1. DAYANAD SAGAR ACADAMY OF TECHNOLOGY & MANAGEMENT
Bangalore 560082
Course material for ARC 4.4 For B.Arch Course under Visvesvaraya Technological University Belgaum
History Of Architecture –III
The Phase of Islamic & Colonial Architecture in
INDIA
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By Prof K.S.Mukunda.
Dean School of Architecture ,
Architecture is a product of culture, history, science, technology, economics, society, religion, and state

2. Contents
• 1. Glossery of terms used in Muslim Architecture: pages 03 t0 04
• 2. Evolution of Islamic Architecture in India during 11th Century AD. 05
• 3. Types f Buildings built by Muslims 06
• 4. History of Imperial Style Period & Moghul period 07
• 5. Quwwat-ul-Islam Mosque (built 1192-1316) 11
• 6. The Qutub Minar, 12
• 7. Octagonal & square tombs ; Tomb of ghias ud-in toghlaq; Khirki Masjid 13
• 8. Tomb of Firoz Shah Tughlaq and Sheesh Gumbad 14
• 9. Atala Masjid Jaunpur 1408 15
• 10. Ahmedabad Jama Masjid ` 16
• 11. Moghul period art & architecture 17
• 12. Agra Fort & Itmad-ud-daula 18
• 13. Taj Mahal. 19
• 14. Fatepur sikri, Mosque, Tomb of Salim chisti Buland Darwaza, Palace , Panch mahal Diwan I-am etc 20 to 23
• 15. British Architecture in India ( 1757 to 1947) 24 to 26
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3. 3

4. Glossery of terms used in Muslim Architecture:
• Salat or namaz (prayer): Is the ritual of symbolically facing toward God and declaring in recitation and in an
elaborate series of bending, prostrating and genuflection the submission to Him.
• Mihrab: A wall recess, mostly in the form of arched niche, in the Qibla wall, indicating the position of the
prayer-leader facing the direction toward Mecca.
• Minbar: The pulpit, mostly made of wood, put in a mosque near its mihrab, upon which the prayer-leader
stands when he gives the congregational prayer's sermon on Fridays and in holidays.
• Minaret: A tall slender tower, circular or square in section, built next or in a mosque, from which the
Muslims are called to prayer. Mosques may have one, two, three, four, and up to six minarets.
• Ablution Fountain: A feature frequently but not always encountered in mosques. It is usually put in the
center of the mosque's courtyard for the worshipers to perform their ritual washing before prayer.
• The Hypostyle Mosque: Mosque in which the prayer hall is formed of rows of vertical supports, or
columns, that can multiply indefinitely. Dominant type in the early period.
• The Iwan Mosque: Mosque in which the prayer hall is an iwan, or more, up to four iwans, surrounding a
courtyard. It was the most popular type in the medieval period, and remained dominant in Iran.
• The Central-Dome Mosque: Mosque in which the prayer hall's space is dominated by a central dome
surrounded by smaller and lower semi-domes. It was introduced by the Ottomans in the 15th century
• Pietra Dura: Semi-precious stone (lapis, onyx, jasper, topaz, and cornelian) inlays in marble following
geometric or floral designs.
• Chatri: (originally Persian for umbrella) A small, vaulted pavilion used in India mostly in the articulation of
roofs' corners.
• Trabeate Architecture: The characteristic architectural principle of Hindu India based on the post-and-lintel
system, mostly done in stone, and related stylistically and decoratively to carved wood architecture.
• Arcuate Architecture: The contrasting architectural principle based mostly on vaults, arches, and domes,
executed in brick. It is generally attributed to Mesopotamia and Persia, and seen as the Islamic style
brought to India with the invading Turkish armies
• Chahar Bagh: (Persian, four gardens) Quadripartite garden enclosure with a cruciform plan.
• Hazira or Rawda: (Arabic) terms used in the Mughal period to designate a tomb or a mausoleum. The
origionial meaning of the former is "enclosure", the latter "garden." This suggests the garden origin of
tomb-gardens.
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5. • Dargah: A Persian term for entrance vestibule, it became an important element in Timurid architecture and developed into
monumental proportions along very symmetrical lines.
• Iwan
• the iwan entrance to the Taj Mahal in Agra An iwan is defined as a vaulted hall or space, walled on three sides, with one
end entirely open.
• Iwans were a trademark of the Sassanid architecture of Persia, later finding their way into Islamic architecture. This transition
reached its peak during the Seljuki era when iwans became established as a fundamental design unit in Islamic architecture.
Typically, iwans open on to a central courtyard, and have been used in both public and residential architecture.
• Sahn A simple Sahn, with a howz in the middle. Notice flanking domed arcade. Almost every mosque and traditionally all
houses and buildings in areas of the Arab World contain a courtyard known as a sahn which are surrounded on all sides by
rooms and sometimes an arcade. Sahns usually feature a centrally positioned pool known as a howz.
• Calligraphy Arabic calligraphy is associated with geometric Islamic art (the Arabesque) on the walls and ceilings of mosques
as well as on the page. Contemporary artists in the Islamic world draw on the heritage of calligraphy to use calligraphic
inscriptions or abstractions in their work. Arabic Calligraphy on large pishtaq of the Taj Mahal
• Arabesque: French word used for Muslim art style based on the use of interlacing plant motif with leaves and tendrils.
• Diwan: It is a government office where the governor (ruler) sets receptions for the population. It may also means the room
where the ruler meets his council to discuss the affairs of the state.
• Hammam: Bath house for public use, male at certain times and female at other times.
• Madrassa: A theological school consisting of a Mosque for regular prayers and study rooms.
• Mahal: A Mogul Palace.
• Masjid: A small mosque used locally for five daily prayers.
• Mausoleum: Structure accommodating a tomb of an important person.
• Muqranna: Also called stalactite or honeycomb, a decorative pattern consisting of small niches arranged like honeycomb and
made mostly from plaster for internal treatment of curved surface especially in transitional zones between domes and their
supports.
• A jharokha (or jharoka) is a type of overhanging enclosed balcony used in Indian architecture, typically Mughal architecture
and Rajasthani architecture. Jharokhas jutting forward from the wall plane could be used both for adding to the architectural
beauty of the building itself or for a specific purpose. One of the most important functions it served was to allow women in
purdah to see the events outside without being seen themselves. Alternatively, these windows could also be used to position
archers and spies.
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6. Evolution of Islamic Architecture in India during 11th Century AD.
Muslim architecture attests to the high level of power and sophistication that the Muslim community had reached at a time when
Europe was living in the dark ages. Throughout the Muslim World, the search for knowledge and science was undertaken in an effort to
improve society as a form of worship. The formative period of Islam is characterized by the foundation of Muslim Caliphate (state) and
the establishment of the congregational mosque. This period witnessed the introduction of a number of design principles and rules.
After the death of Prophet Muhammad The development of medicine, the construction and provision of hospitals, the building of
hundreds of libraries and schools, the planting of beautiful gardens and green parks, and so much else, made the Muslim World an
oasis of light in a dark surrounding. Islam's stress on excellence and its search for perfection was crucial to the progress of its
civilization. Hordes of Arabs, Persians, Turks, and Afghans who had been successively inspired by the Theology of Islam poured in, in
wave after wave, carrying fire and sword to every nook and corner of this vast area INDIA.
Islamic elements of architecture had already passed through different experimental phases in other countries like Egypt, Iran and Iraq
before these were introduced in India. Unlike most Islamic monuments of these countries, which were largely constructed in brick,
plaster and rubble, the Indo-Islamic monuments were typical mortar-masonry works formed of dressed stones.
Islamic rule in India During 11th century & towards the end of the 12th century AD introduced New elements into the Indian
architecture that include: use of shapes (instead of natural forms); inscriptional art using decorative lettering or calligraphy; inlay
decoration and use of colored marble, painted plaster and brilliantly glazed tiles. In contrast to the indigenous Indian architecture
which was of the trabeate order i.e. all spaces were spanned by means of horizontal beams, the Islamic architecture was arcuate i.e.
an arch or dome was adopted as a method of bridging a space.
The concept of arch or dome was not invented by the Muslims but was, in fact, borrowed and was further perfected by them from the
architectural styles of the post-Roman period. The Muslims used the cementing agent in the form of mortar for the first time in the
construction of buildings in India. They further put to use certain scientific and mechanical formulae, which were derived by experience
of other civilizations, in their constructions in India. Such use of scientific principles helped not only in obtaining greater strength and
stability of the construction materials but also provided greater flexibility to the architects and builders. It must be emphasized that the
development of the Indo-Islamic architecture was greatly facilitated by the knowledge and skill possessed by the Indian craftsmen,
who had mastered the art of stonework for centuries and used their experience while constructing Islamic monuments in India.
The Islamic architecture in India can be divided into religious and secular. Mosques and Tombs represent the religious architecture,
while palaces and forts are examples of secular Islamic architecture. Forts were essentially functional, complete with a little township
within and various fortifications to engage and repel the enemy. “
Islam is a complete way of life, not a Sunday religion"- Islam, by making self-improvement of the individual and the betterment of
society part of religious duty, inspired individuals in a multitude of ways, above all in the search for knowledge. Throughout the Muslim
World, the search for knowledge and science was undertaken in an effort to improve society as a form of worship.
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7. Types f Buildings built by Muslims
• Mosques:What are the essential elements for Mosques?
• Basically there are four elements. The mosque or masjid is a representation of Muslim art in its
simplest form. The mosque is basically an open courtyard surrounded by a pillared verandah, crowned
off with a dome. A mihrab indicates the direction of the qibla for prayer. Towards the right of the
mihrab stands the mimbar or pulpit from where the Imam presides over the proceedings. An elevated
platform, usually a minaret from where the Faithful are summoned to attend the prayers is an
invariable part of a mosque. Large mosques where the faithful assemble for the Friday prayers are
called the Jama Masjids. there are also entrance gates, courtyards, fountains for ablution, roofs to
block sunlight, and so on.
• Islamic ornamentation is fascinating. What kinds of ornaments are there?
• There are principally three categories, whatever they may be mosaics, stucco, woodcarvings, or stone
carvings. That is, geometric pattern, foliage or floral pattern, and calligraphy as art of writing.
Since idol worship is strictly inhibited, there are no figurative sculptures or paintings of creatures.
Strictly speaking, there were figural arts in the early stage including Umayyad Mosque in Damascus
that has mosaics depicting landscapes of trees and buildings, nevertheless no humans or God figures.
• Tombs:
• Although not actually religious in nature, the tomb or maqbara introduced an entirely new
architectural concept. While the masjid was mainly known for its simplicity, a tomb could range from
being a simple affair (Aurangazeb’s grave) to an awesome structure enveloped in grandeur (Taj
Mahal). The tomb usually consists of solitary compartment or tomb chamber known as the huzrah in
whose centre is the cenotaph or zarih. This entire structure is covered with an elaborate dome. In the
underground chamber lies the mortuary or the maqbara, in which the corpse is buried in a grave or
qabr. Smaller tombs may have a mihrab, although larger mausoleums have a separate mosque located
separately from the main tomb. Normally the whole tomb complex or rauza is surrounded by an
enclosure. The tomb of a Muslim saint is called a dargah. Almost all Islamic monuments were
subjected to free use of verses from the Holy Koran and a great amount of time was spent in carving
out minute details on walls, ceilings, pillars and domes.
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8. Imperial Style
• The Delhi or the Imperial Style of Indo-Islamic architecture flourished
between 1191-1557 AD and covered Muslim dynasties viz., Slave (1191-
1246), Khilji (1290-1320), Tughlaq (1320-1413), Sayyid (1414-1444) and
Lodi (1451-1557). The first Islamic sultanate structures were built of
disparate dismantled pieces of Hindu temples, after which came an era of
carefully planned structures and precincts, later assimilating and
incorporating Hindu elements and workmanship.
• The earliest construction work of this period was began by Qutubuddin
Aibak, who started erecting monumental buildings of stone on Qila Rai
Pithora, the first of the seven historical cities of Delhi associated with
Prithviraj Chauhan.
• The Qutb Mosque (1192 AD) is one such building, whose arcaded aisles
were composed of pillars carved in the Hindu style. Named as the
Quwwat-ul-Islam Masjid, it is considered as the earliest mosque in India.
The mosque has beautiful Islamic calligraphy, the arabesque designs and
pillars with pre-Islamic Hindu motifs. Aibak got a series of arches
constructed to screen the Hindu pillars of the sanctuary.
• Qutub-ud-din Aibak also started the construction of Qutub Minar in 1192
(which was eventually completed by Iltutmish in 1230). The Qutub Minar,
built to commemorate the entry of Islam, was essentially a victory tower,
decorated with several calligraphic inscriptions. The diameter of the
Qutub Minar is 14.32m at the base and about 2.75m at the top. It
measures a height of 72.5m and contains a spiral staircase of 379 steps.
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9. • Shamsuddin Iltutmish (1211-1236 AD) was another great building monarch of the Slave dynasty. He extended the Quwwat-ul-
Islam Masjid (1229 AD) i. He also started his own tomb (Iltutmish's Tomb) located in the Qutub Minar complex in 1235 AD. This
tomb employed the "squinch" system of construction in which a square hall is converted into an octagon by projecting a small
arch across the angle of the square hall. Iltutmish is also credited with constructing The tomb of Balban constructed in 1280 AD
represents the first true arch built in India, which is produced by following the scientific system originally formulated by the
Roman engineers.
• Allauddin Khilji established the second city of Delhi at Siri, built the Alai Darwaza near the Qutub Minar and dug a vast reservoir
at Hauz Khas around 1311AD. The well-decorated Alai Darwaza, which served as an entrance gateway to the mosque at the
Qutub complex, marks the evolution of another innovative feature in the Indo-Islamic architecture.
• The rulers of the Tughlaq Dynasty also undertook considerable construction activities, including building three of the seven
ancient cities of Delhi. Ghiyasuddin Tughlaq (1320-1325 AD) built Tughlaqabad, the third city of Delhi, in 1321-23 AD. The Tomb of
Ghiyasuddin Tughlaq, built of red sandstone, is an irregular pentagon in its exterior plan and its design is of the pointed or
"Tartar" shape and is crowned by a finial resembling the kalasa and amla of a Hindu temple. Delhi's fourth city Jahanpanah was
built by Mohammad-bin-Tughlaq in mid-14th century.
• Feroz Shah Tughlaq (1351-1388 AD) was undoubtedly the greatest builder among all the rulers of the Tughlaq dynasty. He himself
wrote in Fatuhat-i-Feroz Shah "among the gifts which God bestowed on me, His humble servant, was a desire to erect public
buildings". He built Ferozabad, Delhi's fifth city, in 1354 AD. The famous Firoz Shah Kotla ground is the only remnant of its past
glory. Feroz Shah Tughlaq is also credited with founding the fortified cities of Jaunpur, Fathabad and Hissar. His construction works
were of a unique simple style characterised by the use of inexpensive materials. The medieval rulers, who were used to the
convenience of choosing new locations for starting new constructions, rarely adopted restoration of previous buildings. It was
only Feroze Shah Tughlaq who took up large-scale restoration works and repaired hundreds of monuments, including the Qutub
Minar which was damaged by lightening in 1369 AD
• In the 14th century under the Timurid rulers, Islamic architecture underwent a change. The narrow horseshoe arch was replaced
by the true arch, an idea imported directly from Persia. However, Indian masons weren’t completely convinced of its holding
power. They began using wooden beams as supports, and eventually the four-centred arch minus the beam support came into
vogue.
• During the Sayyid and the Lodi Dynasties, more than fifty tombs of different sizes were constructed. The Lodis introduced the
concept of double domes built one upon the other, leaving some space in between. Two different types of tombs with
octagonal and square plans respectively began to be constructed. The Tombs of Mubarak Sayyid (d. 1434 AD), Muhammad Sayyid
(d.1444 AD) and Sikander Lodi (d.1517 AD) are all of the octagonal type. The square tombs are represented by such monuments
as the Bara Khan Ka Gumbad, Chota Khan Ka Gumbad, Bara Gumbad (1494 AD), Shish Gumbad, Dadi Ka Gumbad and the Poli ka
Gumbad. The Tomb of Isa Khan (1547 AD), the Tomb of Adham Khan (1561 AD), Moth ki Masjid (c.1505 AD), Jamala Masjid (1536
AD) and the Qila-i-Kuhna Masjid (c.1550 AD) belong to the final phase of the Delhi style of architecture
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10. • The Provincial Style of Architecture encompasses the architectural trends and developments noticed in
different provincial capitals in India, but specifically in Punjab (1150-1325 AD), Bengal (1203-1573 AD),
Gujarat (1300-1572 AD), Jaunpur (1376-1479 AD), Malwa (1405-1569 AD), Deccan (1347-1617 AD),
Bijapur (1490-1656 AD), Khandesh (1425-1650 AD) and Kashmir (1410 onwards).
• The Mughal rulers were visionaries and their own personalities reflected in the all-round development of
various arts, crafts, music, building and architecture. The Mughal dynasty was established with the
crushing victory of Babar at Panipat in 1526 AD. During his short five-year reign, His son Humayun laid the
foundation of a city called Dinpanah ("refuge of the faithful") at the Purana Qila in Delhi but the city could
not be completed. The Mughal Empire briefly fell to the Suris in 1540 but was re-established by Humayun
in 1555. The Persian influence into the Mughal architecture was largely a result of Humayun's observance
of this style at the court of Shah Tahmasp during the period of his exile. However, the Persian elements
could manifest and mature only several years after his death, as is evident in the Humayun's Tomb at
Delhi
• Architecture flourished during the reign of Akbar (1555-1605). The chief feature of the architecture of
Akbar's time was the use of red sandstone. In principle the construction was of the trabeate order,
although the "Tudor" arch was also used. The domes were of the "Lodi" type, while the pillar shafts were
many-sided with the capitals being in the form of bracket supports. One of the first major building
projects was the construction of a huge fort at Agra. The massive sandstone ramparts of the Red Fort are
another impressive examples. The most ambitious architectural exercise of Akbar, and one of the most
glorious examples of Indo-Islamic architecture, was the creation of an entirely new capital city at
Fatehpur Sikri.
• It has been described as "a frozen moment in history". The buildings at Fatehpur Sikri blended both
Islamic and Hindu elements in their architectural style. Its structures have been modelled after the simple
canvas tents used by semi-nomadic ancestors of the Mughals. The free-standing pavilions are constructed
as stone analogues of the tents. The Buland Darwaza, the Panch Mahal and the Darga of Saleem Chisti are
the most imposing of all the buildings of Fatehpur Sikri. The Diuwan-e-Khas is another fascinating
structure in the complex which was designed for private audiences. It is of cube-like form with an
elaborate central column connected to the four corners by bridges. The square plan, although of Central
Asian origin, would have represented to the Hindu craftsmen the "mandala" model of the cosmos. There
are several palaces in the complex including Jodaha Bai's Palace and the houses of Miriam, the Sultana
and Birbal.
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11. • Akbar's successor Jahangir (1605-1627) concentrated more on painting and other forms of art than on building
and architecture. However, some note-worthy monuments of his time include Akbar's Tomb at Sikandra near
Agra, which was completed in 1613. This monument represents a major turning point in Mughal history, as the
sandstone compositions of Akbar were adapted by his successors into opulent marble masterpieces. Jahangir is
the central figure in the development of the Mughal gardens. The most famous of his gardens is the Shalimar
Bagh on the banks of Lake Dal in Kashmir. The adjoining Nishat Bagh built by Asaf Khan also belongs to this period.
The Jahangir's Tomb at Shadera near Lahore, built by his wife Nur Mahal, is another outstanding architectural
production of this time.
• The style of Mughal architecture found expression of exceptional splendour during Emperor Shah Jahan's reign
(1628-1658). The single most important architectural change was the substitution of marble for the red
sandstone. He demolished the austere sandstone structures of Akbar in the Red Fort and replaced them with
marble buildings such as the Diwan-i-Am and the Diwan-i-Khas. In 1638 he began to lay the city of Shahjahanabad
beside the river Jamuna. The Red Fort at Delhi represents the pinnacle of centuries of experience in the
construction of palace-forts. Outside the fort, he built the Jama Masjid, the largest mosque in India. Shah Jahan
built the Jami Masjid at Agra in 1648 in honour of his daughter Jahanara Begum. The Wazir Khan's mosque in
Lahore built in 1634 is another fine example of the Mughal art during Shah Jahan's time. However, it is for the Taj
Mahal, which he built as a memorial to his beloved wife, Mumtaz Mahal, that he is most often remembered. The
high point of the Mughal architecture during the Shah Jahan's time was the mellow marble has subtle low relief
carving, lace like jalis, exquisite inlays, pietra dura and calligraphy. The pietra dura work was first incorporated in
the Itamad-ud-Daula's Tomb at Agra built by Ghyas Beg, father of Nur Jehan. The extensive decoration of the
interiors of monuments with precious and semi-precious stones using the pietra dura technique, which developed
in Florence in the 16th century, and the use of pictures, jewellery and metal-works indicate considerable European
influence on the Mughal art of this period.
• Jahan Ara, daughter of Shah Jahan, was also a generous patron of architecture and showed an eclectic taste in
building spacious gardens, mosques, madrasas and serais. She built the famous Begum Ka Bagh and Begum Serai
at Delhi. She also built her own tomb near the shrine of the dargah of Hazrat Nizauddin.
• The architectural projects of Aurangazeb's reign (1658-1707) are represented by the Bibi-ki-Maqbara, the tomb of
Aurangzeb's wife Begum Rabia Durani, which is a poor replica of the famous Taj Mahal and is a fine example of
Mughal architecture in the Deccan region. The death of Aurangazeb in 1707 led to the decadence of Mughal
architecture.
• The Islamic invasion commenced around 650 A.D., when a Muslim army secured a foothold in Seistan, and
continued till the end of the eighteenth century, when the last Islamic crusader, Tipu Sultan, was overthrown by
the British. Hordes of Arabs, Persians, Turks, and Afghans who had been successively inspired by the Theology of
Islam poured in, in wave after wave, carrying fire and sword to every nook and corner of this vast area INDIA.
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12. Quwwat-ul-Islam Mosque (built 1192-1316)
Quwwat-ul-Islam was sponsored by Qutb-ud-din Aibak, founder of the Mamluk dynasty. Born a slave in Turkey, Qutb was a fanatical
Muslim. When his garison occupied Delhi under the command of Muhammed Ghari in 1192, he ordered the destruction of twenty-seven
Hindu and Jain temples to furnish building materials for the construction of Delhi's first mosque. The Hindu stonemasons re-used
columns from the destroyed temples mosques built on the ruins of temples (Jain temples not Hindu in the Qutub minar complex and
Fatehpur Sikri also), but adapting them to use in a mosque proved problematic given Islam's injunction against the use of images in
temples. The masons were forced to plaster over the highly sculpted Hindu columns and presumably cover them with geometric designs.
The Quwwat-ul-Islam is best known for its tower of victory, celebrating the Muslim conquest of India. It is built of red sandstone, gray
quartz, and white marble, but is probably inspired by the iron "Pillar of the Law" that stands on the site. Expansion of the mosque
continued after the death of Qutb. His son-in-law Altamash (or Illtutmish) Almost 30 years after the construction of original mosque
Iltutmish decided to extend the mosque the original prayer hall screen by three more arches. Just to the west of the expanded mosque,
Altamash built his own tomb, the first to be erected for the Delhi Sultanate
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13. Qutub Minar
• the Qutub Minar, a 237.8-feet-high (72.5-meter- high) tower of victory started in
1193 by the first Muslim ruler of Delhi, Qutub-ud-din Aibak, with additions beyond
the first story made by his successors. Gradually narrowing from the base to the top,
there are five stories, the first three made of fluted red sandstone and the top two
from sandstone and marble. Carvings and verses from the Quran adorn the tower,
which today leans around two feet (60 centimeters) off the vertical.
• The Alai Darwaza or Gate was built by the second Khilji Sultan of Delhi, Ala-ud-din
Khilji, in 1311 AD. The domed gateway is decorated with inlaid white marble
decorations, inscriptions and latticed stone screens. This is the first building in India
to employ Islamic architecture principles in its construction and
ornamentation. Thus, it is the earliest example of true arches and true domes in
India.
• Alai Minar was commissioned by Ala-ud-din Khilji. his projected minar was also
conceived on a scale double that of the existing Qutub Minar. However, Alauddin`s
great minar never rose above the first stage and his whole scheme was abandoned
at his death.
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14. Octagonal & square tombs
Tombs are the most significant monuments of both the Lodi and Sayyid periods and many were built
in a necropolis now known as the Lodi Gardens, including that of Sikander Lodi (r.1489-1517). The
tombs are either square or octagonal with large central domes, and are often called “gumbad” or
“gumbaz” from the Indo-Persian word for dome
During sayyid & lodhi dynasty due to weekened state treasure they built only monuments only for the
dead. They constructed tombs in two different forms. One pattern was based on octagonal plan
surrounded by arched walkway with one storey in height and the otherone is based on square plan
without walkway with two or three story in height In both the cases the building had a dome with
pillars on each side of the octagonal & square variety. The octagonal tombs was reserved for the
rulers & square tombs were reserved for the nobels of their courts.
Tomb of ghias ud-in toghlaq; In the early 14 century, Ghiyas ud-Din Tughluq was emperor of the Delhi
Sultanate and, fearing invasion from the Mongols of the north, he commissioned and built this massive project
in just five years or so built Tughlaqabad Fort and the mausoleum of Ghiyas ud-Din Tughluq
Khirki Masjid : the techniques of Islamic architecture, were fundamentally of the arabian type with the plan
of hypostyle oblong hall, but the Khirki Masjid (c.1375) presents a peculiar plan, having four courtyards like a
Charbagh-style .The mosque is unique in many ways, more than 80 % of the mosque is roofed over, the entire
design is such that the west side of the mosque, the side pointing to the Kaa’ba from India is built in exactly
the same manner as the other three sides, the only difference is in the absence of a gate on this side. The play
of light through the day creates fascinating patterns from the shadows of the many arches that supported the
90 domes that adorned the more than 2500 square meter mosque the roofing of the Khirki masjid and
dividing of the interior spaces into various small courtyards - perhaps to avoid the scorching heat of North
India in the summer - effectively broke up the congregation into small groups. Whatever the reason for this
unusual masjid, it was apparently not very successful as a building type and was not repeated. -
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15. Tomb of Firoz Shah Tughlaq and Sheesh Gumbad
Firoz Shah Tughlaq (1351-1388 A.D.) became Sultan.
The architecture of Firoz Shah is stern, utilitarian, almost tragic - at times hauntingly lovely at times warningly forbidding He
used to say “.. .among the Gifts that God has bestowed on me...is a desire to erect public buildings.” embarking on a vigorous
campaign of building,
and in the words of a contemporary historian he was eventually responsible for “1200 gardens around Delhi...200 towns, 40
mosques, 30 villages, 30 reservoirs, 50 dams, 100 hospitals, 100 public baths and 150 bridges.” -
The Madrassa at Hauz Khas
His tomb is in the middle of a madrasa he commissioned,. The simple 15 foot square
structure is built of ashlar walls finished with lime plaster with arched entrances and
merlons along the parapet. Above the parapet rises an octagonal drum, which supports a
shallow and slightly pointed dome. The north and west of the tomb are contiguous with
one of the wings of the madrasa. To the east are several chattris, small domed structures
supported by pillars, which house tombs of saints and religious teachers. The tomb has a
low platform to the south that is enclosed by a graceful stone railing. a large school,
mosque and his own tomb were added by Firoz Shah. These buildings are laid out in an ‘L’
shape on a high rocky outcrop overlooking the tank. Firoz Shah’s tomb is at the junction
of this ‘L’, and is also the highest building there, surmounted by a dome with its interior
finely stuccoed. -
SHISH GUMBAD (KHAIRPURILODI GARDEN)- Architecturally, this tomb follows the pattern
of square Lodi tombs with a double storeyed appearance and is similar to the gate-house
of the Bara Gumbad mosque. The ceiling is decorated with incised plaster work
containing floral designs and Quranic inscriptions. Originally, the monument was richly
decorated with blue tiles. It is not known who lies buried. here. It was perhaps built
during Sikandar Lodi's reign (A.D. 1489-1517) Lodi Gardens is a park in Delhi, India.
Spread over 90 acres, it contains, Mohammed Shah's Tomb, Sikander Lodi's Tomb,
Sheesh Gumbad and Bara Gumbad, architectural works of the 15th century Sayyid
15

16. Provincial style• The Provincial Style of Architecture encompasses the architectural trends and developments noticed in
different provincial capitals in India, but specifically in Punjab (1150-1325 AD), Bengal (1203-1573 AD), Gujarat
(1300-1572 AD), Jaunpur (1376-1479 AD), Malwa (1405-1569 AD), Deccan (1347-1617 AD), Bijapur (1490-1656
AD), Khandesh (1425-1650 AD) and Kashmir (1410 onwards).
Atala Masjid Jaunpur 1408 ; Being the first mosque to be built after the independence of Jaunpur
from the Islamic caliphate in India, The majestic pylons of the portal of its main prayer room, the three unequal
domes above its roof and the large court with its two storey porticoes, all expressed a new grandeur never seen
before, adding more mystery to the skill and imagination of the medieval Muslim architect.
As illustrated, the mosque has a square plan consisting of three main sections. The sanctuary is a long
rectangular prayer hall of three aisles deep running from north to south. The hall is ordered around a central
iwan which is a square area containing the main mihrab and carrying the largest dome of the mosque. The
dome itself is raised on octagonal drum supported by squinches. Its size and location signify both the sanctity of
this area as well as a representation of the heavenly dome. A third level of symbolism is seen in the context of
the prayer hall and the mosque as a whole. In the former, the central dome is flanked to the north and south by
two smaller domes which adorn the roofs of two side mihrabs. The three dome composition, a feature widely
spread in India, refers to the trio companionship of prophet Muhammed (peace be upon him) and the two first caliphs; Abu Bakra
Al-Saddique, and Umar Ibn Al-Khattab.
• The central mihrab, of stone with ribbed niche and ogee arch, was fixed in the western wall of the central
room and accompanied by a stone minbar . The two wings flanking the prayer hall are two-storey high arranged
around the side domes and their mihrabs and having separate access to the courtyard. The exterior of the qibla
wall is distinguished by three projections flanked in their corners by tapering three-quarter round turrets
denoting the position of the three domed areas and their mihrabs . Two Larger turrets of similar form support
the northern and southern corners of the wall.
The Monumental Portal and its origin
• The prayer hall of the mosque is accessed through a large stone portal, the dominating feature of the mosque.
The portal consists of a huge pointed arch recess flanked by pylons of a gigantic size reaching up to a height of
23 meters. The façade of these pylons is divided into five sections separated by horizontal mouldings; a blind
ground section and four upper sections adorned with panels containing a blind arch decorated with buds and
vegetal designs. The Atala example, also repeated in Jaunpur's Friday Mosque, has undoubtedly introduced an
unprecedented dimensions to this architectural element.
• The monumental gate entered the mosque architecture. From here, the Seljuks spread the iwan style portal in
Anatolia and central Asia, to reach later India through the Timurids and Moguls.
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17. Ahmedabad Jama Masjid
• The Jami Masjid of (1411-1442), Ahmedabad
• it was probably the largest mosque constructed on the Indian
subcontinent at the time, Made by using yellow sandstones, the
architecture of this mosque is a blend of Hindu and Muslim styling. This
edifice was built using items rescued from the demolished Hindu and Jain
temples. Supported by 260 pillars, the Jama Masjid of Ahmedabad consists
of 15 domes. Jama Masjid lies in the heart of-the-old-city.
• the mosque lies to the south of a royal processional way. the triple
gateway known as Teen Darwaza. To the east of the mosque are the tombs
of Ahmed Shah, his son and grandson. A further adjacent enclosure, Rani
Ka Hazira, houses the tomb of the Shah's queen and other royal ladies.
• Built over many years, the mosque complex is centered on a vast paved
courtyard that is about seventy-five meters long and sixty-six meters wide.
There is a long rectangular ablution tank in the center. It is wrapped by a
colonnade on three sides, with the prayer hall occupying the western side
• The prayer hall is rectangular and covered with five domes. The domes are
carried on two hundred and sixty columns, which divide the space into
fifteen bays or, three rows of five square bays, each with a dome and
decorated mihrab along a the qibla wall. Its courtyard façade has a stepped
roofline, with a tall portal at its center. The north and south chambers,
which are the lowest, open onto the courtyard through five pillared bays of
unequal size. The taller central chamber is flanked by two shorter archways
and is entered from the tall arched portal with a final bearing dome.
Perforated stone screens are pierced into the pillars of the two framing
bays. The portal is framed by two columns, which are the remains of two
lofty minarets ("shaking minarets") whose shafts were destroyed by the
earthquakes of 1819 and 1957. Their decoration is reminiscent of the
details of Hindu and Jain temple of the Gujarat and Mandu area.
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18. The Deccan Style
Numerous independant kingdoms arose in the Deccan region, the most prominent of which were Bijapur ruled by the Adil Shahis (16th-
17th C) and Hyderabad ruled by the Qutb Shahis (late 16th -17th C)
The Adil Shahi dynasty of Bijapur constructed several mosques, tombs and palaces. The development of the dome reached its acme
during their reign. They also borrowed some elements like the use of symbol of crescent from the Ottoman Empire. The most distinct
monument of this period is, undoubtedly, the Gol Gumbaz built by Mohammad Adil Shah, which is largest masonry dome in the world. The
dome is 51metres high and has a diameter of 37metres. The dome is an engineering marvel since it stands unsupported by any pillars. It
also has an excellent acoustic system. Bijapur is also famous for the, Ibrahim Roza,. It is the tomb of Adil Shai Sultan Ibrahim II (1580-1627
AD).
• The monuments of the Qutb Shahi period represent different building typologies; Golconda near Hyderabad is a fortified citadel and an
early capital city of the Qutb Shahi dynasty. It is an ensemble of military structures, ramparts, gates, bastions, armoury; religious structures
such as mosques, temples; residential structures such as palaces; water systems such as canals, fountains and landscaped gardens.
Golconda Fort, Qutb Shahi Tombs and Charminar are the landmarks that symbolize the Qutb Shahi Dynasty. The Char Minar in the heart of
the new city. This monument (completed in 1591) has four minarets of 56 m. height.
Sher Shah Suri's Reign
Most of the monuments built during Sher Shah Suri's reign (mid 16th C) are concentrated in the Eastern UP and Bihar region and are much more impressive
than anything built during the reign of Babar or Humayun.
Tomb of Sher Shah Suri,@ Sasaram, Rohtas, is an amazing building, an architectural wonder, a huge and a noble composition set in a beautiful tank
approached by a causeway. This remarkable monument, formed by the finest Chunar sandstone, had a significant impact on the architectural evolution of
tombs (Indo-Islamic funerary architecture). Sher Shah Suri patronized a list of architectural innovations which represent an important development in the
gestation of the subsequent Mughal architecture. The declared ambition of Sher Shah Suri was to construct such an architectural embellishment that foe
and friend might render their tribute of applause, and that his name might remain honoured on the earth until the day of resurrection.
This three-storied mausoleum rises to a height of 45.7 m and was originally planned to be a typical island tomb with no access to the mainland. There are
stairways on each side of the tomb leads to the water, there is a landing platform on the eastern side and a causeway between the tomb and the guardroom.
The guardroom or the entrance porch on the edge of the northern side of the lake is flanked by two mosques and was meant to provide crew and rafts to the
serious visitors willing to see the tomb. A bridge of arches linked the entrance porch and the tomb. The bridge did not last and the visitors used rafts made of
earthen pots until 1881, until the present causeway was constructed.
The mausoleum appears perfectly symmetrical but its base has a slight deviation at the cardinal points. However, these have been skillfully adjusted to give
the impression of perfect alignment. The mausoleum is built on a large square terrace, the corners support the octagonal pavilions with small kiosks between
them. The entrance gives way to a wide verandah on all sides, which is shaded by 24 small domes supported on arches and each corner of the verandah has
a cupola. The tomb chamber is plain with faded inscriptions on the western wall. The interior is well ventilated and the light comes through the large windows
on the top part of the walls fitted with jalis.
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The Charminar, built in 1591 AD, is as much the signature of Hyderabad as the Taj Mahal is of Agra or the Eiffel Tower is of Paris.
The landmark has become a global icon of Hyderabad, listed among the most recognized structures of India. The Charminar is on the east
bank of Musi river. To the northeast lies the Laad Bazaar and in the west end lies the granite-made richly ornamented Makkah Masjid.
Charminar has the signature style of Islamic architecture. This great tribute to aesthetics looks sturdy and solid from a distance and, as one
moves closer, it emerges as an elegant and romantic edifice proclaiming its architectural eminence in all its detail and dignity. Charminar is
a beautiful and impressive square monumen
the Charminar is a square edifice with each side 20 meters (approximately 66 feet) long, with four grand arches each facing a cardinal point
that open into four streets. At each corner stands an exquisitely shaped minaret, 56 meters (approximately 184 feet) high with a double
balcony. Each minaret is crowned by a bulbous dome with dainty petal like designs at the base. A beautiful mosque is located at the
western end of the open roof and the remaining part of the roof served as a court during the Qutb Shahi times. There are 149 winding
steps to reach the upper floor. Once atop, the solitude and serenity of the beautiful interior is refreshing. The space in the upper floor
between the minarets was meant for Friday prayers.

19. Moghul period art & architecture
• Agra is an ancient city in Uttar Pradesh, northern India, and an Islamic treasure
house of the architectural legacy of the Mughal Dynasty. It is connected with
Delhi, which is 200km north, by the Yamuna River, forming a tight relationship,
when either city was capitalInvading India from Kabul, Babur defeated the Lodi
Dynasty and founded the Mughal Dynasty in Agra in 1526. Mughal means
Mongol, The second emperor Humayun returned to Delhi in 1555, bringing a
large number of Persian architects and painters with him, greatly contributing
to Mughal art . Akbar the Great (r. 1556-1605) succeeded to the empire for
half a century and expanded it to the whole of India, developing Mughal art
remarkably. The Mausoleum of his father, *Humayun, was the first full-blown
piece of Mughal architecture, which would determine the splendid style
afterward, combining red sandstone and white marble
• the most creative and attractive "Islamic" architecture in India is actually Sufi
architecture. It is the Sufis who served as the innovative and spiritual face of
"Islam" – Sufis (Islamic mystics) played an important role in the spread of Islam
in India. They were very successful in spreading Islam, as many aspects of Sufi
belief systems and practices had their parallels in Indian philosophical
literature, in particular nonviolence and monism. The Sufi movement also
attracted followers from the artisan and untouchable communities; they
played a crucial role in bridging the distance between Islam and the indigenous
traditions.
• The Mughals are also credited to have introduced the double dome system of
dome architecture and the pietra-dura style of inlay decorations. especially
floral and other naturalistic elements so as to brighten the cold formality and
cliched form of the typical Islamic monument. Just as India's Sufis moderated
the totalitarianism of Quranic literalism, they also brought a touch of color and
decorative beauty to monuments that might otherwise have been excessively
dour (Stubbornly unyielding) and imposing
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20. Agra fort;
Standing next to, and often overshadowed by Agra's better known Taj Mahal, Agra Fort
is nevertheless a beautiful monument with a rich and colorful history. Construction of the
Agra Fort was begun by Emperor Akbar from 1565 to 1573, over an existing fort ruled by
the Sultan Lodi of Delhi, and designed primarily for military purposes. Additions were
made until the time of his grandson Emperor Shah Jahan who helped transformed Agra
Fort into a luxurios palace for the Mughals.
Agra Fort is one of the most important forts in India - and certainly the most important
under the Mughal empire. Emperors Babur, Humayun, Akbar, Jehangir, Shah Jahan and
Aurangzeb all lived and governed from this fort at some stage of their respective
rule. Situated on the west bank of the Yamuna River in Agra, the imposing red
sandstone complex, surrounded by a deep moat once filled with water from the Yamuna
itself, includes courtly buildings, palaces, mosques, and gardens. The British destroyed
and converted much of the fort into barracks in the 19th century and only a fraction of
the original structures remain today.
The itmad -ud -daula was build by the empress Noor Jehan as a memorial to her father
Mirza Ghiyas Beg, is beautifully ornamented with pietra dura inlay and lattice work
marble screens. The city of Agra has an amazing has captured the history of the
architectural heritage in the various monuments. Before the Taj Mahal came its ancestor
the square tomb of the Itmad-ud-Daula. The queen of Jehangir and the daughter of
Itmad-ud-daula Nurjahan built the tomb. It was in the year 1628 that the pioneer of the
white marble tomb was constructed.
It also houses the cenotaph of Nurjahan's mother Asmat Begum. It is noteworthy that
the real name of Nurjahan's father was Mirza Ghiyas, a Persian. Both of the
gorgeous(dazingly beautiful) Mughal queens namely, Nurjahan and Mumtaz Mahal
belonged to the Persian Family. Mumtaz mahal happened to be the daughter of the
Nurjahan's brother Asaf Khan.
Itmad-ud-daula i.e. the pillar of state was a title bestowed on him by emperor Jehangir.
The tomb is at times refereed to as the baby taj. The mausoleum rests in a walled
garden with a view of the river Yamuna. In fact it is approximately one and a half
kilometers upstream of the Taj Mahal. The structure is renowned for its pietra dura
decoration i.e. the inlay works and the carvings.
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21. Humayun tomb-Delhi & Taj Mahal- Agra
• Academics relate that the plan of the Taj Mahal represents an elaboration of Humayun mausoleum
built by Akbar for his father Sayid Muhammed (1562-71) which introduced, for the first time in India ,
many of the features found in Taj Mahal. The first of these is the setting of the mausoleum on a high
platform, an analogue to the throne (takht). The complex is preceded by a large garden divided into
four symmetrical square sections by two marble water canals fitted with fountains and lined with
cypress trees, . The canals meet at the centre of the garden forming a square pool. Each of the four
squares was subdivided into four subsections which in their turn were subdivided into four square
flower beds. This geometrical layout is undoubtedly based on the Persian quadrate plan seen in a
number of Safavid gardens. The mausoleum, instead of occupying the central point (as seen in
previous Mughal mausoleums including Humayun), stands majestically at the north end overlooking
the Jumna River creating a unique visual impact greatly emphasised by the white marble covering the
entire construction in contrast with the red sandstone of the adjoining structures; the two royal
pavilions, the mosque and the visitors' lodging. To further emphasise this point, designers of the Taj
ensured that the view of the mausoleum is kept clear and unobstructed from any spot in the garden .
• The overall character of the Taj displays a great integration of architectural elements of Islamic Asia,
incorporating Iranian features such as the octagonal shape, the iwan and pishtaq, Indian features such
as the bulbous dome, the chattri and Central Asian features such as the four robust cylindrical
minarets. All blended in a wonderful geometrical relationships hardly contained within the building.
Defined by its four corner minarets, the structure consisted of four corner chambers and axial
corridors leading to a central focal point; the chamber accommodating the cenotaph . Further
accentuation of this room is expressed by the height and size of its magnificent bulbous dome set on a
high drum behind the raised central iwan. In the middle of the domed chamber is a screen of
perforated marble through which the white cenotaph of Mumtaz lying beside that of her husband can
be seen. The sarcophagus itself is immured in typically Timurid fashion directly below in a crypt.
• In decorative terms, the building was adorned with the three major elements of Muslim decorative
arts involving calligraphy, geometry and floral forms presented in the form of frames and borders
covering most of the surfaces. Such decor complements the symbolic picture of peacefulness, love
and paradise, which were achieved by the rich choice of texture, size and colour.
• To further elaborate the Taj Mahal landscape, Shah Jahan raised on either side of the mausoleum
buildings of red sandstone; a Mosque to the west and a guest hall (mihman khana) to the east placed
on mirror image to both sides of the mausoleum. The mosque, a rectangular structure supporting
three elegant bulbous domes and four minarets, provided the right space for the visiting emperor,
and visitors, to pray in. The guest hall is identical to the mosque located on the opposite side of the
mausoleum, but having somewhat an ambiguous function. Many writers questioned its use suggesting
that the real factor behind its presence was purely architectural to counter balance the mosque and
preserve the symmetry of the entire design on the platform;
• The mosques, built only to balance the composition are set sufficiently far away to do no more than
frame the mausoleum. In essence, the whole riverside platform is a mosque courtyard with a tomb at
its centre
• The last element of the Taj Mahal complex is the entrance gate, a monumental portal (darwaza) made
of red stones located south of the complex leading to the gardens.It is a lofty structure in the form of
an iwan with a massive central ogee arch and a flat roof equipped with eleven small turrets, famously
known as chhattri, raised on columns and topped with small domes. According to some writers
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22. Fatepur sikri : Jama Mosque, Tomb of Salim
chisti Buland Darwaza,
Palace , Panch mahal Diwan- I-khass etc.
The construction of the palatial complex begun in 1572 and
progressed rapidly. There were two main phases of
construction for the complex, when passages and corridors
where added to the existing buildings according to the needs of
the Emperor and his family. The complex served as the main
residential quarters of the Emperor for fourteen years and was
subsequently abandoned.
The new mosque was oriented to the west (qibla), and the
other buildings of the palace complex developed parallel to it.
It is also speculated that Akbar's complex was oriented
according to the principles of Vastu, an ancient Indian
architectural system.
The whole complex is spread in three plateaus on receding
levels with respect to the topography of the ridge.
The palace complex is laid out on the two lower platforms,
covering approximately 250 square meters. The buildings of the
complex can be grouped in two main zones. The middle
plateau is the most private, housing the residential buildings:
the northern palace (Birbal's Palace), the Shaqh-i Isbal (Jodh
Bai's Palace), the Sonahra Makan (Miriam's Palace), the guest
house (hospitalia) and the stables (Shahi Bazar and Mina
Bazar).
The lowest plateau is occupied by the public and semi-public
areas of the palace complex, comprising the public audience
hall (Diwan-i 'Am), the (attributed) private audience hall
(Diwan-i Khass), the Ank Michauli and Astrologer's Seat, the
Panj Mahal, the imperial apartments (Khwabgah), the royal
quarters (Daulat Khana), including the library (Kutubkhana), the
state archives (Daftar Khana), the Anup Talao pavilion and the
storage house (Abdar Khana). Most of the buildings of the
public and semi-public area face east, while the Khwabgah
faces north.
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23. • Fatehpur Sikri, Overview
• Built by Emperor Akbar in honor of the Sufi Saint, Salim Chisti, Fatehpur Sikri was briefly the capital of the Mughal
empire and is regarded as Akbar’s crowning architectural legacy.
• The city is one of the finest, and best preserved, examples of a Mughal walled city with defined private and public
areas, imposing gateways, and a beautiful blend of Islamic and Hindu styles of design and architecture. Fatehpur
Sikri fully reflected Akbar's secular vision for his empire and his tolerant style of governance.
• Due to a shortage of water, the city was abandoned and effectively became a ghost town for a few centuries. While
most of its treasures have long since been plundered, Fatehpur Sikri remains one of the best surviving monuments
of the Mughal era in India.
• Fatepur Sikri is famous for:
• Being the first planned Mughal city.
• Its immaculately preserved fort and palaces that were abandoned by Emperor Akbar due to a shortage of water
supply for the city.
• Being recognised as a World Heritage Site (UNESCO).
•
• The area around Fatehpur Sikri was originally a part of the Rajput kingdom and there are temple ruins in the area
that date back to the 12th century. The Mughals, under Emperor Babur, took over the the village of Sikri in
defeating Rana Sanga. The place was then called Khanwa but Emperor Babur renamed the village as “Shukri” -
meaning “Thanks to God”.
• The city of Fatehpur Sikri was built by Emperor Akbar, one of the greatest Mughal rulers. Akbar originally had his
capital city in Agra and built the Agra Fort for military and royal residential purposes. However, and in the course of
time, he shifted his capital to Fatehpur Sikri, a city he decided to build in honour of Sufi saint Sheikh Salim
Chisti. The Emperor was without an heir to his throne and made the pilgrimage to the renowned Sufi saint to seek
his blessings. Akbar was soon rewarded with a son who came to be known as Jehangir.
• The name of the town was changed to Fatehpur Sikri after Emperor Akbar’s successful conquest of Gujarat
kingdom in 1573.
• The development of the city began in 1571. However, by 1585, Emperor Akbar decided to abandon it due to
scarcity of water in town. The capital city was then moved to Delhi.
• The sufi saint Salim Chisti hailed from Sikri.
• Fatehpur Sikri complex consists of two distinct and separate areas. The Royal Complex was built with private and
public spaces for Emperor Akbar's court, including his Treasury and harem. Adjoining to the Royal Complex is the
Jami Masjid complex. These two complexs are connected by the Badshahi Darwaza - a gateway that was used
exclusively by the royals.
• The structures in Fatehpur Sikri are thought to be the finest examples of Mughal architecture, a fine blend of Hindu
and Muslim styles of architecture. But the structures also show elements of various regional schools of
architectural craftsmanship including Gujarati, Bengali, and Rajasthani because the craftsmen came from various
regions of the country to carry out the constructions of the buildings - and Emperor Akbar actively encouraged a
synthesis of various religions and design styles.
• Red sandstone was the primary material used and the buildings were spaciously laid out around open courtyards.
Towering walls surround the city on three sides and entry is through one of the nine colossal gates.
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24. Jami Masjid Fatepursikri
• Jami Masjid (Fatehpur Sikri)
The Jami Masjid is the sacred centre of Fatehpur Sikri and is grand open
mosque. The mosque is situated at the south western end of the city
its designs are derived from Persian and Hindu architecture.
• A high wall with a gateway surrounds the mosque on 3 sides. The
gateway, Buland Darwaza, opens into a huge courtyard measuring 111
x 139 meters - the largest such courtyard built during the Mughal
period. The inner walls are lined with columns and cloisters while the
western facade has a massive arched doorway with three domes.
• To the left of the Jami Masjid is the Stone Cutter’s Mosque, the oldest
place of worship in Fatehpur Sikri.
• Tomb of Sheik Salim Chisti
• Emperor Akbar's benefited from the remarkable prediction by the sufi
saint Sheik Salim Chisti with the birth of a son (Jehangir). The vast
courtyard of the Jama Masjid contains the the tomb of this saint and
built by Emperor Akbar in 1571.
• The Tomb of Sheik Salim Chisti is as popular today as it was during the
time of Emperor Akbar. People, especially childless women, come in
numbers to offer flowers and tie a thread on the latticed screens to
make a wish and seek blessings from the saint.
• The tomb was originally made of sandstone and later replaced with
marble. The tombstone is covered with a cloth under a canopy of
ebony, mother of Pearl and brass. The main square chamber of the
tomb is surrounded by a corridor for circumambulation. The corridor
has jallis with intricately carved serpentine brackets. The lattice work is
thought to be amongst the best in India.
• Buland Darwaza
This 54 meter high doorway was built in 1571 to celebrate Emperor
Akbar's successful conquest of Gujarat. This gate is also called the
“Gate of Magnificence” and “The Triumphal Gateway” and is one of the
grandest gateways in India.
• Approached by a steep flight of steps which adds to the height of the
tall structure, the doorway is made of red and buff sandstone and
designed in coloured stone and inlaid carvings in white and black
marble. It is the main entrance to the Royal Jama Masjid.
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25. • Diwan-I-Khaas
This is the Hall of the Private Audience and is also called "Jewel House" or “The
Ekstambha Prasada” which means the Place of Unitary Pillar and is a unique fusion of
various styles of architecture and religious motifs. The hall is in the middle of the
court, a single vaulted chamber with a central decorated lotus theme pillar with 36
elegantly craved brackets in Gujarati style and four narrow causeways project from the
central and run to each of the four corners. The throne in the circular space over the
central capital had Emperor Akbar sitting on the throne with the four corners assigned
to his four ministers.
• Ankh Michauli
Adjacent to the Diwan-i-Khaas is the Ankh Michauli building - often referred to as the
Treasury. The meaning of the name is "Blind Man's Buff".
• Diwan-I-Aam
This is the Hall of Public Audience, an enclosed space surrounded by colonnades and a
large open area where courtiers and the public in attendance used to stand. The
western side has a pavilion where the emperor sat.
• Nearby is the Pachisi Courtyrad. It is a square marked out as a large sized board game
(similar to Ludo) using girl slaves dressed in bright dresses as pieces of Pachisi. The
King and his courtiers played this game while ordering the girls to move on the giant
marble board as per their strategy and move.
• Panch Mahal
The Panch Mahal is a five tiered palace where each floor is smaller than the one
below. This is where Akbar's queen's enjoyed a cool evening breeze.
• The first two floors from the bottom however are of equal size. The bottom floor has
176 intricately carved columns. The third and fourth floors are grated. The top most
floor is a single kiosk or open pavilion supported by four columns. Each floor is
supported by pillars and had jali screen between the pillars earlier. The top of the
place gives a panaromic view of the entire city of Fatehpur Sikri with its buildings,
palaces, gardens, residential houses all linked in a maze.
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26. BRITISH ARCHITECTURE IN INDIA; ( 1757 to 1947)
• British rule coincided with the decline of the Mughal era and the revival of Hinduism. The construction during this time was an adaptation of the Indian
style in the colonial style brought from Europe.
• Historians regard the year 1757 as the starting point of the British Empire in India, even though large parts of the country remained under the rule of
Indian princes. It took nearly another hundred years for the East India Company and the British government to extend British rule to northern and
western India The British Empire stopped thinking about its own enmity with the Portuguese and the French and allowed them to settle in their
maritime enclaves, which they retained even after India got her independence in 1947. Commencing from the basic Presidency towns comprising
Bengal, Bombay and Madras,
• The British crown lost its biggest jewel in 1947, but not before the subcontinent was divided into two, and this legacy haunts the politics of the region to
this day.
• British cathedrals in India started branching out gradually to other villages and cities, not leaving out the mofussils (a town smaller than a city, with its
own municipality). Architects were shipped in huge numbers from England to erect masterpieces like St. Thomas` Cathedral, Mumbai or St. Paul`s
Cathedral, Kolkata
• When the British government had consolidated its position in India, it decided to redefine its administration. A whole new Government architecture was
developed. During the initial phase, the East India Company's main interest in India was to generate internal revenue for promoting its trade but under
the British government, India developed as a colony and British dominion. For the Public Works, Royal Engineers, followed Scott's lead with a Venetian
Gothic design in 1877, mixed Venetian and early English for the stupendous High Court buildings of Bombay of 1879. The culminating masterpieces of
the series, increasingly hybrid in style, especially Victoria Terminus (1878-87), the headquarters of the Great Indian Peninsular Railway. In later works
like church gate station etc, a still more significant step towards the synthesis of Indian and European forms
• The Gateway of India Bombay, India. Located on the waterfront in Apollo Bunder area in South Mumbai, the Gateway is a basalt arch 26 metres (85 ft)
high.
• India Gate of Delhi is a 42 meter high gateway located at Rajpath, New Delhi. Also known as the 'All India War Memorial', the India Gate was planned
by Sir Edwin Landseer Lutyens,
• Capital of British India - New Delhi
• the British asked Lutyens to give new meaning to city development which is reflected in the architectural designs and sophistication that buildings in
Delhi like Parliament House, Rashtrapati Bhavan, India Gate, Connaught Place and various administrative buildings like the South and North blocks along
the breathtaking view available from Raj PathS
• Sir Edwin Lutyens, (1869-1944)had arrived in India to undertake this great work with scant respect for the Subcontinent's architectural legacy
• Sir Herbert Baker (1862-1946), was South Africa's leading architect in the early 1900's. He was noted for the clean, classical simplicity of his buildings he
designed very many public buildings in India,
• The builders used explosives to blast away the top layer of the land to flatten it and provide earth to fill in the nearby valleys. The resulting complex is a
spacious, attractive, and carefully planned city, with broad, treelined avenues and many open areas, parks, gardens, and fountains.
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27. BRITISH ARCHITECTURE IN INDIA; ( 1757 to 1947)
Photographs : 1.Gateway of India Mumbai ; 2 .India Gate New delhi
3. St. Thomas Cathedral Mumbai 4. Victoria Railway Terminus Mumbai
5. Rastrapathi bhavan & Secretariat New Delhi 6. Parliament House New Delhi
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28. Rashtrapati Bhavan
(Sanskrit for 'President House / Presidential Palace') is the official residence of the President of India, located in New Delhi, Delhi, India. Until 1950 it was
known as "Viceroy's House" and served as the residence of the Viceroy of India. It is at the heart of an area known as Lutyens' Delhi. It is the largest residence
of any Head of the State in the world. The splendour of the Rashtrapati Bhavan is multi-dimensional. It is a vast mansion and its architecture is breathtaking.
More than these, it has a hallowed existence in the annals of democracy for being the residence of the President of the largest democracy in the world. Few
official residential premises of the Head of theState in the world will match the Rashtrapati Bhavan in terms of its size, vastness and its magnificence.
As the plan for New Delhi took shape, the Governor-General's residence was given an enormous scale and prominent position. The British architect Edwin
Landseer Lutyens, a key member of the city-planning process, was also given the prime architectural opportunity of interaction. The palace developed very
similarly to the original sketches by Lutyens on June 14, 1912. Lutyens' design is grandly classical overall, with colors and details inspired by Indian
architecture. Lutyens had to reduce the building size from 13 to 8.5 million cubic feet (240,000 m3) because of the budget restrictions of Lord Hardinge. While
he had demanded that costs be cut, he nevertheless wanted the house to retain a certain amount of ceremonial grandeur. Lutyens and Baker who had been
assigned to work on the Viceroy’s House and the Secretariats, began on friendly terms, although they later quarrelled. Baker had been assigned to work on
the two secretariat buildings which were in front of Viceroy’s House. At the centre of the main part of the palace, underneath the main dome, is the Durbar
Hall, which was known as the Throne Room during British rule when it had thrones for the Viceroy and his wife. The dome in the middle involved a mixture of
Indian and British styles. In the centre was a tall copper dome surmounted on top of a drum, which stands out from the rest of the building, due to its height.
The dome is exactly in the middle of the diagonals between the four corners of the building. The dome is more than twice the height of the rest of the
building . The dome combines classical and Indian styles. Lutyens said the design evolved from that of the Pantheon in Rome, while it is also possible that it
was modelled after the great Stupa at Sanchi. The reinforced concrete shell of the outer dome began to take shape near the start of 1929. The last stone of
the dome was laid on April 6, 1929. However the copper casing of the dome was not laid until 1930.
Parliament House
This edifice is the brainchild of Herbert Baker and was much criticized in comparison with Lutyens creations. Parliament House, the power-corridors of
the largest democracy in the world, India. Also known as Sansad Bhawan, the Parliament House in Delhi is the hub of political activity of India. Tucked
away in the heart of the city, it is to the northwest of Vijay Chowk, next to the Secretariat buildings at the end of Parliament Street. This beautiful circular
structure is a landmark example of the British architectural marvel the Sansad building stands almost hidden and virtually unnoticed at the end-of-
SansadMarg-(Parliament-Street),just-north-of-Rajpath
The outer boundary wall has blocks of carved sandstone that borrow motifs from the typical 'jalis' (filigree) made during the Mughal era. So much so,
that the parliament house finds its presence in many Bollywood films. The Parliament House in New Delhi. Initially known as the Circular House, was
designed by Herbert Baker opened in 1927, the Parliament House in New Delhi is the famous landmark not only of New Delhi but Indian political
system. Ideally located towards the north of Rajpath, The Parliament House or Sansad Bhaan as it's popularly called as is the place where the Indian
Parliament meets and works on the world's largest democracy.
Built in a circular shape, Just one storey tall, ,. The Parliament House is 570 feet in diameter, has a colonaded verandah and the roof of the outer circle is supported by
75 feet tall 247 pillars. Designed as a circular structure, the House is 171 meters in diameter and about one-third of a mile in circumference. The two semicircular
house chambers flank the Central Hall with its impressive dome. The building has a continuous open corridor on the first floor fringed with a colonnade of 144
creamy sandstone pillars. The exterior walls of red sandstone are carved in geometric patterns that echo Moghul jaalis One can wander around this awe-inspiring
structure with a prior permission from the Government of India. the Parliament House comprises of three semicircular chambers that are meant for the Legislatures
and a Central Library having a 27.4m high dome. Covering 2.02 hectares of area Formerly the three semi circular chambers were designed for the Chamber of
Princes, the Legislative Assembly and the Council of State. Presently, these three chambers houses the Lok Sabha, Rajya Sabha and the Library. Lavish lawns,
gardens, fountains and waterways all around the building, further heighten the grand and majestic appeal of this 'Temple of Democracy.'
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29. Question Bank
1. Explain with sketches the Two important types of Buildings built by Muslims in Islamic Architecture 10+10= 20Mks
2. Briefly explain the Evolution of Islamic Architecture in India during 11th Century AD. 10 mks
3. Draw sketches to explain the 1 Quwwat-ul-Islam Mosque and 2 Qutb Minar in the Qutb Complex @ Delhi 10+10= 20Mks
4. Highlight briefly the development of Islamic Architecture during the Imperial style 10mks
5. Draw sketches to explain the Tomb of Feroz shah Togluk 10mks
6. Draw the plan and elevaton of Atala masjid of Jaunpur with its monumental portal 10+10= 20Mks
7. Explain with sketches the Teen Darwaza Mosque in Ahmedabad with its Shaking Minarates 10+10= 20Mks
8. Explain with sketches the uniqueness Khirki Masjid 10mks
9. Draw sketches to explain the architectural wonder of the Tomb of Sher shaw suri @Sasaram, Rohtas, 10mks
10. Explain briefly the architectural legacy of the Mughal Dynasty in India 10mks
11. Explain with sketches the Architectural Character of itmad -ud -daula @ Agra 10mks
12. Discuss briefly with sketches the Architectural elements and the overall Character of TAJ Mahal in Agra 10+10= 20Mks
13. Give an overview of developments of islamic Architecture in Fatepur sikri with simple sketches 10mks
14. Draw plan & Elevation of Jami Masjid at Fatehpur Sikri 10+10= 20Mks
15. Explain briefly any Two with sketches 1. Panch mahal 2. Buland Darwaza 3. Diwan-I-kass 10+10= 20Mks
16. Explain with sketches some of the contributions of Colonial Architecture in India 10+10= 20Mks
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