provincial-architecture(1)(1).pdf

ARL 2204 HISTORY OF BUILT ENVIRONMENTS -IV
Evolution of Indo-lslamic
Architecture
Various styles - Sultanate, Provincial
and Mughal
B. Arch 4" Semester (Jan- Aug 2015) AR
CHITKARA 55]
UNIVERSITY

Overview of the entire course to be covered during the semester
UNIT-I
*-Evolution of Indo-lslamic Architecture. Various styles - Provincial (Jaunpur,
Bengal, Malwa, Bijapur, Gujrat) and Mughal. Role of socio-political, economic, geographic
and technological factors in shaping their structural and stylistic characteristics. Significant
examples to trace development of the Tomb and the Mosque in each case.
UNIT-III
*Civic Architecture in Medieval India. Responsiveness to climatic and other locational
factors. Examples of individual structures (such as Hauz Khas, Jahaj Mahal), Mughal
Palaces (Agra Fort, Fatehpur Sikri, Shahjahanabad Fort), Rajput Forts( Orchha, Datia).
¢Town of Medieval India - Jaisalmer, Shahjahanabad and Jaipur

Provincial Style of Architecture
The Provincial (belonging to some particular province; local) 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), In syllabus
Khandesh (1425-1650 AD) and
Kashmir (1410 onwards).

Provincial Style of Architecture - Bengal ( 1203-1573 AD)
In the thirteenth century Arabs invaded the Bengal province and introduced
their architecture for the first time in this region. These Muslim rulers
constructed several new cities fortresses, palaces, free-standing victory-towers,
citadels, immense land bridges and embankments, etc in this province that
included present day Bangladesh and West Bengal in India. These architectures
were maintained for a period of two hundred and fifty years. They created the
buildings with the locally available building materials combining the regional
styles with the typical Muslim features such as domes, arches, the minaret and
the mihrab. This amalgamation resulted into a new and improved technique
named as Indo-Islamic architecture, enriched with regional building tradition in
Bengal

Provincial Style of Architecture —
Early in the fourteenth century, Gujarat developed the Islamic style of
architecture.
When Khalji dynasty of Delhi established their Governors in this province, they
started to build their architectures for the first time.
They constructed and developed their Islamic architecture until the
independent rule of the Ahmad Shahi dynasty declined, and absorbed into the
empire of the Mughals in the sixteenth century.
They constructed their several mosques, tombs and other buildings with the
amalgamation of Hindu culture

Important structures: JAMI MASJID — AHMEDABAD
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.
4. The flagged courtyard is 255° X 220’

Sanctuary Facade:
1
tJ)
(im
The architect has combined the two types of sanctuary facades, the screen of arches and the pillared portico,
with the screen in the centre and the portico on the wings.
The juxtaposition of the two elements creates contrast between the volume and strength of the wall surface and
the depth and airy lightness of the colonnade.
The large central archway has large moulded buttresses of minarets on either sides, whose upper parts have now
disappeared.
Two smaller archways are placed on either side of the central one.
Directly visible through the archway in the shadows is the colonnade of the interior with its engrailed arch
springing lightly from its slender columns.
Sanctuary Interior:
NO
cry
The sanctuary is a hypostyle hall 210° X 95°.
lt 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.
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.

.
*,
ef
>
*-*
.
>»
«
_r-
=
*,r
@f
"“*
#8.
*_*
«f#
#8
**
#88
.
**
#8
48
*e
#828
.
*
fe
@*
‘7
8°
*_*
#8
@*
**
see
ee
‘
*
.
7,
Ff
**
*
*
.
.
>.
*
*
*
+t
@e
#
t#eet
&
Um
Go
ao
a
s
>
*
*
,
,
eee
oe?
*
>
es
ee
2+
2
Oe
**
,.
>
.
.
.
*,*
>
.
.
vwrryrr*
*.
*«*
-e.«*
ERS
i
ee
Cee)
ee
eet
ey
tet
—_
ts
—
BINPIPWYIYy
JO
ajAjs
jeINUIAOId
er
eee
or
fr
ee
fer
ee
ee
ee
8
ee
ww
ee
eer
eee
oe

tecture —
Provincial Style of Arch
iS)
Cc
5
oa
©
&
o
aks
©

Important structures: JAMI MASJID — CHAMPANIR

Built with the Jami Masjid at
Ahmedabad as model except on a
smaller scale and a few differences.
The entire structure is a rectangle of
270' X 180". A bit less than half the
space is taken up by the sanctuary.
Cloisters
The courtyard is surrounded by a
range of arched cloisters, one aisle
deep.
An imposing entrance pavilion
projects from the centre of each of
the north, south and east cloisters.
The eastern pavilion is a fine example
of architecture in itself.
A series of moulded buttresses along
the exterior of the gibla wall along
with traceried openings at close
intervals along the entire periphery
makes the exterior of the mosque
attractive as well.
oN
a MINARETS « @
m > -@
» > |
a> a
ea :
i —
f 7 COURTYARD “ t
‘ D oo .
} s . a *
» = ® a.-.
| -@
« a |
» « a
mes 2 2-2 ee ee |
MIHRABS
eA At iw
ss =f =* © 8 2
2
a s =» — —— a zs «
-* * x v8 s =F 7s. * s © 8
WORSHIP HALL
a? *-*
-_ see = * © 3-3 *» «= * *
x= sf
no
*
i
|
T
¢
|
BS
agg
:
‘.
i
co
~
,
7
~~ ia ea PAVILION
I ses

Sanctuary
1
NS
i)
cm
oO
—~
Sanctuary facade is of enclosed type containing 5 pointed archways with two slender minarets flanking the
central opening.
The ornamentation of the minarets is restricted to their buttress like bases, with the five stages above left mostly
unadorned.
On the whole, the frontal screen is more or less economically treated, relieved only by 3 oriel windows, one above
the central arch and two on the minarets.
Sanctuary is a pillared hall measuring 270° X 130°, containing 176 pillars.
The nave rises to 65’ in height through 3 storeys and covered by a dome.
From the second storey, it takes the form of a Latin cross with very short arms.
Each storey is accessed by a staircase in the minarets.
The level of the first floor is continuous with the roof of the rest of the building, forming a wide terrace for
circumambulation among the cupolas with a square well above the nave.
The second floor is restricted to the Latin cross and is a large pillared gallery with an octagonal well. This floor
communicates with the oriel window above the central arch in the sanctuary facade.
The zenana chamber is placed at the northern end of the transept.
Around the galleries are provided stone seats with sloping backs.
The Champanir mosque is based on the Ahmedabad mosque as a template, though the builders were not able to
provide much of an improvement on the Ahmedabad archetype. The pillars in the Champanir sanctuary are more
sophisticated than the Ahmedabad example, as may be seen in the vertical recessed chases of the shafts and
other architectural details of a similar nature.

Provincial Style of Architecture - Jaunpur (1376-1479 AD)
* The Governor of Jaunpur, an eastern province of the sultanate was given the title
‘Malik-ush-Sharq' (King of the East) by the Tughlaq monarch in Delhi. Hence, the
dynasty was called the Sharqi dynasty.
¢ Under the Shargi monarchs, Jaunpur became an important centre of Islamic art,
architecture and learning, a university town known as 'Shiraz-i-Hind' after the city of
Shiraz in Iran.
* Most of the structures of the style were destroyed when Sikander Lodi of Delhi
reconquered Jaunpur, leaving only 5 mosques.
Salient Features:
Pylons built on the facade to accentuate entrances etc. are a common feature.
Arches are of the ‘depressed four centered’ or Tudor variety with ‘Fleur-de-Lys'’ fringes.
The builders were never certain of the curves and contours of the arches, which wavered weakly in the larger
examples.
4 The predominantly Hindu masons and artisans were more comfortable with the pillar, beam and bracket (trabeate)
system of construction which was frequently used.
The pillars have square monolithic shafts with bands across the middle. The same bands above form the capital
out of which clusters of brackets emerge. These have a feel of rough execution.

Important structures: [AUA esis
The Atala Masjid stands on the site of a Hindu temple of
Atala Devi. It was built in 1408 by Sultan Ibrahim (1401-
1440), Shargi Sultan of Jaunpur on foundations laid
during the reign of Tughlugid Sultan Firuz Shah III
A large number of its pillars, brackets, lintels and flat
ceilings were extracted from Hindu monuments.
The mosque complex consists of a long rectangular
prayer hall that opens onto a large square courtyard to
the west.
The courtyard is enveloped by a two-story veranda on
the exterior that are used by merchants and visitors.
It is entered from three domed gates facing north, east
and west
Inside, the courtyard is enveloped by a three-bay deep
double-story colonnade on three sides. The screened
upper story was most likely reserved for women
E
a
ti "
D
=. =
.
.
st: estte2ee22828 8 ssssetd
2 2 882 &
m
A | |
AExterior around the East entrance
BCentral iwan
CPrayer room-Facade-
DSouth wing
EDomed Chamber
FNorth wing

The mosque occupies the western side of the courtyard; its facade is marked by an imposing
central portal -- close to twenty-three meters tall -- flanked by secondary portals.
Its plan is centered around a tall domed sanctuary behind the central portal, with two long three-
bay deep galleries to the north and south.
The dome of the main sanctuary is carried on squinches. Although it is raised on an octagonal
drum, it is still not visible from the courtyard due to the imposing height of the entry liwan, a
distinctive element of Jaunpuri architecture.
Inside the sanctuary is stone mihrab niche with a ribbed semi-dome, flanked by the stone minbar.
The decoration consists mainly of carved floral patterns.
The gallery wings have two-floors and are centered around domed rooms with a mihrab and
courtyard entrance.
Their flat ceilings are supported on twin columns and beams resting on brackets. The three domed
rooms of the prayer hall project beyond the qibla wall, with tapering turrets bracing their corners in
the manner of Delhi's Tughlugid architecture.

Sanctuary
1
tv
In the centre of the sanctuary facade, the entrance to the nave is articulated by a lofty pylon, 75° high and 55’ wide
at the base.
The pylon houses an 11° deep arched recess which contains the entrance doorway to the sanctuary nave and the
windows which light it.
This arched pylon is the main theme of the structure (and the style as a whole), being repeated by smaller pylons
on either side of the central one and also on the gateways in the cloisters.
The interior of the sanctuary consists of a central nave of 35’ X 30’ with pillared transepts on either side. The nave
is roofed high up by a hemispherical dome.
The interior nave is vertically divided into three parts. The first level consists of 3 mihrabs and a high pulpit with
arched openings to the transepts forming the sides of the room. The second level consists of 8 decorated arches.
out of which 4 are squinches, turning the room into an octagon. The third level has a bracket in each corner
turning the room into a 16 sided structure. Each side contains an arch, thus creating an arcaded triforium which
supports the dome.
The dome is 57 high on the inside and constructed by means of circular courses of stone. The exterior is covered
with a layer of cement to give it a spherical curve.
Each transept is a pillared hall with an octagonal bay in the centre roofed by a smaller dome. The transept at both
ends becomes two storied, the upper compartment surrounded by perforated screens forming a zenana chamber
for women.
Exterior
NO
The rear wall of the sanctuary is worth studying for its treatment.
Since the gibla resolves itself into an expansive wall with no openings, architects face a problem regarding the
design of the exterior.
The great plane of this wall is relieved by 3 projections, each corresponding to one of the principal compartments
of the interior and coinciding with the domes.
Each projection has a tapering turret on its corner, with a larger replica in each corner of the building itself.

Taalekolac-lamcieatiadeie-u JAM! MASJID - JAUNPUR

The Jami Masjid is the largest and the most
ambitious of the Jaunpur mosques. It was built in
1470 by Husayn Shah (1458-1483), the last ruler of
the Sharqi dynasty.
Built on a six meter high plinth, the mosque is
accessed by an imposing flight of steps.
Its plan, similar to previous Sharqi mosques,
consists of a long rectangular prayer hall occupying
the western side of a colonnaded courtyard.
The prayer hall is centered around a square
sanctuary, covered by a dome that measures 11.4
meters in diameter.
Windows pierced into the dome's drum illuminate
the interior.
On either side of the sanctuary are barrel-vaulted
galleries that are accessed from three arched
openings along the courtyard facade.
A:East gate -facade-
B : Prayer room -exterior- and west side of
the south corridor
C:South gate and east side of the south
corridor
D,D':Central iwan
E:Domed chamber -interior-
F:North wing of the prayer room
G:Corridors
H:South wing of the prayer room

Cloisters
1 Cloisters are two storeys high.
2. They are two aisles in width as opposed to the more spacious 5 aisles in Atala Masjid.
5. In the centre of each cloister is an entrance hall covered by a dome.
Sanctuary
|. Inthe centre of the sanctuary facade is a pylon 85° high and 77° wide at the base.
2. The arcaded wings of the side aisles are seen on both sides of the pylon with the roofs of the two halls which form
the transepts above them.
3. The interior consists of the nave of 38° side.
4. The clerestory arcade is open to light the interior of the dome.
5. Qn both sides of the nave are pillared side aisles with an upper storey. This has its openings filled in with stone
jalis to provide a private area for the royal ladies.
6. Beyond the side aisles on both sides are two great vaulted halls, each 50° long, 40° wide and 45° high.
/_ The interior of these halls have 3 mihrabs each on the western wall, opposite which are the archways which open
into the courtyard.
8. To achieve such a large columnless space, the builders first threw across the 40° space a framework of two
transverse ribs at wide intervals in the middle and two wall ribs or ‘formerets’ at each end. On this permanent
centering were laid the infilling or ‘severies’ of flat stones fitting on the backs of the ribs.
9. To counteract the thrust of such a large vault, the side walls, from the haunches of the ribs to the foundation were
made upto 10° thick.
10. Such a large columnless space is a rare occurance in Indian architecture.

Provincial Style of Architecture- Malwa (1405-1569 AD)
Malwa province experienced the Indo-lslamic architecture in the late medieval period
with the invasion of Muslim invaders. This province which included the cities of Dhar and
Mandu also experienced a large number of Islamic architectures during the Muslim
dynasty. Initially they constructed new buildings on the ruins of Hindu and Jain temple
materials. Gradually they developed their own style in building art of Islamic culture.
Main examples of the style are found in the cities of Dhar and Mandu.
Malwa was influenced more by the early Tughlagq style from Delhi. This was due to the lack of significant local traditions
in Malwa and hostile relations with neighbouring Gujarat.
Salient Features:
Battered walls.
2. Pointed arches with spear head fringe.
Combination of Arch, Lintel and Bracket.
Boat keel domes.
Most artistic combination of arches with pillar and beam.
Buildings are raised on high plinths, accessed by long and stately flight of steps.
Prominent use of colour in decoration. Use of different coloured marble, semi-precious stones and glazed tiles.
The artisans in Malwa possessed a secret formula for creating Turquoise blue colour.

Provincial Style of Architecture- Malwa (1 405-1569 AD)
The cities of Dhar and Mandu of the Malwa province provide examples of distinct architectural
elements in the form of polychromatic ornamentation of buildings, which was obtained by the use of
coloured stones and marble as well as by means of encaustic tiles.
The earliest buildings of this period are the Kamal Maula Masjid (1400) and the Lat Masjid (1405) at
Dhar and the Dilawar Khan Masjid (1405) and the Malik Mughis mosque (1452) at Mandu.
The architectural activity took a new turn with the establishment of the capital at Mandu, especially
under the rule of Hoshang Shah (1405-1435).
Important buildings in Mandu are the Jahaz Mahal (a 120 meter long 'ship palace’ built by Sultan
Ghiyas-ud-din-Khilji between two artificial lakes Munj Talao and Kapur Talao),
Taveli Mahal with two wells called Ujali and Andheri Baoli, Hindola Mahal, Dilawar Khan's Mosque,
Hoshang Shah's Tomb, Ashrafi Mahal and the Jami Masjid built by Mahmud Shah Khilji |.
The city also has several gateways like the Delhi Darwaza, the Alamgir and Bhangi Darwaza,
Rampol Darwaza, Jehangir Gate and Tarapur Gate.

Provincial Style of Architecture - Malwa (1 405-1569 AD)
Important structures: The Jami-Masjid at Mandu
~ * me »
- S :
= —
2 - -
: . -
+ .
> sa °
dynasty.
A mosque, with its necessarily vast scale to accommodate numerous worshipers, is monumental by its
nature. and to endow it with elements of humanism can be counted as a verv difficult exercise in desian.

Of the elements that make up this mosque,
the monumental entrance from the east with
a main arched doorway flanked by two
smaller openings.
A squat yet well-proportioned dome crowns
this entrance, with its profile being reflected in
smaller domes over the cloisters surrounding
the central court, their proportions being ‘not
unlike in profile to the so-called shoulder
shaped contours of the shikharas of Orissan
temples.
The courtyard is surrounded on three sides
by columned cloisters with galleries of
majestic arches.
o08..8..4..1..8..8.8..8..8..8..
fl breve +

The whole building is faced with red sandstone, with little concession to decoration.
Indeed, the only departure from sobriety is in the chattri inside the mosque, next to
the mihrab, which shows influences from florid Gujarati architecture.

JAMI MASJID AT MANDU
=)
lad
co
g
~
'
‘
—
Started by Hushang Shah and finished by Mahmud | in A.D. 1440.
Mosque covers a square of 288° side, prolonged on eastern front by another 100° by a projecting domed entrance
hall and a wide flight of steps.
There are also two subsidiary entrances to the north, one for the priests and the other a private entrance for the
zenana.
Being raised on a high plinth, this enables the front side of the basement to contain a series of arcaded chambers
to be used as a serail.
The entrance hall bears traces of exquisitely coloured borders and panels in glazed tiles. The domed gatehouse
responds to the three similar domes of the sanctuary on the opposite side of the courtyard.
The courtyard is a square of 162° side, surrounded by arcaded aisles. Eleven openings on each side forming a
facade for the pillared halls beyond.
The pillared halls on the north and south are 3 aisles deep, that on the east is 2 aisles, while the western
sanctuary is 5 aisles deep.
In addition to the 3 large domes atop the sanctuary, the entire roof is covered with a symmetrical pattern of
cylindrical cupolas, one over each bayof the interior, thus making 156 in all.
Sculptured mihrabs are present at regular intervals in the gibla wall with an elegantly designed mimbar in the
central bay.
The overall design of the mosque gives an appearance of quiet solemnity, relying mainly upon the simple broad
treatment of its constituent elements, eschewing ornamentation apart from the mihrabs and mimbar and some
restrained colour decoration.

Important structures: Hoshang Shah’s Tomb

Conceived and partly built by Hushang
Shah, completed by Mahmud | in 1440 A.D.
The tomb stands in a square enclosure©
contiguous with the western wall of the
Jami_ Masjid at Mandu, approached by a |
domed portico on the north, with a pillared
cloister on the west for devotions or
accommodation.
The tomb itself if a square structure of 86'
side, with 30' high walls surmounted by a
large central dome with a cupola on each
corner, standing on a square plinth of 100’
side.
The walls are faced with white marble
relieved by occasional patches of colour.
There are triple openings on two of its
sides, with the central archway on the
south providing the entrance, while the
other two sides are plain, uninterrupted
walls.
*
:
~
Combined Plan of Hoshang Shah's
Tomb & Jami Masjid, Mandu

Important structures: ASHARFI MAHAL
Although little remains of the Asharfi Mahal, to the east of the Jami-masjid, it was an
extraordinary achievement in its time, serving as a madrassa with open courts
surrounded by cells for students on several levels. Here also are the remains of a seven-
storey victory tower — which collapsed in the 17th century — echoing Ala-ud-din’s
megalomaniac flights of fancy near the Qutb.

. I f 3 ——. = we ri d ; i . / 4 ~f ‘ , 7 fF se”~F ’ ; bean ny
ee eee Ae ia esa... , paw 5 a A en et . af | ¥ i > 7 Hl sf i j Pe | - > ; i :
2Prrrriinrcic gaTiLsio AT AKrCHRITACTIIraA . Vib oe ew a aati Ft. p= ~ Bees fea zz
Z Satis } i] ae >t wien Gy | Beet GF ge"E £E. a * wes j ges i Sate = - ee
i rer w E hoa 1 ote ’ ff f= | he he q = Za’ ; zz 4 yee) fs foes As - F N | 1
nm
&
Ww
10
1
12.
13
14
Ashrafi Mahal (Palace of the Gold Coin) was built facing the Jami Masjid at Mandu, its approach of a noble flight
of stairs aligning with and mirroring that of the mosque.
Dating from the early years of the reign of Mahmud |, the first of the Khalji dynasty of Mandu, which took over from
the Ghuri dynasty.
The structure is composed of three distinct buildings, built at different times.
Upon completion, Ashrafi Mahal covered a square of 320° side.
The first structure built on the site was a madrassa in the form of a series of rooms surrounding a courtyard, with
four towers, one at each corner of the structure.
The rooms with a corridor of double arches, which have pyramidal vaulted ceilings of interesting design can still be
seen on the ground floor of the subsequent structure.
The madrassa courtyard was subsequently filled in to create a terrace 27 high on which the royal mausoleum
could be built.
The terrace was approached by a grand flight of steps projecting from the front on top of which a pillared portico
was placed with loggias on both sides.
Only a few portions of the mausoleum itself still remain, though it can be ascertained that it was a square hall of
65° side covered by an immense dome. Each wall was faced with white marble. The doorways and windows were
decorated with carvings. In certain places, patterns in choice stones were inlaid with friezes of blue and yellow
glaze.
The last structure comprising the Ashrafi Mahal was a Tower of Victory raised by Mahmud | in 1443 to
commemorate his victory over the Rana of Chitor. It replaced the turret on the north-east corner of the original
madrassa building.
The tower was in red sandstone, rising through 7 stages to a height of 150°.
Balconies projected over a marble string course demarcating each storey.
Four openings with eaves supported by carved pillars gave access to each of the balconies while patterns of inlaid
marble in a variety of colours were carried at intervals around its curved surface.
Most of the tower, except the basement has collapsed, the builders having relied on surface treatment for effect
rather than architectural construction. The whole structure was apparently built hurriedly and carelessly, its walls
composed of roughly prepared rubble.

Provincial Style of Architecture- Malwa (1 405-1569 AD)
Important structures: Hindola Mahal

—_
Built by Hushang Shah, probably around A.D. 1425 as a Durbar hall.
2. The walls are inordinately thick and slope like those of a castle. The slope of over 77 degrees gives a swinging
appearance to the building, hence the name.
The plan is T shaped. The upright stem being the main hall (which was built first), and the cross bar is a
transverse portion added later.
4 The structure was probably supposed to have the zenana place as another storey above the main hall, which
would explain the bulk and strength of the walls.
i
Main Hall
1. Oblong building 110° X 60° and 35° high.
2. Each of the long sided has 6 sunken arches with a doorway below and a window above. The short side has 3
similar arches. The central one is the entrance.
3. The interior is a large hall 881/2' X 24 1/2’ and 32’ high with 5 transverse pointed arches supporting the flat roof.
4. The flat roof rested on timber beams whose sockets are still visible, though the timber portions themselves have
disappeared.
Transverse Building
|. It is in the same dimensions as the main hall, but in two storeys.
2. Itis in aless formal style with some oriel windows of artistic design.
The ground floor consists of a cruciform gallery, a short arm of which opens into the main hall. There are also
subsidiary passages not connecting with the gallery and entered by a separate doorway.
4. The first floor overlooks the main hall through an arched opening. It consists of a longitudinal hall of 70° X 40°
divided into 3 aisles by 2 rows of pillars and a transverse chamber which may have been a retiring room.

Addition
Main
hall
This vast longitudinal room enormous arches
punctuating its length - and IS
uncharacteristically massive, with — strongly
battered walls adding to its ponderousness.
One theory is that it was originally intended to
have several more storeys above.

Important structures: EE EYA Ela)
ath hae a Ta all .
oh ee
TUT MEE

Probably built by Mahmud | early in the last half of the 1400's
The palace is a double storeyed structure, 360 long and 50° wide, extending along the edge of Kaphur Lake and
Munja Lake.
The shape, dimensions and position gives the illusion of a ship, hence the name.
The building has a continuously arcaded front shaded by a broad eave above which is a triforium of recessed
arches with a wide parapet showing a repetitive tile pattern.
The roof has a series of open pavilions, kiosks and overhanging balconies.
The interior consists of pillared compartments, cool corridors and sumptuous bathing halls.
The character of the building is lively and entertaining, showing a progression from the phase of solidity and quiet
solemnity to the lightly elegant and fanciful mode, with friezes of brightly coloured glazing on its surfaces.

The Jahaz Mahal, built by Mahmud Khilji, was
a departure from the previously stolid and
somber style at Mandu. The most striking thing
about this monument is its location between
two water bodies, the Kaphur Talao and
the Munja Talao, which gives the building the
appearance of floating on water, hence its
name, literally the ‘ship palace’.
Architecturally, the building consists of a series
of compartments and corridors over the Munja
Talao, with terraces, kiosks and numerous
open-air baths conforming to the lifestyle at
Mandu, which was_ slowly sliding _ into
decadence.
The Jahaz Mahal proved an inspiration for later
Khilji sultans to dot the landscape with their
own pleasure pavilions and summer retreats.

Provincial Style of Architecture - Bijapur (1490-1656 AD)
Indo Islamic architecture in Bijapur, a city in the state of Karnataka flourished
under the Muslim rulers in the medieval period. This city first experienced its
Islamic architecture in the end of 13th century under Allaudin Khilji and later
under the Bahamani Empire in 1347. However, Bijapur was decked and dotted
with wonderful Indo Islamic architectures during reign of the Adil Shahi dynasty
in the a5th to 17th century.
Bijapur became the capital of the Adil Shahi dynasty when the Bahmani Muslim
kingdom broke up in 1482. This was the period of greatest Islamic architectural
and artistic achievement. During the entire regime, Adil Shahi rulers
concentrated their energies almost exclusively on architecture and on the allied
arts.

1. Fateh Cate
2. Shahpur Gate
8. Zohrapur Gate
4. Makka Gate
5. Alipur Gate
6. Padshah Gate
1. Bahmani Gate
8.Col Gumbaz
9.Jam: Meajid
10. Mihtar Mahal
11. Asar-i Sharif
12. Old M. e (No.1)
13. Anand Mahal
14. Gagan Mahal
15
16.
. Station Church
Old Moaque (No.2)
» 17. Sat Manzili
rr
u . J ’ r :
gee
. i .
- is ws
mall Pavilion
21. Makka Meajid
22. Tomb of Ali Adil
93, Post Off
‘ost ce
M. The Two Sisters
2. Andu Maajid
26. fbrahi
% Mile 29.Taj Bauri
—
> ; we —! yr fe
BIJAPUR} Oe fee Saree Ey
30. Supposed E
4 4 Stable phen

Style of architecture
architectural constructions were influenced from the regional
culture and thus became the amalgamation of Turkish culture (as
they belong from the Turkish origin) with that of Indian culture.
The main features of the building art of Bijapur were the dome,
which, in buildings of average proportions.
They were almost spherical in shape, and rises out of a band of
conventional petals at its base. These forms were repeated to the
turrets to provide an ornamental finishing, surmounted the
principal angles of the minarets. This specific Bijapur arch was
fuller in its curve and had four-centre. In the Islamic architecture of
Bijapur province, they used cornice, a characteristic architectural
ornament in most of the buildings which were famous for their
remarkable size and projection.

Style and features of architecture
Apart from their separate architectural style, the Indo
Islamic architectures of Bijapur province were also
famous for their sculptural element. The patterns
which they used to decorate their buildings were from
plastic art, so individual in character.
Among these different sculptures, one important and
famous pattern was the arch spandrils, consisting of a
voluted bracket holding a medallion, and above the
arch was a foliated finial all singularly graceful.
Several other sculptures were either carved in stone or
moulded in stucco with this typical design such as
conventional hanging lamps, running borders, and
interlaced symbols.

Provincial Style of Architecture - B ljapu r (1 490-1656 AD)
ates inane iiclnetnecmestne iene om em et te —
PALACES MASJIDS/MOSQUES
vs"
TOMBS

Important structures: Jami Masjid At Bijapur
aes f Pan
ie eat ee

Construction of the mosque began in the city's
eastern quarter, in 1576 under Ali Adil Shah | 22-2 eae:
(r.1558-1580). oe 9 ag
. a (s8
It is the largest mosque of Bijapur, covering an area 1s ee
of 54, 250 square feet. “e—~s--s—-8—8—8
The main entrance gate is from the east, though the
north gate is used more frequently.
The ground plan is a large rectangular structure
measuring 492 by 262 feet (150 by 80 meters) with
a square courtyard of 164 feet (50 meters).
23-38
-8888
’
:
>
*
;
'
>
‘>
x
*--s*-s-—
8.
ss
8
-
-
-
;
A passage from the eastern gate leads into the
courtyard, which has fountains and a large reservoir
in the center.
The perimeter walls are articulated on the exterior
by two orders of superimposed arches

The lower ones are ornamental while the upper ones
form a continuous open gallery that runs along three
sides of the mosque and courtyard.
The arches of the gallery facing the courtyard have fine
proportions and simple lines.
There are also several windows of pierced stone-work
carved in a variety of pattern.
The prayer hall on the west side has a facade of seven
bays, each bay having an arched opening.
The arches are equal in size, while the central arch is
delineated through delicate arabesque patterns in
Stucco.
The prayer hall is crowned by an elegant, well-
proportioned dome. It has a diameter of 57 feet (17.4
meters) and rises to 120 feet (36.6 meters) from the
ground.

6.
10
11
12.
13
14
Built in Bijapur during the reign of Ali Adil Shah, the Jami Masjid at Bijapur clearly shows the connection with the
Bahmani style of the previous century.
The structure was never completed, as it lacks the two minarets which were supposed to flank the exterior of its
eastern entrance. the whole part being left unfinished.
An entrance gateway was added later by the Mughal Emperor Aurangzeb.
Other features such as the ornamental merlons above the parapet of the courtyard are also missing.
The structure covers a rectangle 450° X 225°
The exterior has been treated by introducing two storeys of arcades recessed into the wall, the lower one being
ornamental while the upper one is open and discloses an arched corridor running across the entire back and
sides of the exterior.
The courtyard is a square of 155’ side, contained on three sides by seven arches on each side. On the west, this
arcade shows a central opening emphasized by foliations, forming the facade of the sanctuary.
A wide and deep cornice supported on brackets projects above this arcade.
Above the middle of the sanctuary the arcaded square clerestory rises which supports the dome which is no
longer stilted but hemispherical in shape with a metal finial crowned by the crescent symbol.
The interior of the sanctuary is a large hall 208’ X 107’, divided into five aisles by arches on large masonry piers.
The nave is a square of 75° diameter contained within 12 arches.
The arches intersect at the top to form an octagonal cornice for supporting the base of. the dome.
Around the nave are the square bays of the aisles. whose ceilings are built on the same principle as the nave.
but modified to suit their smaller size.
Omamentation has been kept to a minimum, being of a broad and restrained order and any plastic treatment is of
an architectonic nature, more for accentuating a line or space than for embellishment.
An incongruous ornament, in the form of a mural design in relief was added at a later date but is confined to the
mihrab arch.

Important structures: Ted
ey Valter

the Ibrahim Rauza, a mausoleum situated outside the city walls on the western
side. It is the tomb of the fifth king of the Adil Sahi dynasty, Ibrahim Adil Shah ||
(1580-1627). The rauza consists of two main buildings, a tomb and a mosque with
certain accessories all standing within a single square enclosure. It is the most
perfect creation of its kind.
The mausoleum is only 450 feet square, while the tomb building inside is only
115 feet. The entire architecture for every part was carried out in a most
meticulous manner. Two major buildings present within the enclosure of the
mausoleum having an oblong terrace 360 feet long by 150 feet wide, at the
eastern end of which is the tomb and at the western end facing it is the mosque.
The arched verandah of the building consists of a row of pillars, forming a double
arcade around the central chamber, providing a structural magnification
preparing the spectator for the complete finesse of the interior scheme. The
outer wall surface of the tomb chamber is ornamented with carving.
Each wall is spaced into an arcade of three shallow arches. These arches are
enclosed by borders and panels with a fine wharf at each angle of the buildin
which provide the surface with graceful shapes which were filled in either wit
arabesques, repeating diapers, or traceries inscriptions.

This is the tomb
of Ibrahim Adil Shah
Il (ruled 1580-1627), Cro
Known for religious
tolerance.
Built on a_ single
rock bed, it is noted
for the symmetry of
its features. It is said Q (ee A
that the design for deemaoeaaniatendl | }
the Ibrahim &
Rauza served as an
a)
inspiration for that of
the famous _ Taj oO | 1 :
Mahal [:]

BwWN
=
on
te)
10
11.
12.
13
14
15.
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.
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.

Important structures: GOL GUMBAZ

Provincial Style of Architecture — Bijapu r (1 490-1656 AD)
Surroundings
¢ The mausoleum is part of a bigger complex.
¢ The other buildings in the complex are a mosque (to the
west), a gateway called Naqgar Khana (drum house) and a
dharmasala or rest-house.
Naqgar Khana

Gol Gumbaz is one of the biggest single chamber structures in
the world.
The central dome is the second largest in the world (the
largest being the dome of St Peter s Basilica in Rome) which
stands unsupported by pillars measuring at 38 meters in
diameter and covering an area of 1700 sq m with 51 meters in
height.
The structure is composed of a cube, 47.5 metres (156 ft) on
each side, capped by a dome 44 m (144 ft) in external
diameter.
The walls are 3 m thick and 30.5 m in height. The
measurement from the interior is 41m on each side.

Provincial Style of Architecture — Bijapu r (1490-1656 AD)
PLAN
At each of the four corners of the
cube, is a dome-capped octagonal
tower seven stories high with a
Staircase inside.The upper floor of
each opens on to a round gallery
which surrounds the dome.
A small annex to the north side
might have been intended as a
resting- place for his mother, but
it is a later, unfinished addition.
The walls are 3 m thick.

SECTION
"Eight intersecting arches created by
two rotated squares that create
interlocking | pendentives" support
the dome.
The eight high pointed arches bisect
in the interior of the cube at regular
intervals.
| imp aeet There are six openings at its base.
LTT | | ig The low drum below the dome is
a JSD
lMiijys 7
red ND encircled by a foliated band.
Yj TUT Ao noe
QHITTTE Yj 4 lj4f
oe “poft
‘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.

=
U
Provincial Style of Architecture — Bi
Inside the mausoleum hall, is a square
podium with steps on each side.
In the middle of the podium,
a cenotaph slab on the ground marks the
actual grave below.
A very strong circular foundation was
discovered in the basement that
resembled the circular opening of the
dome above. But this foundation
supports only a platform and a light
wooden pavilion.
The real graves are in the basement,
which can be accessed by a staircase
below the entrance on the west.
The south door is the main entrance to
the tomb.
TOMB (GOL GUMBAZ) OF
SULTAN MUHAMMAD
ADIL SHAH OF
BIJAPUR
002,6-60)
PLAN OF ARCHES
SUPPORT ~~ SS
“1
SECTION IN
PERSPECTIVE
(ADAPTED FROM LA ROCHE)
SHOWING THE
UNDERGROUND VAULTS

They have a large central arch,
above which is a cornice of grey
basalt and a row of small arches
carrying a second line of plain
work crowned by a balustrade 6
feet high.
The use of groined
compartments or
pendentives, which
counteract the outer thrust of
the dome.
é.
Interior of Gumbaz

al
Dome with intersecting arches from
the inside
The interior of the dome converges
with the edge of the circle by about
4 m so that part of the weight falls Fema rT t=
on the intersecting arches that bear “ tif iF
and neutralize any other exterior me “.
forces.

The base of the monumental dome of the Gol Gumbaz is carved with
beautiful petals that cover the drum.
* 3 Horizontal courses of brick
have been used _ in_ the
construction of the dome
which has a flat section at its
- crown. It has been cemented
— with lime and has a total of six
i -) openings at the base.
a =
°* wy te .
Fg
:
Pa |
Mag
:
;
-
i]
a.
It is in the eighth storey is a broad gallery around the dome which hangs out at
around 11 feet. It can be reached by means of winding staircase in the four
towers.

The cornice and parapet of the building is the most distinct characteristic of the
facade. The cornice rests on highly carved stone corbels that project to about 3
m from the wall. The cornice supports the parapet, which has a row of arched
openings and leaf-shaped walls.
dysSST there oe ve c a
oes
pee isat tte VER
On the exterior side of the
structure there are three
great blind arches. The
central arch is the widest of
all and is decorated with
wooden panels (chajja ) and
has a small rectangular
entrance and three rows of
windows with arches.

The Whispering Gallery
Inside, at the base of the dome is the ‘Whispering Gallery, where even
minute sounds can be heard clearly 37 metres away.
A particular attraction in this monument is the central chamber, where
every sound is echoed seven times.

Important structures: —[EYINTENTTET
PT
Mihtar Mahall, which, was constructed in 1620 during the reign of
Ibrahim Adil Shah II. This building was famous for the character of rauza.
The exterior of this building is a wonderful conception; its facade consists
of two slender buttresses rising up into elegant turrets, while the window
hasa eee balcony on brackets and shaded by an expansive eave.
Among the other architectural elements present in the building area
doorway of pointed arches, with the arrangements of flat paneling,
elaborations to the buttresses, as well as string-courses and moldings. All
these are decorated wonderfully, exceptionally well rendered, and each
ee to the artistic appearance of the whole.
The Indo-Islamic architecture of Bijapur province is of a decidedly ambler
order, and has few significant features. It took the form of palaces and
civic buildings produced to the order of the various rulers, often in a style
of their own and also with the fusion of Islamic and Hindu culture.

- Though modestly sized, Mehtar Mahal
dated to 1620 is one of the most
elegant structures in the fort
-Mehtar mosque is a_ three-storey
building. It has two slender minarets
that are covered with delicately carved
birds and rows of swans.
The carvings are in Hindu
architectural style, in the form of
brackets supporting the balconies and
stone trellis work.
~The building has a flat roof and
minarets have rounded top

or
on
ft
Built probably around A.D. 1620 during the reign of Ibrahim Adil Shah II.
The building, though called a mahal, is actually an entrance gateway to a mosque.
lt has in upper storey consisting of a small assembly room corresponding to a priests’ chamber in a Christian
church, above which is an open terrace surrounded by a wall with oriel windows and a perforated parapet.
The building facade is contained within two slender buttresses rising up into graceful turrets.
The outstanding feature is a window with its balcony projected on brackets and shaded by an expansive eave.
Other features include a doorway of pointed arches recessed within an arrangement of flat paneling, certain
elaborations to the buttresses as well as string courses and mouldings.
All details are sumptuously carved and decoratively shaped, such as the struts supporting the window eave.
which are as finely wrought as carved brackets in the form of thin timber braces.
The entire structure displays excellent workmanship.

ijapur
Provincial Style of Architecture — B (1490-1656 AD)
4
;
wo
-
a
*
x
G2
aT
;
Pao.
Le
A
3s
Br
ee
eel
RE
th
®
a
SNE
hs
VES
:
ye
Tess
V0
4
a
a
Shia
ee
’
-
v
}
>
+
—
2
8
—
>
he.
ca
awe
ee
©
yA
'
.
«+
|
Wah
yt
-
+
.
,
|
Wk
TE
¢
a
Cher,
er
ee
Peer
8
7
‘
35—
-
hie
it
Saha,
|
3
PADS
“ey
2.
ny
tys
a
’
¥
Shia
b
Ss
st
vs
,
ey
hee
iG
14014
|
~~
a
Wb
cgea
«eg
,
ae
a
~
/
aia
rs
|
ans
ro
|
=m
Hie
ree",
ay
"
:
.
74
Doorway of the Mehtar Mahal

provincial-architecture(1)(1).pdf

Recommended

Recommended

More Related Content

Similar to provincial-architecture(1)(1).pdf

Similar to provincial-architecture(1)(1).pdf (20)

More from Ar Gouripur

More from Ar Gouripur (7)

Recently uploaded

Recently uploaded (20)

provincial-architecture(1)(1).pdf