The document provides details about several Mughal architectural structures from the reign of Emperor Jahangir (1603-1627). It describes Akbar's mausoleum at Sikandra, noting that Jahangir completed its construction after Akbar's death. It also discusses the tomb of Itmad-ud-Daula in Agra, known for its intricate pietra dura inlay work. Finally, it summarizes several gardens constructed during Jahangir's rule, including Shalimar Bagh in Kashmir and Nishat Garden, both known for their terraced design and fountains.

1. JAHANGIR
1603-1627
SUBMITTED TO
AR. DEVINA AGARWAL
SUBMITTED BY
DEV SHARMA
RAHUL SONI
TANYA SRIVASTAVA

2. Akbar's mausoleum is an architectural retrogression only its situation and plan with some idea general appearance having
been settled before died. one of the chief and original creators was obviously the production composition, a departure from
the conventional domed structure which was prevailing during akbar rule.
• Sikandra was named after Sikandar lodi, 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 AKBAR THE GREAT”. Its construction was
started by akbar and completed by his son Jahangir. Akbar 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.
• Akbar’s mausoleum was built by his son, the Emperor Jahangir, 8 years after Akbar’s death, completed in 1613.
• 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.
• 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.
• 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.
• 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.
Jahangir had fine artistic sense in the field of art relative uneventful. This emperor's aesthic predilections lay in other
directions , as he patronized the school of miniature painting which is associated with the Mughul 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 pecious stone of different colours.
JAHANGIR(1605-1627)
THE TRANSITION FROM STONE TO MARBLE
AKBAR’S TOMB
LOCATION AND TOP VIEW OF AKBAR’S TOMB
TOP VIEW OF ENTERANCE GATE SHOWING 4MINARETES OVER
THE MINOR MONUMENT & TRUNCATED PYRAMID STRUCTURE
(CHHATRI)
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
WESTERN FAÇADE OF
ENTERANCE GATEWAY
ORNAMENTATION AT
WESTERN FACAADE
Chhatri
Minar attached to gateway
NICHE ON FRONT FACADE
NICHE ON WESTERN FAÇADE
WITH WOODEN DOOR

3. • The enterance 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.
• 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.
TRUNCATED PYRAMID
PLAN OF AKBAR’S TOMB SHOWING PERFECT SYMMETRY
ELEVATION OF AKBAR’S TOMB DEPICTING 5 STOREYS
Truncated pyramid roof
BACK SIDE OF ENTERANCE GATEWAY SHOWING CAUSEWAY LEADING TO TOMB PIETRA DURA ON ALL FOUR
FAÇADE OF ENTERANCE GATEWAY
VIEW OF GATEWAY
FROM UPPER STOREY OF TOMB
GEOMETRIC PATTERN ON FACADE
FRONT VIEW OF AKBAR’S TOMB

4. • The entire 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
OCTAGONAL CENOTAPH ON CORNERS
VIEW OF AKBAR’S TOMB
SECTION OF TOMB SHOWING VOID AND BUILT FORM
SOUTHERN FAÇADE OF TOMB
IWAN on the
Enterance ,a
higher arch
punctuates
the centre of
each facade
GRAVE CHAMBER ON THE LEFT
O F AKBAR’S TOMB
GRAVE CHAMBER ON THE RIGHT OF AKBAR’S TOMB
NATURAL COLOR USED ON
THE ENTERANCE CHAMBER
OF THE TOMB
FRONT ELEVATION OF TOMB
INTRICADE USE OFNATURAL COLOUR ENTERANCE CHAMBER SHOWING
THE DOOR LEADING TO THE TOMB

5. ARCADE SHOWING OPENING ON EACH WALL
DOOR TO TOMB CHAMBER
BUTTRESS
IWAN ON INNER SIDE OF ARCADE
FOUR ARCHES JOINED TOGETHER AS DONE IN EARLIER AND THE LOAD IS TRANSFERRED BY THE
COLUMN ON WHICH THE ACHES ARE RESTINGLANDSCAPING ON BOTH SIDE OF CAUSEWAY
INTENSIVELY CARVED SCREENOF
MARBLE LEADING TO INNER CHAMBER
VESTIBULE TO GRAVE
Niches
Slope
SMALL TOMB AT THE ENTERANCE OF SIKANDRA SIMILAR TO MARIAMS TOMB
WHERE LAKHANI BRICKS ARE USED
POINTED ARCH
KANCH MAHAL AT THE ENTERANCE USE OF NATURAL COLOUR
ON EXTERIOR

6. • Built in A.D. 1626 for a distinguished nobleman and Jahangir’s father-in-law, Itmad-ud-Daula 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.
• 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.
ITMAD-UD-DAULA
THE LORD TREASURER
PLAN OF ITMAD UD DAULA 70’
SECTION OF ITMAD UD DAULAENTERANCE GATEWAY TO BABY TAJ BACKSIDE OF ENTERANCE GATEWAY

7. CAUSEWAY LEADING TO THE TOMB
FRONT ELEVATION OF TOBIPERSPECTIVE VIEW OF TOMB WITH TWO GATEWAYSENTERANE TO TOMB
PIETRA DURA WWORK ON OUTER FAÇADE OF TOMB
Pointed arch
Hexagonal screen of marble
SIDE ENTERANCE TO TOMBMINAR HAVING BOAT KEEL DOME
Buttress
Truncated pyrramidal roof
• The square two-storeyed tomb stands in the centre of a charbagh.
• At the four corners of the low platform are four squat 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-Daula and his wife are placed in the marble-screened upper pavilion.
• There is a good view from the roof of the entrance.

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

9. 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.
• 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 upto nearly 100’It was more evidently regarded as a monumrntal reliquery than a mortuary
hall.
ENTERANCE GATEWAY TO TOMB
FRONT ELEVATION OF THE TOMB WHICH IS SIMPLE BUT NOT THE OCTAGONAL MINARETES
OVER THE 4 CORNERS
GARDEN DIVIDED IN 16 SQUARE
PIETRA
DURA ON THE
MINARETES
MINARETE MADE
OF MARBLE

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

11. WESTERN GATEWAY
SARAI IN JALANDHAR
• Jahangir showed a trend to building art in this juncture known for its detail rather than strength.
• The serai 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.
• Its front is divided into panels ornamented in sculptured relief.
• 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
• and sculpted lotus mounds
WESTERN GATEWAY TO SARAI OF NUR MAHALL
INSIDE OF ARCHORNAMENTATION
INSCRIPTION CORBELLING
ARCHWAY DECORATED PANEL
SCREEN

12. • 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').
• It is based on cioncept of charbagh. Th garden built with a size of 587 metres ,length on main
axis channel and with a total width of 251 metres .
• The garden has three terraces fitted with fountains and with chinar tree-lined vistas.
• Broad green paths bordered the lake with rows of chinar trees.
SHALIMAR GARDEN
(1619 A.D.)
KASHMIR
SHALIMAR GARDEN (Adobe of love )
GARDEN WITH FOUNTAIN KNOWN AS TERRACES OF SHALIMAR GARDEN
PATHWAY WITH THE FOUNTAIN IN THE MIDDLE LEADING TO THE PAVILLION
PATHWAY WITH PYRAMIDAL KIOSKS
PAVILLION FOR ROYALTY
Stone plinth

13. • 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.
SHALIMAR GARDEN THROUGH ARCH
ZONING OF SHALIMAR GARDEN
DOUBLE CASCADE AGAINST
LOW WALL
FOUNTAIN POOL
CASCADE
BUTTRESS
PAVILLION
PILLARS WITH INTENSE CARVING

14. NISHAT GARDEN
GARDEN OF JOY
THREE LEVEL TERRACE
LEVEL TERRACES IN NISHAT GARDEN WITH CASCADE
SITE VIEW OF NISHAT GARDEN
PANORAMIC VIEW OF NISHAT GARDEN FOUNTAIN
• 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.
• 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.
• 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.
• 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.

15. 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.
PLAN OF NISHAT GARDEN
INSIDE OF PAVILLION
PAVILLION WITH CASCADE
SEATING SPACE IN BETWEEN THE POOL
ENTERANCE WITH DAL LAKESTILL WORKING FOUNTAIN OF MUGHAL PERIOD VIEW OF VALLEY BEHIND THE PAVILLION
PLAN OF NISHAT BAGH IN TERRACES
TERRACES