1) Islamic Architecture.pptx

Influences on Islamic
Architecture

Evolution of the Islamic Architecture
• In the late twelfth century, the armies of Mohammed Ghori from Central
Asia, invaded India and defeated the Chauhan Rajputs to establish their
power in north India, with Delhi as their capital.
• Under the rule of QutbuddinAibak, the slave and successor of Mohammed
Ghori, the position of the Sultanate was consolidated and there began a
phase of cultural experimentation and efflorescence in language, food, and
architectural styles.
• The Turks had assimilated the cultural traditions of Central and West Asia,
and these, when blended with the indigenous architectural styles of India
produced a distinct building style, often called Indo-Islamic.

Salient Features of the Architecture during The
Sultanate Period
The salient features of the architecture during the Sultanate period may be
estimated under these heads as given below:
• A Mixture of Indian and Iranian Styles: The first salient features of the
Delhi Sultanate Architecture were that from the very beginning there was
the mixing of Indian and Iranian styles in it.
• Though the Turkish Sultans had brought with them the architectural styles
of Persia and Central Asia, but they had not brought with them the builders.
The first need of the new rulers was residential houses and prayer mosques.
• With the help of Indian Artisans they built these buildings in the least time.
The initial buildings of the Turks show that Indian style was adopted in
them. It was due to two reasons:
• Firstly, the builders were Indians, and Secondly, they were constructed out
of the temples broken during the war. A good example of such type of
architecture is ‘ The Quwwat-ul-Islam Mosque of Delhi.

• Pointed Arch; Narrow and High Towers and Use of Domes: A look at the towers,
palaces, mosques, forts and tombs of this period shows that during this period
generally pointed Arches like the English alphabet ‘B’ in Reverse Shape and
very high towers were used.
• In many tombs semi-circular domes were made. A good example of such type of
architecture is ‘ Tomb of Gayasuddiri and Qutub Minar . Both the constructions
were constructed during Sultanate period. ‘Qutub Minar’ is a good example of
the tower getting narrower as it attains height.
• The mosque in Ajmer called ‘Adai-din-ka-Jhonpada’ was constructed either after
breaking a “Buddhist monastery” or a ‘Hindu Temple’. These places of worship
were neither decorated with statues nor with human paintings. They had a huge
chamber, Tombs of New Style.

• Tombs were constructed during the Sultanate period often in memory of Sultans,
big Amirs and many Sufi saints.
• Many Types of Stones and Good Quality Lime was used: During the Sultanate
period many coloured stones like red, light black, yellow and white marbles were
used.
• During this period huge buildings were constructed without supporting pillars and
to keep them together very good quality of lime was used, Scientific
Constructions:
• During the Sultanate period buildings were constructed in a scientific manner-a
thing which they had learned from the Arabs.
• The Turkish Sultans used both Stone and Beam to build Dome and arch. By this
method they were able to construct High Square or round domes which made the
buildings look grand and huge.
• During the Sultanate Period human and animal figures were not used to decorate
the buildings but rather various types of flowers and leaves, geometrical designs
or the Quranic Ayats were used for this purpose.
• This method of embelishing the buildings is called the Arabic Method but with
the passes of time the Delhi Sultans adopted certain Hindu elements of
embelishment also like the lotus, swastik, creepers, bells, kalash etc.

Salient Features of Monuments of Qutub Complex with
Special Reference to Quwwat-ul-Islam Mosque
In the late twelfth century, the armies of Mohammed Ghori from Central Asia,
invaded India and defeated the Chauhan Rajputs to establish their power in north
India, with Delhi as their capital. Under the rule of QutbuddinAibak, the slave and
successor of Mohammed Ghori, the position of the Sultanate was consolidated and
there began a phase of cultural experimentation and efflorescence in language, food,
and architectural styles. The Turks had assimilated the cultural traditions of Central
and West Asia, and these, when blended with the indigenous architectural styles of
India produced a distinct building style, often called Indo-Islamic.
https://issuu.com/unleashkbr/docs/dissertation_final

Influence of the Mughal Empire
• A Mosque lies at the foot of Qutub Minar which is a special site in itself; a
beautiful blend of Indo-Islamic architecture that showcases how the
Mughal Empire (1562) influenced Indian culture.
• Mughal Rulers had a fascination with art and sculptures, so you will find a
lot of detailed and decorative elements inside; each with their own story to
tell.
• One of the most outstanding elements is the pillar highlighting ancient
India’s achievements in metallurgy. The most astonishing fact is that the
pillar is made of iron and has stood tall for 1,600 years without rusting.

About Qutub Minar
• A UNESCO World Heritage Site, and the tallest building in the world made
of bricks, Qutub Minar is a 73-meter high tower that consists of five storeys
and a spiral staircase with 379 steps.
• Built-in red sandstone, Qutub Minar is a real masterpiece of Mughal
Islamic craftsmanship. The design is based on the Minaret of Jam located
in Western Afghanistan, which marks where the ancient city of Firuzkuh
once stood.
• The complex in which it stands is regarded as one of the most famous
arrays of historical monuments in Delhi, so if you’re traveling to India it’s
highly likely that you’ll find yourself (at some stage) in front of this famous
minaret.
• But with so much cultural heritage tide to one monument, it would be a
shame to visit and not appreciate the story or history behind it.

The term ‘Qutub Minar’ is derived from Arabic which means
‘pole’ or ‘axis’. The infrastructure of Qutub Minar was
established in AD 1199 as one of the earliest sites built by
the Delhi Sultans.

Salient Features of Monuments of Qutub Complex
• This building was a commemoration of a great victory; Muhammad
Ghori (founder of Muslim rule in India) had triumphed over the Rajput
dynasty at bringing Islamic rule to India. He defeated Delhi’s last Hindu
ruler.
• His general Qutub-ud-Din Aibak became the first Islamic ruler of north
India, and the construction of the first Islamic building (Qutub Minar)
began. Though it was not to be completed within his lifetime.
• The construction of Qutub Minar took 28 years to complete; the first
storeys was constructed under Qutub-ud-Din Aibak, though the remainder
of the storeys were constructed by his successors.
• Restoration works/additions were also made in 12th century, 14th century
and 19th century due to natural disasters, so the different architectural
styles from the time of Aibak to Tuglaq are clearly visible in the Qutub
Minar.
• The minaret also has epitaphs in Arabic and Nagari ciphers in different
places depicting the history of the monument.

• It was ordered that this monument be constructed as a sign of victory and
establishment of Muslim rule. So it was to be a grand work of Indo-Islamic
architecture and design.
• The exterior walls of Qutub Minar reveal its history of construction, with
chiseled Parso-Arabic and Nagari character carvings. The inscriptions clearly
describe the motive, way, the time taken and every minute detail about this
monument.
• From the intricate carvings, you’ll note an aura of Afghanistan pattern,
blended with local artistic conventions having garlands and lotus borders.
Fortunately, renovations of the minaret throughout time have maintained the
original charm of the building.
• Each of the five different storeys has a projected balcony that circles the Minar
(backed by stone brackets). The first three storeys are made with red sandstone
while the remaining were constructed using marble and sandstone. If you look
closely the cylindrical shaft has inscriptions of the Quran.

About Qutub Minar: Today
• Today, this monument is a popular tourist attraction in Delhi and a part of
the Qutub Minar Complex. It is also one of the UNESCO World Heritage
Sites in Delhi, a status granted to it in 1993 for its historical importance and
architectural brilliance.
• Qutub Festival, an annual cultural event, is held at this complex every year
during the month of November-December. This three-day long festival
witnesses a lively gathering and various mind-blowing performances by
musicians, dancers, and artists.
• The Qutub Minar complex is under the protection of the Archeological
Survey of India under its Delhi circle of monuments.

The Qutub Complex
• The Qutub Minar is part of a larger complex, and the Qutub Complex is
regarded as one of the most famous arrays of historical monuments in
Delhi.
• It was built on the ruins of Lal Kot which consisted of 27 Hindu and Jain
temples and Qila-Rai-Pithorac. It has born everything from the wrath of
nature to innumerable reconstructions, though its monuments still stand to
this day.
• Beyond Qutub Minar, its highlights include the Alai Darwaza (the first
example of the true arch and dome), and Quwwat-ul-Islam Mosque, which
was the first mosque built in Delhi, and a surviving example of Ghurids
architecture in the Indian sub-continent.

Things to See in the Qutub Minar Complex
• The Qutub Minar Complex in Delhi has myriad attractions for all the
history buffs out there. The main structures in the complex include:
• Quwwat-ul-Islam Mosque, a magnificent monument
• Alai Darwaza, a domed gateway to the mosque from the south side
• Iron Pillar of Chandragupta II, which never rusts
• Tomb of Iltutmish, who was the second ruler of the Delhi Sultanate
• Tomb of Imam Zamin, who was a Turkestani cleric
• Alauddin Khilji’s tomb and madrasa
• Alai Minar, the unfinished victory tower of Khilji.
• Smith’s Folly, the cupola that was once installed on top of the tower
• Sanderson’s Sundial, a sundial designed in white marble

Lesser-Known Information about Qutub Minar
• Lesser-Known Information about Qutub Minar
• The word Qutub Minar means pole or axis in Arabic.
• In 2006, the Qutub Minar Complex attracted 3.9 million visitors, making it
the most visited monument of India for that year.
• The design of Mini Qutub Minar in West Delhi’s Hastsal village and Chand
Minar in Daulatabad were inspired from this tower.
• The striking minaret is featured on the tokens and travel cards issued by the
Delhi Metro Railway Corporation.
• In 2019, the Archeological Survey of India started illumination work of the
complex to promote night tourism in Delhi.

Squinch
Squinch: A small arch on the inside corner of the square base to connect the
dome to the base and transfer its load to the corners.
Pendentives: A curved triangle that connect the space between the arches and
walls.
The squinch is the simpler of the two. It was developed in the Middle East and
ancient Rome around the 5th century AD was often used in early Islamic and
Byzantine architecture.

Squinches and Pendentives in Architecture
The Romans were the first to truly master arched construction. A dome
construction either demanded that the supporting structure is round, such as in
Rome’s Pantheon, or are supported on a square base by using a squinch or a
Pendentives.
The squinch is the simpler of the two. It was developed in the Middle East and
ancient Rome around the 5th century AD was often used in early Islamic and
Byzantine architecture.

Squinch: Concept and construction
• Straight walls are erected on a square base, a dome is placed on the top of
these four walls (This means that the load is transferred from the points the
dome meets the walls i.e. the center of the wall).
• A heavy structure like dome needs uniform weight distribution hence the
load must be transferred through the corners of the square as well.
• The squinch is achieved by building a short bridge across each corner of a
square to transform the base of the dome into an octagon.
• This can either be achieved by a system of corbelling or by constructing a
small arch.

Pendentives: Concept and construction
• Though Squinches solved the problem of supporting the dome they the
tended to have a blocky-chunky appearance, hence a much more elegant
solution- pendentives was developed by the Byzantines.
• It is simpler in appearance but more complex in its geometry. Architects
used four pendentives on the upper corners of a room, where they arched
inward to meet the dome’s circular base.
• These triangles looked like a triangular sector cut from a sphere

Evolution of Pendentives
• During the Renaissance and the Baroque the preference for domed
churches, especially in Roman Catholic Europe and Latin America, gave
great importance to the pendentive.
• Pendentives are also frequently used in Islamic architecture. They are often
decorated with stalactite work or as in Iran, with delicate ribbing.
• When the curve of the pendentive and dome is continuous, the vaulting
form is known as a pendentive dome.

Difference between Pendentives and Squinches
Squinches
• An arch in each of the corners of a square base that transforms the base of
the dome into an octagon and allows the dome to rest on the square base.
• It does not carry the weight and dynamic strain of the dome efficiently: It
has a low limit to the diameter of the dome that is supported by Squinches.
• It makes the overall appearance crude blocky and imprecise, but easy to
execute in almost any material with only moderately skilled labour.
Pendentive
• The concave triangular section provides a transition between a dome and
the square base on which it is set, and transfers the weight of the dome.
• Pendentives transfer the weight directly downwards into the corner piers by
resting the dome on a second, larger, partial dome (a circle drawn around
the corners of the square formed by connecting the pendentives.)
• Pendentives allowed vastly larger domes to be built but at a significantly
higher cost of skilled labour and finer load-bearing materials.

Varities of Squinch
• Alai Darwaza, Delhi
• Tomb of Ghiyasuddin Tuglaq & Khirki Masjid
• Shish Gumbad & Purana Qila, Delhi

Alai Darwaza
Facts about Alai Darwaza
• It is located in South Delhi, inside the Qutub Minar complex, which has
beautiful and attractive carvings of Islamic architecture with white marble
and red sandstone.
• The workmanship of this grand and spacious Alai Darwaza shows a
glimpse of early Turkish art, hence it is also called the best and unique
specimen of early Turkish art.
• The construction of this historic Alai Darwaza in Alauddin Khilji’s project
was an important part of the expansion of the Quwwat-ul-Islam-Mosque to
give a beautiful look to the Qutub Minar complex.

Alai Darwaza
• It was one of the four huge and grand entrances, which was
completed, while the remaining three entrances could not be
completed. Alauddin Khilji, the ruler of the Khilji dynasty, died in
the year 1316 AD before the construction of the other three gates.
• Alai Darwaza is one of the first buildings in India to use Islamic
architecture in its construction, hence the Alai Darwaza is also
known as the ‘Gem of Islamic Architecture’, the beautiful Islamic
carvings done in Alai Darwaza.
• The Slave dynasty in Delhi did not employ the styles of true Islamic
architecture during their reign, and they used the wrong domes and
the wrong arches.For this reason, the Alai Darwaza is the best
example of the first right Islamic domes and right arches in India.
• Alai Darwaza is considered to be one of the most important
historical buildings built during the time of Delhi Sultanate.

Alai Darwaza
Alai Darwaza Architecture
• The pointed circular and sprawling fringed edges of the historic Alai Darwaza
are known as lotus buds, which connect it to the Quwwat-ul-Islam Mosque.
• Inside the major structure of the Alai Darwaza is a single hall, which is about 35
feet in length and 56.5 feet in width. At the same time, the height of its domed
roof is about 47 feet.
• On the east, west and south sides are the pointed arches of the three doors,
which are in the shape of a horseshoe, while the entrance on the north side is of
the native form, while its arch is semi-circular. The entire structure of the Alai
Darwaza looks beautiful.
• The Alai Darwaza also includes a dome, the dome has been constructed on
scientific principles. Based on complex geometric calculations, the dome has
been designed very finely.
• This dome is built on an octagonal base. Plaster material has been used on the
exterior of the dome to preserve it and provide it a uniform appearance.

Alai Darwaza
• One thing to note about the dome is that all efforts before the tomb of
Sultan Iltutmish to build this dome were unsuccessful. The Alai Darwaza
dome is a notable achievement in this regard.
• The Alai Darwaza is beautifully carved with white marble and red
sandstone. Along with this, beautifully carved lattice windows on both
sides of the entrance are also made, and the decoration of this attractive
Alai door surface is also beautiful and attractive.
• All the entrances to this historic building have been brilliantly designed.
The four arches of this gate are semi-circular.
• There is also a point in the center of the gate, however, the similarity of
this gate is almost like the rest of the gate.
• The overall shape of the Alai Darwaza looks quite attractive and
impressive. The height of which is more than 14 meters. The length of
the gate is 17 meters and the width is about 10 meters. The gate is about 3
meters thick. In this way, this gate was built very strongly, so it took a
long time to build it.
• This magnificent and historic Alai Darwaza in Delhi is quite magnificent,
people come from far and wide to see its beautiful carvings.
• Alai Darwaza is a gate that is not only huge and grand but also a unique
specimen of Islamic architecture.

Tomb of Ghiyasuddin Tuglaq & Khirki Masjid
• The Tughlaq belonged to the Turkish origin of Muslim family and were in
power at Delhi for nearly a hundred years. Architecture during Tuglaq
dynasty was flourished in the hands of three rulers.
• They were the founder of the dynasty, Ghiyas-ud-din Tughlaq who ruled
from 1320 to 1325, his son, Mohammed Shah Tughlaq, ruled from 1325 to
1351, and the most creative of all in his building projects, Firoz Shah
Tughlaq who ruled Delhi from 1351 to 1388.
• Firoz Shah Tughlaq was a great patron of Islamic architecture.
• He built the fifth city of Delhi, named as Ferozshah Kotla.
• Apart from Ferozshah Kotla, several building arts like Tughlaqabad the
third city of Delhi, the Tomb of Ghiyas-ud-Din and Khirki Masjid
represents the major development of architectures during the Tughlaq
dynasty.

Tughlaq Dynasty & Architecture
• Architecture during Tughlaq dynasty flourished in India when Ghazi
Tughlaq came to power in 1321 in Delhi defeating the Khilji rulers.
• The period of Tughlaq dynasty in history has been marked as the time of
elation and rediscovery for Islamic architectures.
• Master builders were hired for a new Sultan to construct a new empire full
of creativity in Indo-Islamic style.
• The Indo-Islamic style dominated the pattern of architecture during
Tughlaq dynasty.
• The Indo-Islamic style of architecture was the amalgamation of Islamic
architecture as well as Hindu style of architecture.
• This amalgamation happened during the invasion period of the Muslim
rulers; they used to build their mosques with the ruined materials of the
Hindu or Jain temples and few temples itself were modified into mosques.
• The fusion created the new Indo-Islamic style of architecture in India that
gradually developed into a great architectural significance during the
Tughlaq dynasty.

Tomb of Ghiyas-ud-din Tughlaq
• Built during the years 1320-25, the tomb of Ghiyas ud din Tughlaq, the first ruler
of the Tughlaq dynasty, stands like a small fortress off the Mehrauli – Badarpur
road, directly opposite the Tughlaqabad fort.
• The tomb was built by the Sultan himself, and is a brilliant example of the early
Indo – Islamic style.
• The structure sits within a fortified pentagonal enclosure, with the heavily
battered walls and corner turrets characteristic of Tughlaq era buildings.
• The tomb itself is square in plan, with it’s walls battered upwards and crowned
dome.
• The tomb stands as an early example of the synthesis of the Indo Islamic style.
An interesting feature seen here is the ‘arch and lintel’ configuration of the
entrance archway.
• Despite the inherent structural stability of the true arch, the Indian builders
installed a redundant stone lintel near the springing line.

Khirki Masjid
• Located in Jahanpanah, the Khirki Masjid was commissioned by Khan-i
Jahan Junan Shah, a high ranking official in the court of Tughlaq Sultan
Firoz Shah.
• The mosque has derived its name from the khirkis (windows) which adorn
the upper floors.
• Spread over an area of 87 square meters, the Khirki Masjid has four large
courtyards which provide ample light and ventilation to the inner prayer
halls of the mosques.
• The mosque is built on a raised platform and is square in shape and is
divided into quarters. Each quarter has its own courtyard.
• Passageways ways running from the north to the south of the structure
divide the mosque into aisles.

Shish Gumbad
• The crypt of Mohammed Shah was built in 1444 by Ala-ud-din Alam Shah as
an acknowledgment to Mohammed Shah.
• The tomb of Mohammed Shah is noticeable from the road, and is the original
construction in the gardens.
• The structural design is characterized by the octagonal chamber, with stone
Chhajjas on the top and guldasta on the corners.
• Another tomb inside the gardens is of Sikander Lodi, which is alike to
Mohammed Shah's tomb, even if with no chhatris.
• It was built by his son Ibrahim Lodi in 1517, the final of Sultan of Delhi from
Lodi dynasty, shortly he was defeated by Babur.
• His tomb is often mistaken to be the Shish Gumbad, and is located in close to
the tehsil office in Panipat.
• It is uncomplicated rectangular formation on a lofty podium.

Shish Gumbad
• The crypt was reconstructed by the British, and a message mentioning Ibrahim
Lodi's conquer by the hands of Babur and the restoration was incorporated in
1866.
• The crypt was reconstructed by the British, and a message mentioning Ibrahim
Lodi's conquer by the hands of Babur and the restoration was incorporated in
1866.
• There are three vaulted mosque, neighboring to Bada Gumbad, Lodhi Gardens.
Beneath the Mughals major restoration would habitually take place depending on
what circumstances they would make use of the gardens.
• After the 15th century Sayyed and Lodi dynasties, two villages grew just about
the monuments; however the villagers were reestablished in 1936 in order to
generate the precincts.
• During British Raj it was landscaped by Lady Willingdon, companion of
Governor General of India, and named the 'Lady Willingdon Park.
• In 1947, subsequent to self-determination, it was specified its current name, Lodi
Gardens. During the point in time Stein also made a glasshouse inside the park.

Shish Gumbad Architecture
• In the heart of the precincts is the Bara Gumbad.
• It consists of a bulky rubble-construct dome, it is not a tomb but a doorway to a
close three vaulted Masjid or the Mosque, which was built in year 1494 at the
stage of the sovereignty of Sikander Lodi, there is a dwelling neighboring a
innermost courtyard, where there is a water tank.
• Reverse to the Bara Gumbad is the Shish Gumbad for the glassy tiles used in
during its edifice.
• The garden has the watercourse which connects the Yamuna River to Sikandar
Lodi's tomb.
• The vault still has the fortifications enclosing it. Close by to Sikander's tomb is
the Athpula Bridge, and is the preceding of the buildings in Delhi, which was
built at the time of the supremacy of Akbar.
• It consist of seven arches, amid which the fundamental one being the largest.
Lodhi garden is the vital place for the safeguarding.

Shish Gumbad Structures inside
Muhammad Shah's Tomb
• - It is positioned in the southwestern division of the garden. Inside the tomb
there are 8 graves of which the fundamental one is said to be the grave of
Muhammad Shah, the third monarch of the Sayyed dynasty. The
exquisiteness of this tomb lies in its symmetry, the uttermost lotus and
adornment on the domes.
Bara Gumbad and Masjid
• - This four-sided figure or the structure of the tomb surmounted by a hefty
dome, is to be found 300 meters northeast of Muhammad Shah's tomb.
There are facades and turrets and was allegedly built at the control of
Sultan Sikandar Lodi. The record says that, the internal of the tomb had
eye-catching stuccowork and paintings.
Zheesh Gumbad
• - It is about few meters to the north of Bara Gumbad Mosque. It is also
known as glassy dome' since it has attractive blue tiled embellishment
which remains only in traces on top of the main frontage.

Purana Qila
(Old Fort)
History
• It is widely believed that Emperor Humayun had built this fort and adorned
it with colossal gateways back in the early part of the 16th-century. Further,
he laid the foundation for his new capital Din Panah at this location.
• When Sher Shah Suri took control of the structure after defeating Humayun
in 1540, he renamed it as Shergarh. During his rule of five years, he made
quite a few structural additions to the fort complex.
• Over the years, the fort has been the location of many temporary
settlements.
• At the time of the Second World War, this fort served as a camp to around
3000 Japanese people.
• After the country’s independence and partition, the fort provided shelter to
several thousands of people crossing over to Pakistan from Delhi.

Purana Qila
(Old Fort)
Architecture
• Purana Qila is a massive structure with walls rising up to a height of up to 18
meters.
• They cover 1.5 km in length. Shaped in a rectangular pattern, the fort is
adorned with three arched entrances namely the Bara Darwaza (Big Gate),
the Humayun Darwaza (South Gate), and the Talaqi Darwaza (Forbidden
Gate).
• All three gates bear a similar feature – that is, they are double-storied
structures built in sandstone and adorned with two gigantic semi-circular
towers.
• The ornate detailing on the pavilions (chhatris) and balconies (jharokhas) of
the fort gateways display traces of Rajasthani style.
• The Qila-i-Kunha Mosque situated within the fort exhibits five doorways and
is designed in the Indo-Islamic architectural style.

Development of the provincial style
• Muslims first arrived in areas now constituting southern half of Pakistan -
mostly Sindh and Baluchistan in Eighth century A.D. when ships of Arab
general Mohammad bin Qasim landed somewhere near the mouth of the
Indus river and then traveled upriver all the way to the important city of
Multan in lower Punjab.
• Thus bringing most of the commerce routes from the Indus valley to
Mesopotamia through Baluchistan.
• 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.

Provincial Style of Punjab
• The earliest provincial style to emerge was in Punjab, as here the first
contacts with Islam were made through its two principal centers, Multan
and Lahore.
• Arab invaded Multan from the Sindh region earlier in the eighth century.
But the province received a permanent Islamic influence in the tenth
century.
• The Indo-Islamic architecture of Punjab province was mainly of
brickworks and produced highly decorated building arts.
• Their palaces were embedded with brickwork and other wooden elements,
mainly their doorways, windows and other hanging balconies.
• The buildings were constructed in Islamic styles with the fusion of Hindu
culture.
• A city of undivided Punjab of India, Multan became a part of Pakistan in
1947.
• Moslem influence was first felt upon Multan.

• Multan was the city when Arab invasion took place in its Sindh area in the eighth
century.
• Due to the early penetration, it was linked with the Southern Persia through road,
river and sea and later became the capital of an independent Arab.
• As a result, Multan has more Iranian influence than India, as its arts now testy.
• However, Lahore in undivided Punjab received the Islamic
• influence and its architecture later from Afghanistan in the tenth century when
Mahmud Ghazni captured Punjab.
• Later Ghazni was defeated by the rival power Ghor, and Lahore became an
important centre and the capital of the Ghaznavide kingdom.
In the twelfth century, the city was known mainly for the royal residences of the
princes of that dynasty.
• It can be said that Indo Islamic architecture in Punjab initiated in that era.
• In the middle of the 12th century, Ala-ud-din Ghor destroyed the palaces of
Lahore.
• Therefore, not much is known about the architectural styles and characteristics.
• It is assumed that probably the ruined buildings of Lahore had much the same
character as those in the parent city of Ghor.

• In remote areas of Lahore, we have some ruins of wooden architecture that bear
resemblance to the buildings of the Saljuqs of the 12th century.
• The fine wooden work owe to their indigenous techniques of timber treatment
and construction.
• But the projecting bosses and patterns in carvings are definitely of Saljuqian
origin.
• Hence Lahore`s and Multan`s architecture were of Ghaznavide-Saljuqian and of
Arab-Persian derivation respectively.
• In remote areas of Lahore, we have some ruins of wooden architecture that bear
resemblance to the buildings of the Saljuqs of the 12th century.
• The fine wooden work owe to their indigenous techniques of timber treatment
and construction.
• But the projecting bosses and patterns in carvings are definitely of Saljuqian
origin.
• Hence Lahore`s and Multan`s architecture were of Ghaznavide-Saljuqian and of
Arab-Persian derivation respectively.

Architecture of the Punjab Province
• Mainly of Brick, as stone was not easily available in the alluvial plane of
the 5 rivers.
• Known for their fine brickwork, the bricks used were similar to those used
by the Roman builders-broad but thin.
• The bricks were sometimes laid in straight upright courses to ensure
additional strength.
• Timber framed buildings, with the wooden beams inserted in the walls.
Beam and bracket system prevailed.
• Arches were absent.
• The brick and timber walls were sloped to offer better solidity. Due to the
sloping construction in the buildings, they appeared like tents.
• The horizontally placed beams were embedded with brickwork and other
substantial wooden elements, especially doorways, windows and also
hanging balconies providing a very artistic wooden portico.

• The half timbered construction of buildings were decorated with painted plaster
with paneling of glazed tiles in dazzling colors.
• Doors were framed and carved with wooden designs resembling heavy tassels
and knotted fringes, by cords on each side to form the opening.
• The half timbered construction of buildings were decorated with painted plaster
with paneling of glazed tiles in dazzling colors.
• Doors were framed and carved with wooden designs resembling heavy tassels
and knotted fringes, by cords on each side to form the opening.
• These buildings were basically Islamic impregnated with the imaginative genius
of the indigenous craftsman.
• Except for the remains of timber construction, we have no other complete
example of building art in Lahore.
• But, in Multan we have a group of 5 tombs.
• These 5 tombs were of –
• (1) Shah Yusuf Gardizi (2) Shah Bahau-l-Haq (3) Shadna Shahid (4) Shah
Shams-ud-din Tikrizi (5) Shah Rukn-i-Alam

Tomb of Shah Rukni-e-Alam
• The tomb of Shah Rukni-e-Alam was built between 1320 and 1324, is an
unmatched pre-Moghul masterpiece.
• The Mausoleum of Rukn-i-Alam could possibly be considered as the glory
of Multan.
• From whichever side the city is approached, the most prominent thing that
can be seen from miles all around is a huge dome.
• This dome is the Shrine of the saint. The tomb is located on the southwest
side of the Fort premises.

Description / Main Features
• The tomb is a typical example of Tughlaq style of architecture.
• The plan is an octagon with inclined walls and corner turrets.
• The second storey is also an octagon but without corner bastions and
turrets.
• Each side of this octagon has an arched opening fitted with grilles and set
in rectangular frames decorated with Multani tiles.
• Each corner of this storey has a small kiosk on it. The third storey is the
dome & its finial.
• The total height of the building is 31 metres including 12 metres for the
dome.
• As it stands on the high ground, the total height above the road level is 46
metres.
• The mosque in the complex was originally built during the reign of
Aurangzeb (Huq, 139) and a smaller mosque in the southwest of the tomb
is believed to have been built by Bahamian Johan Gash (Huq, 140).

• Besides its religious importance, the mausoleum is also of considerable
archaeological value as its dome is reputed to be the second largest in the
world.
• The mausoleum is built entirely of red brick, bounded with beams of shisham
wood, which have now turned black after so many centuries.
• The whole of the exterior is elaborately ornamented with glazed tile panels,
string- courses and battlements.
• Colors used are dark blue, azure, and white, contrasted with the deep red of
the finely polished bricks.
• The tomb was said to have been built by Ghiyas-ud-din Tughlaq(r. 1320-
1325) for himself during the days of his governorship of Depalpur, between
1320 and 1324 AD, but was given by his son, Muhammad bib Tughlaq to the
descendants of Shah Rukn-e-Alam for the latter’s burial in 1330.
• The mausoleum of Rukn-e-Alam has been admired by not only the travelers
and chroniclers but also by the art-historians and archaeologist who wrote the
architectural history of the subcontinent.
• In the 1970s the mausoleum was thoroughly repaired and renovated by the
Auqaf Department of the Punjab Government.
• The entire glittering glazed interior is the result of new tiles and brickwork
done by the Karigars of Multan.

Architecture of Bengal Province
• They were distinct from the from the Indo-Islamic style practiced at Delhi
and often displayed definitely original qualities.
• In the areas, which had a strong indigenous tradition of workmanship in
masonry, regional styles of Islamic Architecture produced the most elegant
structures.
• The buildings constructed for the regional states were less distinctive.

Bengal Architecture
• It developed in the beginning of the 14th century.
• Freed from threat of military invasion from Delhi as a result of agreement
with Firuz, and the subsequent weakness of the Delhi sultanate, the Sultans
of Bengal adorned their capitals, Gaur (old lakhnauti) and Pandua 25 kms
with magnificent buildings.
• Most of the prominent buildings were located within the boundary of the
Malda District.
• The beauty of the Bengal style consisted in ornamentation in terracotta,
curved cornice, and the hut-shaped superstructure over the roof and in
juxtaposition with the semicircular dome.

Chota Sona Masjid
• The mosque was built between 1493 and 1519 during the reign of Bengal
Sultan Alauddin Husain Shah. The mosque’s fifteen domes were once
gilded, earning it the name Choto Shona Masjid (Small Golden Mosque).
• The mosque is in Bangladesh’s Chapai Nawabganj district. The mosque is
located in the Firozpur Quarter, about 3 kilometers south of the Kotwali
Gate and 0.5 kilometers south-east of the Mughal Tahakhana complex.
• Built of brick and stone, the mosque proper forms a rectangle.
• It has an outside dimension of 25.1m from north to south and 15.9m from
east to west.
• All four walls are veneered externally and to some extent also internally
with granite stone blocks.

Mihrab is a niche in the wall of a mosque that indicates the qibla, the direction
of the Kaaba in Mecca towards which Muslims should face when praying.
• The stone facings on the southern side of the west wall have disappeared
because of conservation works after its destruction by the great earthquake
of 1897.
• The four exterior angles of the building are strengthened with polygonal
towers, of which nine facets are visible.
• There is a rectangular projection in the centre of the exterior face of the
back wall corresponding to the central mihrab.
• The cornices are bow-curved and have stone gutters to drain off the
rainwater from the roof.
• There are five doorways in the eastern facade and three each on the north
and south walls.
• Corresponding to the archways in the east wall there are five semi-circular
mihrabs inside the west wall.
• The stones of most of these mirabs are now gone making the entire west
wall bare, although at one time they constituted the most beautiful part of
the Mosque.

Chota Sona Masjid
• The most noticeable form of ornamentation is the stone moulding
encircling the corner towers. This constitutes the cornices and the lines
above the doorways and frames. It should be noted that all the frontal
archways and those of the mihrabs were all cusped, giving additional
beauty to the monument.
• The gateway in the east, like that of the mosque, was at one time veneered
with stone-slabs carved with varieties of designs. But these designs have
now mostly disappeared leaving a few boldly projected rosettes here and
there.
• At a distance of 14.5m to the east of the gateway is a stone platform
measuring 4.2m north - south and 6.2m east - west. It is 1 m high and has a
stone column to each of its four angles.
• Over the platform are two tomb-sarcophagi with their longer axis in the
north - south alignment.
• Both consist of rectangular stepped terraces of black stone diminishing
upwards and a top stone of simple pointed barrel-form containing verses
from the Qur'an and some names of God.

Atala Masjid,
(Jaunpur, U.P.)
• Built by Shams-ud-Din Ibrahim in A.D. 1408 on the foundation built by
Firuz Shah Tughlaq 30 years before.
• Built on the site of the Atala Devi temple whose materials along with those
of other temples were used in its construction.
• Provided the model on which all future mosques of the style would be
based.
• The mosque consists of a square courtyard of 177' side with cloisters on 3
sides and the sanctuary on the fourth (western) side. Entire mosque is a
square of 258' side.

Atala Masjid, Jaunpur
• Cloisters are spacious, being 42' across and divided into 5 aisles.
• The cloisters rise up to 2 storeys.
• Two aisles of the lower storey are formed into a series of cells with a
pillared verandah facing the street to provide accommodation to
visitors and merchants.
• There are 3 entrance gateways, one in the centre of each cloister,
with the northern and southern ones surmounted by domes.
A cloister is usually the area in a monastery around which the principal
buildings are ranged, affording a means of communication between the
buildings.

Sanctuary
Sanctuary (Sanctuary as area around the altar)
• 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.

Sanctuary
• 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
(part of a house reserved for women) chamber for women.

Exterior
• The rear wall of the sanctuary is worth studying for its treatment.
• Since the qibla 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.

Jami Masjid
(Ahmedabad, Gujarat)
• Built by Sultan Ahmed Shah in A.D. 1423.
• Considered to be the high water mark of mosque design on western
India.
• Most of the architectural effect is concentrated in the sanctuary.
• The flagged courtyard is 255' X 220'

Sanctuary Facade
• 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 molded 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
• The sanctuary is a hypostyle hall 210' X 95'.
• It consists of around 300 slender pillars, closely set at an average
intercolumniation of 5'.
• The columns are symmetrically arranged to form 15 bays across the long axis
of the hall, each surmounted by a dome and connected to the next through a
columned interspace.
• 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 storied.
• 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

JAMI MASJID
(AHMEDABAD, GUJARAT)

Gol Gumbaz
Bijapur (now vijaypura, Karnataka)
• The Gol Gumbaz is the mausoleum of Mohammed Adil Shah.
• It is one of the largest single chambers ever built.
• Externally, the building is a great cube with a turret or tower attached to
each angle, with a large hemispherical dome covering the whole.
• The effect of the building is derived from the fine proportions between its
various elements, especially between the cubical part below and the domed
part above.
• Subsidiary elements include the wide cornice supported by closely spaced
brackets. Above this is an arcade of small arches, their formality broken by
their skillful spacing. Above this is are the massive merlons with finials
which break the skyline well.
• Above the merlon the foliations around the base of the dome concealing the
junction between the dome and the cube below.
• The wall surface of the cube has three arches sunken into them, the central
one paneled out to bring it to the size of a normal doorway.
A merlon is the solid upright section of a battlement (a crenellated parapet)
in medieval architecture or fortifications

• The width of each of the sides is equal to the height which is a little above 200'.
The exterior diameter of the dome is 144'.
• The interior of the structure is a single large hall, one of the largest ever built,
measuring 135' across, 178' high and the gallery from where the dome springs is
110' from the pavement.
• The main architectural features of the hall are the tall pointed arches which
support the dome above.
• The arches have their bases within the sides of the square plan while their planes
of surface are at an angle, the intersection above forming an eight sided figure on
which the circular cornice is projected.
• The dome is set back some 12' from the inside of this cornice so that some of its
weight is transferred onto the four walls, while the rest is projected onto the
intersecting arches which also receive and counteract any outward thrust.
• The dome is a plain plastered vault with six small openings through the drum and
a flat section at its crown but no central pendant.
• It consists of a homogeneous shell of concrete reinforced with bricks, the whole
being of a thickness of 10'.

Charminar
Hyderabad
Architecture of Charminar shows the grandeur of complex Islamic
architectural style. Charminar is one of India’s iconic medieval structures
representing the hi-tech city of Hyderabad.
Charminar was erected in the year 1591, is a monument and mosque located in
Hyderabad, which is now located in Telangana. Now, Charminar has become a
global icon of Hyderabad. This medieval monument is listed among the most
recognized structures of India.
Charminar is situated on the east bank of Musi River. One can see the
reflection of this architectural grandeur in the waters of Musi River.
Musi River is a tributary of Krishna River in the Deccan Plateau. It was
known as Muchukunda River in earlier days.

Structure of Charminar
• Charminar is a square structure with each side measuring 20 meters, which
is approximately 66 feet long, with four grand arches each facing a
fundamental point that open into four streets.
• At each corner stands an elegantly shaped minaret of 56 meters
(approximately 184 feet) high, with a double balcony.
• Each minaret of Charminar is crowned by a rounded dome with delicate
petal-like designs at the base. (Just opposite to other Indian architectural
example, Taj Mahal, the four fluted minarets of Charminar are built into
the main structure. )
• There are 149 winding steps to reach the upper floor.
• The structure of Charminar is also known for its abundance of stucco
decorations and the arrangement of its balustrades and balconies.

• Materials used in Charminar
The structure of Charminar is made up of granite, limestone, mortar and
pulverized (crushed) marble.
• Underground Tunnel in Charminar
There is a legend of an underground tunnel in Charminar connecting
the Golkonda fort to Charminar, possibly intended as an escape route for
the Qutub Shahi rulers in case of a siege, though the location of the tunnel
is unknown to the modern archaeologists.
• Clock In Charminar
There is a modern click of early British era present in Charminar serving
from the colonial era. The clock on the four cardinal directions was added
in 1889. There is a Wazu in the middle of the tower, with a small fountain
for ablution before offering prayer in the Charminar Mosque.

Mosque in Charminar
• In Charminar, there is an old medieval mosque located. A mosque is
located at the western end of the open roof.
• It is the remaining part of the roof served as a court during the Qutub Shahi
times.
• The actual mosque occupies the top floor of the four-storey structure.
• A vault which appears from inside like a dome supports two galleries
within the Charminar, one over another, and above those a terrace that
serves as a roof, bordered with a stone balcony.
• The main gallery of the mosque has 45 covered prayer spaces with a large
open space in front to accommodate more people for Friday prayers of
Muslim Community.

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