought, the construction
of his own mausoleum not materializing due to the war of succession with his son
Aurangzeb.

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Mughal Empire Deccan Style (provincial)
Period stretched
Sr.
Bahamani Rurals In Deccan
No.
1 Gulbarga 1347 AD
2 Bidar 1425 AD
3 Golconda 1512 AD

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Main features –
• Development of Islamic Architecture in south started in 1338 AD
when Mohammad-bin-Tuglaq shifted his capital to Dowlatabad
• New Ideas from Islamic countries across the Arabian sea inpired the
southern Muslim Builders more than developing on indiginious
sources
• As the Hindu Architecture in this region was not developed much, so
readymade building materials from Hindu temples were not
abundantly available
• Foreign blooded Muslim builders did not depend on the Hindu
architects, a number of skilful Persian and Turkish masons were
migrated to establish a strong hold of Islamic architecture in the
south
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• Ala-ud-din Bahaman shah in 1347 AD establish his independent
kingdom in Deccan, Gulbarga as the capital city
• He built fourts, Jama Masgid designed by Persian Architect – This
represent the first period of Deccan style
• The Deccan style of Islamic Architecture was an amalgametion of the
style at Delhi Sultanat and Persian style.
• The second period in 1425 AD, the capital was transferred to Bidar by
Bahaman Dynasty
• The third period constitutes when the capital was transferred to
Dolconda in 1512 AD by Qutub Shahi Kings, till it was conqured by
the Mughals

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Bujapur [16th to 17th AD]
• It had a same origin like Golconda

• Qutub-Shahi - Golconda and Adil-Shahi – Bijapur
• The style which developed were highly accomplished in both
aesthetic and construction in Bijapur
• Adil-Shahi kings belongs to Turkish Origin

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Gol Gumbaz, Bijapur, [1656 – 1660 AD]
• Mausoleum (Burial chamber) of Mohammad Adil-Shah commonly

known as Gol Gumbaz or Round Dome
• With in walled enclosure this tomb building is located along with
other buildings like Nagarkhana, Gate way, Dharmashala and other
structures
• The structure was massive and largest single building in India, the
dome was the second largest in Asia after Hagia Sophia
• A square hall (136’ x 136’) enclosed by 4 lofty walls, buttressed by
octagonal towers at the corners and the square hall was crowned by
massive hemispherical dome 144’ dia
• The height is 200’ from ground level

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• The thickness of massive dome was reduced by introducing another
structural system – “intersecting Arches”
• It is constructed with horizontal courses of brick with thick layers of
mortar without centering
• Arches, cornices, foliated parapet, petal neck of dome were
artistically composed

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•
GOL GUMBAZ
• The Gol Gumbaz is the mausoleum of Mohammed Adil Shah.

• It is one of the largest single chambers ever built.
• Externally, the building is a great cube with a turret or tower attached to each
angle, with a large hemispherical dome covering the whole.
• The effect of the building is derived from the fine proportions between its various
elements, especially between the cubical part below and the domed part above.
• Subsidiary elements include the wide cornice supported by closely spaced
brackets. Above this is an arcade of small arches, their formality broken by their
skillful spacing. Above this is are the massive merlons with finials which break the
skyline well.
• Above the merlons are the foliations around the base of the dome concealing the
junction between the dome and the cube below.
• The wall surface of the cube has three arches sunken into them, the central
one paneled out to bring it to the size of a normal doorway.
• The width of each of the sides is equal to the height which is a little above 200'.
The exterior diameter of the dome is 144'.
• The interior of the structure is a single large hall, one of the largest ever built,
measuring 135' across, 178' high and the gallery from where the dome springs is
110' from the pavement.
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• The main architectural features of the hall are the tall pointed arches which support
the dome above.
• The arches have their bases within the sides of the square plan while their planes of
surface are at an angle, the intersection above forming an eight sided figure on which
the circular cornice is projected.
• The dome is set back some 12' from the inside of this cornice so that some of its
weight is transferred onto the four walls, while the rest is projected onto the
intersecting arches which also receive and counteract any outward thrust.
• The dome is a plain plastered vault with six small openings through the drum and a
flat section at its crown but no central pendant.
• The dome consists of horizontal courses of bricks with substantial layer of mortar
between them. In other words, it consists of a homogeneous shell of concrete
reinforced with bricks, the whole being of a thickness of 10'.
• Due to the system of oversailing courses of brickwork, timber centering would be
unnecessary, hence it was probably not used in the construction of the dome except
in the section near the crown.
• The system of supporting the dome on intersecting arches was something the Bijapur
masons were surprisingly familiar with as this system is almost unheard of elsewhere,
the only other example being on a much smaller scale, in the sanctuary cupola in the
cathedral of Cordova in Spain, built some six centuries earlier.

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Ar. Anita Meskar
Ar. Anita Meskar
Ar. Anita Meskar
Jami Masjid, Gulbarga [1367 AD]
• An example of Deccan style of Islamic Architecture, which is an an
amalgamation of Delhi Sultanat (Tughlaq) and Persian style
• The design was unorthodox and never repeated by Muslims because the
Mosque was covered fully, no open to sky courtyard provided.
• Basilican type of plan with aisles on 3 sides, entirely roofed in, domed
and pillared nave
• Central hall is roofed with 63 cupolas allows 5,000 worshipers for Friday
prayers
• 4 large domes mark the corners
• West side sanctuary is covered with stilled dome with understory below.
• Wide arcades on three sides spanned with low pointed arch (tudore) and
roofed with pointed vault.

Ar. Anita Meskar
Ar. Anita Meskar
Ar. Anita Meskar
• The structure measures 216' X 176', with cloisters on three sides and a spacious
sanctuary with a dome on the western side.
• The central area is filled in with rows of aisles forming 68 bays, each roofed by a
cupola.
• The external appearance of the central dome is made lofty and prominent by raising it
on a square clerestory, its shape being repeated by the smaller cupolas.
• The dome is supported on the clerestory by means of squinches, some of the arches
being gracefully foliated.
• Other constructional methods such as oversailing courses of masonry and vaulting are
used in the aisles. This indicates a ripe technical knowledge and experience of the
builders.
• The cloisters consist of a series of single archways of a very wide spans and low
imposts.
• In the middle of the northern cloister is a large archway with the entrance which
breaks the symmetry of the design.
• The interior is composed of a perspective of square bays with solid piers and vaulted
ceilings in both directions.
• The building has very little in terms of ornamentation, but is more of an example of
intellectual greatness and originality.
• The style of this mosque did not find favour in India, though it may have inspired in a
limited way the design of the Kali Masjid and Khirki Masjid built in Delhi shortly
afterwards.

Ar. Anita Meskar
• Each wall is spaced into an arcade of three shallow arches and these are enclosed with a
system of borders and panels with a fine engaged pier at the corner of each wall.
• The tomb chamber is a small room 18' square covered by a gracefully curved and coffered
ceiling. This, while creating a well proportioned room below, created an large, empty and
useless void above inside the dome.
• The masonary of the roof was joggle-jointed, which meant that the ceiling appeared to
float without any apparent support. This shows that the masons of Bijapur were experts.

Ar. Anita Meskar
Ibrahim Rauza, Bijapur [1615 AD]
• Rauza contains the Tomb and Mosque in the same enclosure, located
in the middle of garden surrounded by cloister
• Rauza was built by Ibrahim-Adil-Shahi-I for his own tomb
• This tradition of Rauza probably borrowed from Gujrat where the
mosque was dominant.
• In case of Ibrahim Rauza, tomb structure dominates the entire
composition.
• Tomb structure consist of a central burial chamber surrounded by 2 co-
centric verandahs.
• Pointed arches, deep chajja supported by ornamental brackets,
battlement parapet, bulbous dome within tall petal shaped metron, 4
minarets at the corners and rich moldings are the remarkable features.
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Ar. Anita Meskar
Ar. Anita Meskar
• Built as the tomb for Ibrahim Adil Shah just outside the city walls of Bijapur to the west.
• The building consists of a tomb and a mosque within a square enclosure, the whole
forming a garden retreat.
• The enclosure is a square of 450' side, while the tomb building is a 115' side square.
• The two main buildings stand on a terrace 360' X 150', at the eastern end of which is the
tomb and at the western end, facing it, is the mosque. The area between the two is
occupied by an ornamental pool and fountain.
• In order to achieve symmetry, both buildings have been balanced in style in volume,
though the tomb is the more splendid conception.
• The tomb building follows the conventional plan, comprising a central chamber surrounded
by an arched verandah, the whole surmounted by a dome.
• Two of the arches on each facade are narrower than the others, providing a subtle variety
in the voids.
• This alteration in spacing is a feature carried through in the rest of the composition,
emphasized also by the intervals between the ornamental finials above the parapet.
• Tall minar-shaped turrets rise from each corner of the building.
• The enormously ornamented and bracketed upper storey is the crowning feature of the
composition with the bulbous dome.
• Within the arched verandah is a row of pillars, forming a double arcade around the
mausoleum chamber.
• The entire structure is profusely ornamented, especially the outer wall of which every part
is covered with ornamental carving.

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Ar. Anita Meskar
JAMI MASJID, AHMEDABAD 1423AD Provincial Style
• 260 pillars, 15 domes

• Central dome – largest
• Interior of Mosque resembles more like a temple

Ar. Anita Meskar
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Ar. Anita Meskar
Ar. Anita Meskar
1/31/2018 [email protected]
Ar. Bilwa Uday Deo 79
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http://tybarchhistory.weebly.com/jaunpur-style.

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Islamic Architecture: History of Architecture & Human Settlement Ii

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Islamic Architecture: History of Architecture & Human Settlement Ii

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ISLAMIC ARCHITECTURE

HISTORY OF ARCHITECTURE & HUMAN SETTLEMENT II

MOSQUES PALACES MADARASA SARAI TOMB

MAQBARA ROUZA DARGAH

• Tomb chamber – Hujra

• Two types of tomb structure:

1. Quwwat-ul-islam Mosque, Delhi 1195AD

• First examle of Indo-islamic

Plan of Quwwat-ul-islam showing different phases

• Built by Firoz Shah Tughlaq in

 Built by Sher Shah and his son Islam

• Built by Sultan Ahmed Shah in A.D.

Delhi Sultanate Mughal Empire

Delhi or Imperial Deccan Style

Slave Khalji Tughlaq Lodhi

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1. Humayun’s Tomb Delhi [1564 AD]

Humayun’s Tomb Delhi [1564 AD]

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• Idmad-Ud-Daulah – Pillar of the power – title given to Ghiyas Beg (minister

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• A small pavilion or kind of upper storey rises above the roof.

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• It had a same origin like Golconda

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• Mausoleum (Burial chamber) of Mohammad Adil-Shah commonly

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• The Gol Gumbaz is the mausoleum of Mohammed Adil Shah.

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• 260 pillars, 15 domes

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