jahangir and aurangzeb, Mughal architecture.(history of architecture)

1. ANAND COLLEGE OF ARCHITECTURE
JAHANGIR (1605-1627) & AURANGZEB(1658-1707)
SUBMITTED TO:-
Ar. DEVINA AGARWAL
HISTORY OF ARCHITECTURE
SUBMITTED BY:-
SACHIN GANGWAR
RUCHI CHAUHAN
KRITI S. BASAK
DEEPANSHI
BATCH:-2015 -2020

2. JAHANGIR(1605-1627)
• Jahangir had fine artistic sense in the
field of art relative uneventful. This
emperor's aesthetic predilections lay in
other directions , as he patronized the
school of miniature painting which is
associated with the Mughal regime .
Inspite of partiality for minor arts two
important buildings were raised in
jahangir reign. One was Tomb of Akbar at
sikandra and the other was the Tomb of
Itmad-ul-Daula built by Nur Jahan over
the grave of her father. The most
important feature of tomb is that they
are decorated with pietra dura i.e. in laid
with semi precious stone of different
colours.

3. WORK OF JAHANGIR
STRUCTURE
AKBAR’S TOMB
ITMAD-UD-DAULA
TOMB OF JAHANGIR at SHADERA
,LAHORE
WESTERN GATEWAY SARAI IN
JALANDHAR
GARDEN
SHALIMAR GARDEN (1619 A.D.) KASHMIR
NISHAT GARDEN

4. AKBAR’S TOMB
• Sikandra was named after Sikandar lodhi, the Delhi ruler and is
located only 13 km from the Agra Fort and is the last resting place
of the Mughal emperor Akbar .It is also called as “THE TOMB OF
AKHBAR THE GREAT”. Its construction was started by Akhbar and
completed by his son Jahangir. Akhbar himself planned his own
tomb and selected a suitable site for it. This structure has a perfect
blending of Hindu, Christian, Islamic, Buddhist, Jain themes.

5. ELEVATION OF AKBAR’S TOMB DEPICTING 5 STOREYS
Section of akbar tomb
Truncated pyramid roof

6. 1. Akbar’s mausoleum was built by his son, the Emperor Jahangir, 8 years after
Akbar’s death, completed in 1613.
2. The scheme of the mausoleum is on a grand scale, its perimeter walls
enclosing a large square garden, while the tomb structure situated in the
centre of the enclosure is a square in plan of 320’ side and over 100’ high.
3. In the middle of each side of the enclosure is a gatehouse, three of which are
false doorways added for symmetry and the southern being the main
entrance.
4. The main gateway on southern side is a minor monument in itself, with
pleasing proportions and bold inlaid ornamentation along with 4 graceful
white marble minarets above each corner.

7. LOCATION AND TOP VIEW OF AKBAR’S
TOMB
TOP VIEW OF ENTERANCE GATE SHOWING
4MINARETES OVER THE MINOR MONUMENT &
TRUNCATED PYRAMID STRUCTURE (CHHATRI
NICHE ON FRONT FACADE
NICHE ON WESTERN FAÇADE WITH
WOODEN DOOR
WESTERN FAÇADE OF
ENTERANCE GATEWAY
ORNAMENTATION AT WESTERN
FACAADE
MAIN GATEWAY TO AKBAR’S MAUSOLEUM
SHOWING IN INTRINSIC
ORNAMENTATION(PIETRA DURA)
MINAR OF TAJ MAHAL SIMILAR TO THE MINAR MADE OF
WHITE MARBLE AT ENTERANCE GATE OF AKBAR’S TOMB

8. The arrangement of the garden beyond the gateway shows the collaboration
between the garden designer and the builder to create a cohesive and unified
composition. The wide flagstone causeways are expanded at suitable
locations into square terraces containing a fountain and a sunk basin.
• The entrance gateway features more than 20 panels inlaid with intricate
geometric patterns.
• The site is built in a perfectly symmetrical complex, with the tomb located in
the centre of a vast walled garden.
• The tomb that you will see in the chamber is a replica tomb; the original tomb
is buried underground.

9. • Above the terrace is a series of sandstone pavilions, arcades and kiosks and is a
light and fanciful structure in complete contrast with the powerful
substructure. It may be assumed that this part of the mausoleum was built
under the supervision of Jahangir demolished built at this level and
reconstructed it in accordance with his architectural ideals.
• The contrast between the ground and upper storeys reflect the contrasting
characters of Akbar and Jahangir.
• The uppermost storey of Akbar’s tomb is in marked contrast with the rest of
the structure as it is composed entirely of white marble instead of red
sandstone. It is a massive structure with a solid projecting cornice with a tall
and graceful kiosk over each corner.

10. BACK SIDE OF ENTERANCE GATEWAY SHOWING CAUSEWAY LEADING
TO TOMB
PIETRA DURA ON ALL FOUR FAÇADE OF
ENTERANCE GATEWAY
TRUNCATED PYRAMID
GEOMETRIC PATTERN ON FACADE
FRONT VIEW OF AKBAR’S TOMB

11. INTERIOR
• The interior structure is surrounded by a range of delicately perforated
screens. The interior of this storey is an open court surrounded by
arcaded cloisters and a cenotaph in the centre. It is probable that this
storey was supposed to have dome to provide a suitable apex to the
pyramidal elevation and to protect the exquisite craftsmanship of the
cenotaph.
• Akbar’s mausoleum exhibits an experimental nature, its builders trying
to depart from the conventional structures and achieve an original
composition. However, due to the lack of proper vision and guidance,
the experiment has produced a structure deficient in the essentials of
coherence and mass and also unity and definition

12. GRAVE CHAMBER ON THE RIGHT OF
AKBAR’S TOMB
GRAVE CHAMBER ON THE LEFT O F
AKBAR’S TOMB VIEW OF AKBAR’S TOMB
OCTAGONAL CENOTAPH ON CORNERS INTRICADE USE OFNATURAL COLOUR ENTERANCE CHAMBER
SHOWING THE DOOR LEADING TO THE TOMB
NATURAL COLOR USED ON THE
ENTERANCE CHAMBER OF THE
TOMB
FRONT ELEVATION OF TOMB

13. SOUTHERN FAÇADE OF TOMB
DOOR TO TOMB CHAMBER
VESTIBULE TO GRAVE
INTENSIVELY CARVED SCREENOF MARBLE
LEADING TO INNER CHAMBER
ARCADE SHOWING OPENING ON EACH WALL
FOUR ARCHES JOINED TOGETHER AS DONE IN EARLIER AND
THE LOAD IS TRANSFERRED BY THE COLUMN ON WHICH
THE ACHES ARE RESTING
IWAN ON INNER SIDE OF ARCADE
BUTTRESS
POINTED ARCH
Niches
Slope

14. KANCH MAHAL AT THE ENTERANCE USE OF NATURAL COLOUR ON
EXTERIOR
SMALL TOMB AT THE ENTERANCE OF SIKANDRA SIMILAR TO
MARIAMS TOMB WHERE LAKHANI BRICKS ARE USED
LANDSCAPING ON BOTH SIDE OF CAUSEWAY

15. ITMAD-UD-DAULAH THE LORD TREASURER
• Built in A.D. 1626 for a distinguished nobleman and
Jahangir’s father-in-law, Itmad-ud-Daulah on eastern bank
of river Yamuna in Agra.
• The structure marks a transitional phase with a fresh
interpretation of the building art in its most delicate and
refined aspect, disregarding size and emphasizing
exquisite finish.
• The structure stands in a square enclosure of 540’ side,
with red sandstone gateways.
• The tomb structure, built in white marble, stands in the
centre of a garden with a formal scheme of lawns,
parterres, flagged pathways, tanks and fountains.
• The tomb is a square in plan of only 70’ side, comprising
of a central structure with broad octagonal towers in the
form of minarets thrown out from each angle.
PLAN OF ITMAD –UD-DAULA

16. • A small pavilion or kind of upper storey rises above the roof.
• There are three arched opening in each side and cornices on
brackets and a wide eave on the upper portion.
• The interior of the ground storey consists of a series of
rooms and passages corresponding to an enclosed verandah
which surrounds the central chamber containing the
cenotaph.
• The pavilion above is a square compartment with walls of
screens of fine marble tracery.
• There is little relief work in the ornamentation, the walls
being coloured delicately by inlaid stones. The inlay work
was done with a new system called pietra dura in which
hard and rare stones such as lapis, onyx, jasper, topaz
cornelian and the like were embedded in the marble in
graceful foliations, as opposed to the older system of opus
sectile, a marble intarsia of various colours
SACTION OF ELEVATION

17. BACKSIDE OF ENTERANCE GATEWAYENTERANCE GATEWAY TO BABY TAJ
MINAR HAVING BOAT KEEL DOME SIDE ENTERANCE TO TOMB
IPERSPECTIVE VIEW OF TOMB WITH TWO GATEWAYS
ENTERANE TO TOMB
Buttress
Truncated pyramidal roof

18. STEPS LEADING INSIDE WITH PIETRA
DURA ON INTRADOS OF ARCH
CHAMBER BEFORE THE TOMB WITH TRUNCATED ROOF
GRAVE WITH SCREEN FOE LIGHT
ORNAMENTATION
CHAMBER OF GRAVE
NICHES INSIDE THE CHAMBER
CARVING ON MARBLE

19. PIETRA DURA WWORK ON OUTER FAÇADE OF TOMB
FRONT ELEVATION OF TOB
BUTTRESS SUPPORTING THE PARAPIT
Hexagonal screen of marble
Pointed arch

20. • The square two-storeyed tomb stands in the centre of a charbagh.
• At the four corners of the low platform are four attached minarets. Open-
pillared domed pavilions known as chhatris top the minarets. Tapering
pinnacles with lotus mouldings crown the minarets.
• The dome, with its canopy-like shape, is different from the conventional
domes of this period.
• The tomb is beautifully conceived in white marble, coloured mosaic, stone
inlay and lattice work. Panels of geometric designs, created by inlaid coloured
stones, decorate the dado level of the tomb.
• Niches with painted floral bouquets, trees, fruit and wine decanters
embellish the interior of the central chamber of the main tomb.
• The replica tombs of Itmad-ud-Daulah and his wife are placed in the marble-
screened upper pavilion.
• There is a good view from the roof of the entrance.

21. TOMB OF JAHANGIR at SHADERA ,LAHORE
• Constructed ater his death under
supervision of Nur Mahall Begum.
• This tomb is in centre of an
immense garden and became a
custom of Mughals,area of garden is
1500 feeet side on the old bank of
river ravi.
• Enclosed by a high brick wall having
gateways in middle of each side,one
of the largest and most conventional
garden.

22. • The garden is divided into 16 equal
square by means of paved causeways
and each intersection are marked with
pool and fountain.
• In the centre of garden there stands
the Tomb of Jahangir which is square
in plan having 325’ side
• It is a single storey structure with
octagonal minarets rising up from
each corner in five stages rising up to
nearly 100’It was more evidently
regarded as a monumrntal reliquery
than a mortuary hall.

23. GARDEN DIVIDED IN 16 SQUARE
PIETRA DURA ON THE MINARETES
MINARETE MADE OF MARBLE

24. ENTERANCE AT WESTERN SIDE
VERANDAH LEADING TO CHAMBER MARBLE INLAY ON THE MINARETES
CHAMBER LEADING TO TOMBGRAVE OF JAHANGIR MARKED WITH PIETRA DURA
Cenotophs
Vault
Iwan PIETRA DURA INLAY

25. WESTERN GATEWAY SARAI IN JALANDHAR
• Jahangir showed a trend to building art
in this structure known for its detail
rather than strength.
• It was built on a site measuring 551
square feet. It had octagonal towers at
the corners.
• The western gateway, called Lahore
gate is double-storied and built in red
sand stone.
• It’s front is divided into panels
ornamented in sculptured relief. WESTERN GATEWAY TO SARAI NUR MAHALL

26. • There were figures of angels,
lotuses, lions, elephants, birds,
peacocks, men on horseback, etc.
• The scenes represented by many of
these had scenes of elephant fight
or four horsemen playing Chaugan.
• Over the entrance to the gateway is
an inscription, flanked by scenes of
fighting animals
ORNAMENTATION

27. INSCRIPTION
CORBELLING
ARCHWAY
SCREEN
DECORATED PANEL

28. SHALIMAR GARDEN (1619 A.D.) KASHMIR
• Jahangir built his
celebrated Shalimar Bagh
which was his dream
project to please his queen.
He enlarged the ancient
garden in 1619 into a royal
garden and called it 'Farah
Baksh' ('the delightful'). He
built this garden for his wife
Nur Jahan ('light of the
world').

29. • It is based on concept of char
bagh. The garden built with a
size of 587 meter's ,length on
main axis channel and with a
total width of 251 miter's .
• garden has three terraces
fitted with fountains and with
chinar tree-lined vistas.
• Broad green paths bordered
the lake with rows of chinar
trees.
PLAN OF GARDEN

30. PAVILLION FOR ROYALTY PAVILLION FOR ROYALTY
PAVILLION FOR ROYALTY
PATHWAY WITH THE FOUNTAIN IN THE MIDDLE
LEADING TO THE PAVILLION
Stone plinth

31. • At the emperor’s garden terrace there are two small pavillions built in
Kashmir style on stone plinth which is a restricted and controlled entry
zone of royal harem.
• The shalimar bagh is well known for chini khanas or arched niches
behind garden waterfalls
• It is encircled by a fountain pool that receives its supply from a higher
terraces
• A double cascade falls against a low wall carved with small niches
behind the pavillion.
• Waterfalls are a unique feature in the bagh .these niches were lighted
at night with oil lamps which gave a fairy tale appearance to the
waterfall

32. CASCADE
CASCADE
PAVILLION
SHALIMAR GARDEN THROUGH ARCH
BUTTRESS
PILLARS WITH INTENSE
CARVING
DOUBLE CASCADE
AGAINST LOW WALL
FOUNTAIN POOL

33. NISHAT GARDEN
• Similarities with shalimar garden and is the second
most beautiful garden in kashmir by jahangir
• It had overall 12 terraces, pool fountain ,pavillion,
raised hillock, pathways and trees.
• Built in east-west direction, the top terrace has the
Zenana garden while the lowest terrace is connected
to the Dal Lake.
• The central canal, which runs through the garden from
the top end, is 4 metres (13 ft) wide and has a water
depth of 20 centimetres (7.9 in).
• The water flow from one terrace to the next is over
stepped stone ramps that provide the sparkle to the
flow. All the terraces fountains with pools are
provided, along the water channel.

34. • The first terrace is a water collection chamber
that is also linked to the side flow from the
garden.
• The second terrace is accessed through a gate.
This terrace has five fountains that is supplied
water from the third terrace, from where it
flowed to the lowest terrace.
• The third terrace has a different design. The
water chute has five arched open niches in the
front and similar niches on the sides. A pavilion
Baradari, a two-storied structure, Stairways .
• The fourth terrace has two levels namely, a
water channel and a square pool. Stairways
with 7 steps lead to the fifth terrace.
• The fifth terrace where a stone bench is
provided across the channel to enjoy the
scenic beauty. This also has a square chamber
with five fountains. TERRACES
LEVEL TERRACES IN NISHAT GARDEN WITH CASCADE
THREE LEVEL TERRACE

35. • The sixth terrace is at two levels with
five fountains and distinctive paving
pattern.
• The seventh terrace, where the same
pattern continues.
• The eighth terrace is only a water
channel or chute.
• The ninth terrace, at the end of two
stairways, there is an octagonal bench.
The pool in this terrace has nine
fountains.
• The tenth terrace the stairways are
along the side retaining walls where
only the water chute with fountains is
provided.
FOUNTAIN

36. • Eleventh Terrace - Engraved paths
lead to an impressive eleventh
terrace, which has twenty five
fountains in a pool. Up from this
dramatic terrace is the last one.
• The Zenana chamber, the twelfth
terrace, is covered in the front by
5.5 metres (18 ft) high wall with a
façade of blind arches. Only one
arch in this blind facade provides
an opening to the twelfth terrace
VIEW OF TWENTY-THREE NICHES PROVIDED IN THE ARCHED
ALCOVE BEHIND THE LARGEST FALLING CASCADE; THIS
EXQUISITE TERRACE SHOWCASES THE IMPRESSIVE
CREATIVITY OF ITS DESIGNER FROM EVERY ASPECT PROVING
ISLAMIC ARCHITECTURE’S CELESTIAL RANKING.

37. STILL WORKING FOUNTAIN OF MUGHAL
PERIOD VIEW OF VALLEY BEHIND THE
PAVILLION
INSIDE OF PAVILLION
ENTERANCE WITH DAL LAKE
SEATING SPACE IN BETWEEN THE POOL
PAVILLION WITH CASCADE

38. AURANGZEB
(1658-1707)

39. THE MUGHAL PERIOD OF AURANGZEB(1658-1707)
NTRODUCTION
• It is the last of ‘grand moguls’
• The beginning of the decline of the
mughal empire
• Aurangzeb did not show much interest in
art and architecture but he built mosque
and also tries replicate taj mahal but it
could no way match the real one

40. Mausoleum of Rabi’s daurani (wife of emperor)
• Also called as Bibi ka maqbara (mini taj- mahal)
• Finished in 1678
• Located in Aurangabad
• Poor replica of taj mahal
• Constructed by prince Azam Shah Nawaz Khan in memory of his mother
• At glance it shows the design was inspired by taj mahal,entire scheme with its domed central
structure,4 minarets,and its garden setting,is all similar to taj mahal,although it is little more
than half its size.
• This structure is in the form of a hexagon, and the angles are ornamented with minarets.
• On either side of the main arch, are two smaller arches, one above the other, and higher one
leads into a gallery for music. After passing through the entrance a small tank is proved and a
low profile screen wall leads to the main structure. The screened pathway has a series of
fountains at its centre, which adds to further the serene atmosphere.

41. • The typical Mughal Char
Bagh pattern adorns the
mausoleum thereby
increasing its beauty and
splendor through its
symmetry and excellent
garden layout
• the tomb is surrounded by a
screen work of perforated
marble.
• ground work of marble is not
inlaid with precious stones,
which is the characteristic
feature of the Taj Mahal, and
its place has been supplied
with wreaths, scrolls, frets,
and other elegant forms in
stucco-plaster.
Occupied with
gardens of frut
trees, cypresses
and evergreen
Tomb at the center
a high square platform of
polished red porphyritic trap,
72 feet square,
High enclosure wall is crenellated
with pointed arched recesses and
bastions at regular intervals are
provided to cut down the
monotony.
Enclosure measuring
approximately 458 m.
N-S X 275 m. E-W.

42. A large cusped arch in front rises
almost to the total height of the
building; but the real exit is through
a smaller arch with folding doors at
the other end
Marble dome
Four minarets(72’
hight) at the
corner angles with
little chattris over
it

43. Moti masjid (1709)
• White marble mosque inside the red fort.
• It is very small, just 40 by 55 feet.
• Onion domes originally gilded with
copper.
• Totally made of marble
• The roof and arches are rich with
carvings.
• Each marble musulla (prayer carpet) on
the floor is decorated with a double
outline of black and mustard-yellow
polished limestone.
• Enclosed in the front and both sides by
high walls.
• It was built by aurangzeb as his private
mosque.
Three small cupolas
Too rounded contours
showing lack of suavity
of form
Floral art work Fruit bowl decoration Bold black line on stairs

44. Gyanvapi Mosque (1664)
• Constructed on the site of demolished
Kashi Vishwanath Temple.
• The facade is modeled partially on
the Taj Mahal’s entrance.
• Material from demolished temple used
to built the mosque.
• Minarets are the major attraction.
71m high minarets
Onion shaped turrets
Facade with niches
View of mosque from river Mosque entrance

45. Badshahi Mosque (1673)
• Two storey red sandstone edifice entrance with framed
and carved panelling having muqrana which is division
of squinch into smaller ones producing cellular
structure.
• Ascended by a flight of 22 steps.
• Sandstone paved courtyard has an area of 276,000
square feet having single-aisled arcades
• 53.75m high minaret with 20.5m outer circumference
topped with marble canopy.
• Floor is made of variegated marble.
• Its interior is richly decorated with inlaid marble, fresco
work, stucco tracery, ornamental merlons, marble
lining.
• It is made of kiln burnt bricks, lime mortar and red
sandstone veneer. Floor has musalaah pattern.
• Main dome has 21.49m dia and 15m height while the
smaller domes have 16.36m dia and 9.5m height.
Muqrana pattern Entrance
Main dome
EntranceWater pond
Prayer courtyard
Minaret

46. Jama Mosque (1661)
Four minarets
High central dome
•It is made of red sandstone.
•It has three domes with central dome being the
highest
•It has a high central archway
•This mosque is very famous for its architectural
style and intricate carvings.
•Adjacent to krishna janmabhoomi temple
complex.
Central prayer courtyard

47. THANK you