1) General elements

Islamic architecture may be identified with the following design elements, which were inherited from the first
mosque built by hall (originally a feature of the Masjid al-Nawabi).

• Mashrabiya–projecting window enclosed with carved wood lattice work.

• Located on the 2 storey of a building or higher, often lined with stained glass.
• It is a traditional Arabic architecture used on the street side of the building
• MIHRAB- semicircular niche in the wall of a mosque that indicates the qibla.
• It is at the point nearest to Mecca, towards which the congregation prays. The wall in which mihrab
appears is thus the Qibla wall
• Sahn–a courtyard combine with ablution area.
• Most traditional mosques have a large central sahn which is surrounded by arcade on all sides.
• Almost every historic or traditional mosque has a sahn.
• Traditional mosque sahns are surrounded by the riwaq arcade on all sides.
• Central fountains used for ablutions.They also contain fountain water basins ,for ritual
purification cleansing and (Islamic ablutions), and flowing fountains for drinking water.
• Minaret –a slender tower, with a balcony from which they call to prayer.
• visual focal point
• –it is a distinctive architectural structure to a tower.
• .Generally a tall spire with a conical or onion shaped crown, free standing or taller than associated
structure. The basic form includes a base, shaft and gallery.
• Dome -focal point and covering the main prayer hall. Domes built above mosques are commonly
designed with Arabic calligraphy.
• There are no pictures on them because islam prohibits the drawing of living beings.
• Domes built above mosques are commonly designed with Arabic calligraphy.
• There are no pictures on them because islam prohibits the drawing of living beings.
• A Short flight of steps used as a platform by a preacher in a mosque.
• The geometric subdivision of a squinch into a large number of miniature squinches, producing sort of
cellular structure.
• Pishtaq is the formal gateway to the iwan, usually the main prayer hall of a mosque, a vaulted hall or
space, walled on three sides, with one end entirely open; a Persian term for a portal projecting from the
facade of a building, usually decorated with calligraphy bands, glazed tilework, and geometric designs.
• Iwans to intermediate between different pavilions.
• The three fundamentals used in Islamic art- Calligraphy, Islimi and geometry.
• The use of Islamic geometric patterns and foliage based arabesques. Calligraphy Like other Islamic
decoration, calligraphy is closely linked to geometry. The proportions of the letters are all governed by
mathematics. Inscriptions are most often used as a frame along and around main elements of a building like
portals and cornices.

• The use of mocárabe and muqarnas, a unique Arabic/Islamic space-enclosing system, for the decoration
of domes, minarets and portals, as used at the Alhambra.
• The use of decorative Islamic calligraphy instead of pictures which were haram (forbidden) in mosque
architecture.
• Note that in secular architecture, human and animal representation was indeed present.
• The use of bright color, if the style is Persian or Indian (Mughal); paler sandstone and grey stones are
preferred among Arab buildings. Compare the Registan complex of Uzbekistan to the Al-Azhar University
of Cairo.
• Focus both on the interior space of a building and the exterior.

Islamic architecture in India are classified into 3 main categories:

• Imperial Style of (Delhi Sultanate)
• Provincial style (deccan,Bengal,gujrat,hyderabad etc)
• Mughal Style (golden period)

Delhi /Imperial style may be divided into five phases :

• Slave dynasty (AD 1206-1246)
• Khilji Dynasty (AD 1290-1320)
• Tughlaq Dynasty (AD 1320-1413)
• Sayyid Dynasty (AD 1414-1444)
• Lodi Dynasty (AD 1451-1526)
SLAVE DYNASTY
• History of Islamic architecture in India begins with the establishment of Slave dynasty /Mamluk dynasty
at Delhi by Qutub –ud-din –aibak in 1192 AD.
The major rulers of slave dynasty:
• Qutab ud din Aibak (1206-1210 AD)
• Iltumish (1211-1236 AD)
• Razia begum (1236-1239 AD)
• Ghiyas ud din Balban (1266-1286 AD).
Contributions by Qutab-ud- din Aibak:
• Quwat-ul-islam mosque,Delhi
• Qutub minar,Delhi
• Arhai-din –ka-Jhompra,Ajmer
ARCHITECTURAL CHARACTERISTICS
• The architecture of the Mamluks was very cosmopolitan in nature.
• Mamluk architecture consequently incorporates influences from al-Andalus, North Africa, Crusader,
Central Asia, and Persia.
• The architecture of the Mamluks is primarily built of stone
Eg : domes , use of stone muqarnas is ubiquitous, half-domes located over entry portals.
• Wood is used for elements such as doors, panels and mihrabs, as well as for the lattice window screens.
• Stucco is used for decorative elements.
• The minaret in the Mamluk tradition often has different sections along the component parts of its shaft,
resulting in an arrangement referred to as the three-tiered minaret.
• This minaret would have a square base, followed by an octagonal shaft, which in turn would be
proceeded by a circular shaft, the upper part of which might be colonnaded.
• Balconies resting on muqarnas vaults may separate these sections from each other. Other minaret
sections such as fully octagonal ones are also common.
• Mamluk buildings are generally not symmetrical, instead they tend to emphasise the use of balance over
symmetry in their overall composition.
• The buildings are monumental in scale.
• Dome shapes in Mamluk architecture often have a cylindrical drum and a pointed profile.
• Squinches and pendentives in many cases consisting of muqarnas units, are used as the transitional zone
for the dome.
• Wood is used for these transitional elements, but stone later prevails.
• Both round and pointed arches are used, but pointed ones are more prevalent, especially in later
Mamluk architecture.
• The Mamluks used calligraphy extensively.
• Dome exteriors are often decorated with carved stone, revealing ribbed, zigzag and intricate star-
shaped, as well as arabesque patterns.
• Façade recesses, into which windows are placed, are usually crowned with rows of muqarnas units.
• Coloured-glass and stucco grills are common for window openings, and inlaid marble is frequently used
for surface decoration.
• The Mamluks were ardent builders of military architecture.
• They carried out numerous renovations and expansions of previous Crusader and Ayyubid fortresses.

THE QUTUB COMPLEX

ALAI DARWAZA (1311 AD)
• Described as one of the most treasured gems of Islamic architecture, this gate built by Alauddin Khalji in
1311AD.
• This gateway formed the main access through the southern wall to the enlarged Quwwat Ul islam
mosque.
• It is the first building employing whole islamic principles of acurate construction and geometric
ornamentation.
• The darwaza is a square, domed building with intricate carvings in red sandstone and marble.
• In form the Darwaza is a rectangular building on high plinth into which steps have been cut to access the
interior.
• the most imposing feature of these facades is the central arch, rising to nearly the whole height of the
structure. In shape it is rare - a horse-shoe or keel arch.
• The intrados or the inner rim of the arch shows its most distinctive feature - a fringe of lotus-bud carving
or spear headed carving.
• The plinth is carved in bands, and the wall surface above is divided into two stories, each further
subdivided into rectangular panels.
• The first innovation in the gateway was the system of walling, alternating between one course of
stretchers - stone laid with its longer ends facing outward - and one course of headers - stone laid with
its longer end going deep into the wall
• The second innovation was the true arch
• The inner facade, facing the mosque and Qutb Minar, is different. The opening is not a keel arch but a
true semi-circular one

THE QUTUB MINAR (1199AD)

• King Qutub-ud-din Aibak of Slave dynasty laid the foundation of the Qutab Minar in 1199 and completed
by the sultan's successor and son-in-law, Iltumish
• The building is 72.5 m(238ft) high and has 379 steps from the bottom to the top. The diameter of the
base is 14.3 metres wide while the top floor measures 2.7 metres in diameter.
• The first three storeys are made of red sandstone and are heavily indented with different styles of fluting,
alternately round and angular on the bottom floor, round on the second and angular on the third.
• The fourth and fifth floors are made of marble and sandstone
• The intricate balconies held together by stalactite vaulting technique and patterned with honey combing
is a special feature of the minar
• The surface decoration of the Qutab Minar is consistently Islamic in character
• The minar has survived a series of lightening bolts and earthquakes during the past centuries.
• 238’ tall sandstone structure.
• Numerous inscriptions in Arabic and Nagari characters are seen as wide encircling bands in the plain
fluted masonry of the Minar. This inscriptions reveal the history of Qutub, from its commencement in
AD1199 to its repairs in between.
• Muqarnas or stalactite vaulting technique is used for supporting the balconies.
QUWAT-UL-ISLAM MOSQUE (Might of Islam) 1195 AD
• The first mosque in India constructed by Qutab-ud- din Aibak.
• The mosque originally consisted of a rectangular court 43.2 m by 33 m,(141’x105’) enclosed by
colonnaded cloisters
• The columns are part of various Hindu & Jain temples
• Stone screen of 5 arches in front of sanctuary defines the quibla
• Ogee shaped arches, made by corbelled stones-inspired by Buddhist chaitya arch
• With in the mosque complex is the Iron Pillar, which dates back to 4th century AD.
• Surface of the screen has Arabesque ornamentation -carved inscriptions
• Serpentine forms & sinuous curves with floral motifs-show the influence of Hindu craftsmen
• It is built of red sandstone, gray quartz, and white marble.
• Much of the superstructure and most of the walls are built of pillaged building material.
• The stone screen between prayer hall and the courtyard, stood 16 mt at its highest was added in 1196
AD, the corbelled arches had Arabic inscriptions and motifs.
• Entrances to the courtyard, also uses ornate mandap dome from temples, whose pillars are used
extensively throughout the edifice, and in the sanctuary beyond the tall arched screens.
• What survives today of the sanctuary on the western side are the arched screens in between, which once
led to a series of aisles with low-domed ceilings for worshippers
• Some additions to the mosque were also done by Alauddin Khilji, including the Alai Darwaza, the formal
entrance to the mosque in red sandstone and white marble, and a court to the east of the mosque .
• To the west of the Quwwat ul-Islam mosque is the tomb of Iltutmish.
• The mosque is in ruins today but indigenous corbelled arches, floral motifs, and geometric patterns can
be seen among the Islamic architectural structures.
TUGLAQ DYNASTY
• 11 rulers forming Tughlaq Dynasty over 100 years
• 3 rulers only were interested in the art of building
Ghiyas-ud-din- Tughlaq (1320-25)
Mohammed-Shah-Tughlaq (1325-51)
Firoz-Shah-Tughlaq (1351-88)
Creation of the 3rd City of Delhi- TUGHLAQABAD
First great complex combining
A CITY + FORT + PALACE
With residential and military requirements which later became notable feature of Indo-Islamic Style.
CITY OF TUGLAQUABAD
• Tughlaqabad by Giyas-ud-din Tuglaq is the third city of Delhi.
• Has a fort & citadel, on top of a rocky formation
• The fort has slanting walls, double-storied bastions, gigantic towers, palaces, mosques and audience
halls.
• It was deserted soon after the death of Ghiyas-ud-Din probably because of scarcity of water or because
of the new capital built by Mohammad Bin Tughlaq
• Irregular in outline due to topography
• A rough rectangle of 2220 yards
• At close intervals on the walls of over four miles circular bastions were a feature
• As many as 52 gateways
• Gateways consists of huge openings and broad ramps for elephants
• Citadel surmounted by fortress and palace divided into 2 enclosures
fort- galleries, guarded entrances
palace- royal residences, zenena, hall of audience
• Long underground corridor between the 2 for communication.
• Irregular in outline due to topography
• A rough rectangle of 2220 yards
• At close intervals on the walls of over four miles circular bastions were a feature
• As many as 52 gateways
• Gateways consists of huge openings and broad ramps for elephants
• Citadel surmounted by fortress and palace divided into 2 enclosures
• fort- galleries, guarded entrances
• palace- royal residences, zenena, hall of audience
• Long underground corridor between the 2 for communication
• Tughluqabad still consists of remarkable, massive stone fortifications that surround the irregular ground
plan of the city. The sloping rubble-filled city walls, a typical feature of monuments of the Tughluq
dynasty, are between 10 and 15 meters high, topped by battlemented parapets and strengthened by
circular bastions of up to two stories height. The city is supposed to once have had as many as 52 gates
of which only 13 remain today. The fortified city contained seven rainwater tanks.
• Tughluqabad is divided into three parts;
• 1) the wider city area with houses built along a rectangular grid between its gates
• 2) the citadel with a tower at its highest point known as Bijai-Mandal and the remains of several halls
and a long underground passage
• 3) the adjacent palace area containing the royal residences. A long underground passage below the
tower still remains
TOMB OF GIYAS-UD-DIN TUGLAQ
• this fortress-tomb is an irregular pentagon, with a bastion at each angle of its outer walls with its greatest
length less than 300ft
• Built using red sandstone and the dome with marble
• Its square base is 61ft side with walls sloping at 75 deg and entire height up to the sand stone finial is
80ft
• In the center of each side is recessed a tall pointed archway , 3 of which contain doorway while the 4th
in the western side is the mihrab
• the tomb is an offshoot, or a descendant, of a similar contemporaneous tomb at Multan (in modern
Pakistan) of Shah Rukn-i-Alam.
• Standing within an artificial lake
• Detached structure from the city but connected with citadel
• Spreading bastion at each angle
• Faced with graceful doorway
• Tomb building placed diagonally at the widest part orienting Mecca
• Centre of each wall is a recessed arch Gateway except at the west to accommodate Mihrab
• Squinch arch- Another interesting feature is the presence of a structurally redundant lintel over the
arched gateways. That this lintel also introduces an element of style was incidental.
• Arches are tudor outline type with an ogee curve at the crown
• The tomb continues the lotus-bud fringes found in the arch of the Alai Darwaza, and there are many
other stylistic similarities
• The interior of this tomb is single chamber 30 ft square, light being admitted through the three arched
doorways.
• Domed ceiling supported on four squinches
• It is a single dome and has a span of 55 ft and is crowned by a finial resembling kalasa and amla of hindu
temple
• The mausoleum itself is very simple, very much the warrior's tomb. Simple with the same sloping red
sandstone walls which are Tughlaq hallmarks.
• Each wall has arched gateways decorated with the inevitable, but beautiful, latticework and white
marble.
• The dome is entirely of white marble and is quite striking indeed.
• This rather severe tomb does allow itself a few inscribed panels, arch borders, latticework screens and
'lotus-bud' edges which decorate it.
• Towards the left of the entrance, in the corridor, there is a tiny grave which is said to be that of the
sultan's favorite dog.
• Ghiyasudding lies buried in a massive, rugged tomb which also acted as a look-out fort, as is indicated by
the bifocal arrow slits.
• The tomb exudes the imperial grandeur of a warrior king. Originally surrounded by an artificial reservoir,
it is crowned with a large, white marble-faced dome, characteristic sloping red sandstone walls and
pierced with attractive lattice-work archways.
• The tomb symbolises the hopes and fears of a passing order. It was connected with the citadel of
Tughlaqabad by a causeway.
KHIRKI MASJID
• Khirki Masjid was built by Khan-I-Jahan Junan Shah, the prime minister of Ferozshah Tughlaq (AD 1351-
1388).
• Massive pylon like entrance gateway on all 3 sides & Sloping fort like walls.
• Lower platform 12’ high,arched niches –’tahkhana‘ for shops/rooms.
• It is a small quadrangle-shaped mosque, & is covered on top
• The pillars and brackets in the mosque show a high degree of indigenous influence

• The Mosque has a 52 m (170.6 ft)x52 m (170.6 ft) square plan in an area of 87 m2 (936.5 sq ft).
• It is raised on a plinth of 3 m (9.8 ft).
• There are four open courtyards (square in size of 9.14 m (30.0 ft) on each side) encircled by arcades built
with 180 square structural columns and 60 pilasters, which run in north–south direction and divides into
aisles.
• The open courtyards are the source of light and ventilation to the internal prayer spaces.
• The roof is partitioned into 25 squares of equal size with 9 small domes in each square (totaling to 81
domes) and alternated by 12 flat roofs to cover the roof.
• There are four open courts.
• The four corners of the mosque are adorned with towers with three protruding gateways, one in the
middle of each face, with tapering turrets flanking each gate.
• The southern gate, with imposing steps at the main entrance, exhibits a combination of arch and
trabeated construction. It has an ornamental rectilinear frame.
• The turrets flanking the southern and northern gates are circular in shape; the articulation on these gives
them a three storied appearance.
• The main gate, which leads to the qibla on the western wall, has a projecting mihrab. Above the vaulted
first floor cells, ubiquitous arch windows (carved out of stone guard) with perforated screens
or jalis or tracery, known as "Khirkis"", are seen on the second floor.
• However, the foyer in front of the mihrab is not well lighted since light from the latticed windows on the
second floor do not penetrate this space. The approach to the roof of the mosque is from the east gate,
and the view from the roof leaves a lasting impression of the geometrical design of the Mosque.
• The mosque's walls are of rubble masonry construction with plastered surface on the outside.
• The interior walls are bland but provided with traditional carved stone screens.
• The symmetrically designed admirable mosque is considered as one of “the finest architectural
compositions of the Sultanate history.
LODI DYNASTY
The Lodi Dynasty was the last to rule over the Delhi Sultanate and it was a Pashtun Dynasty. Pashtun people are
ethnic Afghan people who belong to the Eastern Iranian ethnic group.
They are also known as "Pathans". The founder of the Lodi Dynasty was Bahlul Khan Lodi, whose rule lasted
from 1451 to 1526. The first Portuguese Armada landed the first time in the country, under Vasco da Gama
during the rule of the Lodi Dynasty.
There were three main rulers in the history of Lodi dynasty.
Buhlul Khan Lodi
Buhlul Khan Lodi (1451-1489) was the founder of the Lodi dynasty in India and the first Afghan ruler of Delhi.
He was an Afghan noble who was a very brave soldier.
Sikandar Lodi
After the death of Buhlul Khan, his second son succeeded him as the king. He was given the title of Sultan
Sikander Shah. He was a dedicated ruler and made all efforts to expand his territories and strengthen his empire.
Ibrahim Lodhi
Ibrahim Lodhi was the son of Sikander who succeeded him after his death, Ibrahim was known to be a very
stern ruler and was not liked much by his subjects.
In order to take revenge of the insults done by Ibrahim, the governor of Lahore Daulat Khan Lodhi asked the
ruler of Kabul, Babur to invade his kingdom, the last ruler of Lodi Dynasty was defeated in the first battle of
Panipat in1526 A.D, thus Lodi dynasty formed the last phase of the Delhi sulthanate also the one which gave
way to the rise of the Mughal Empire.
Lodi Tomb Patterns:
Although there are variations, the Lodi Tombs generally follow one of three patterns.
Type 1 is a tomb that consists of a dome raised on twelve columns over a square platform. The typical octagonal
drum of the dome is of modest height, and the dome is usually surrounded by kangura(crenellations) and
a chhajja (projecting eave). Each corner of the square tomb is marked by a chhatri(umbrella dome).
Type 2 starts with an octagonal base. Each side of the octagon is marked by triple arches, with buttressing at
each corner. The dome is supported on a sixteen-sided drum, giving the illusion of a circular space.
Often, chhatris mark the entrances, and the parapet is made up of kangura and guldastas(spires).
Type 3 looks much heavier, as each façade of the square tomb is all but solid. The pishtaq (central arch) and
other arches decorating the facades are usually blind (that is, filled in with masonry rather than left open to light
and air). The dome is typically supported by a sixteen-sided dome, which is itself supported by squinches of
various forms.

TYPE 1 TYPE 2 TYPE 3

Type 01
Tomb and Mosque of Makhdum Sahib (late 15th - early 16th C)
In the Type 02,
• the building had a dome with pillars on each side. Another important feature is the amazing
measurements of height and weight which matched with the structure of the basement.
• The height and width of each octagonal face is 30’0” including the basement.
• The ornamental pinnacles or guldasta is present at the corners. This measurement is also half the
total height of the building including the finial. Each octagonal face contains three arched openings
divided by pillars. The central opening is slightly broader than the other two.
• The tomb chamber inside is octagonal in plan along with an arch and beam opening in each face.
Most of the monuments were constructed before or after the demise of the rulers and nobles of the
court.
The character and treatment of the monuments and the overall pattern of architecture indicates that Delhi
and its surrounding area during that time attained a separate style of expressiveness through its etching,
cutting and structuring of the stones which was later redefined by the Mughals.
Type 03
Biran ka gumbad, The rubble built domed building follows the square pattern of Lodi tombs and is similar to
Biwi or Dadi-ka-Gumbad in general treatment and design; except for the absence of arched openings
flanking the archways piercing the sides and the mihrab. Inside is an unknown grave of rubble coated with
plaster.
PROVINCIAL STYLE (DECCAN,BENGAL,GUJRAT,HYDERABAD ETC)
• The Provincial style is the amalgamation of both Hindu and Islamic style ,during the medieval period .
• The Indo-Islamic Architecture was introduced during the Islamic rule in different provinces which
made tremendous growth in the field of Architecture.
• The fusion of both Hindu and Islamic styles brought a lot of diversity in the built forms.
• The eight principle provisional style which had significant regional manifestation of Islamic Architecture
of Indian chronologically as follows:
 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)
 Kashmir (1410 ONWARDS)
PROVINCIAL IN BENGAL
• Bengal was one of the foremost provincial Islamic outposts, beginning with A.D. 1193, when
Muhammad Bakhtiyar Khilji extended Muslim rule right down to the ancient capital of Gaur.
• Bengal soon became the commercial center for trade and export, the Ganges provided a great
waterway to facilitate the movement, and so hordes of troop transports could navigate the river with
ease all the way down to its estuary.
• Lack of stone in Bengal meant that most construction was carried out in brick, of which there was an
abundant supply.
• Brick thus lends Bengal architecture a style which is distinct, with its pointed arches and finishes so
different from those in stone. Another remarkable feature which predominates is a curved roof form
which was later followed by Rajput, Mughal and even Sikhs.
ADINA MASJID - 1474
• The Adina Masjid at Pandua, built by Sultan Sikandar Shah (1358 – 1390 AD), during a long stretch of
Ten Years from 1474 – 1484 AD. to celebrate his victory over and independence from the Delhi
Sultanate, is impressive in size but lacks in architectural significance.
• The central court measuring a huge 507 feet by 285 feet, is surrounded by three and five aisled
enclosures supported by pillars of basalt. When complete, the mosque had no less than 378 brick
dome, as well as a huge central pointed vault over the liwan.
• Most of these structures have collapsed, including the central vault, and so the Adina Masjid today
consists of little more than a pile of ruins, marked by arches and crumbling walls.
• The most striking aspect of its construction is the existence of Hindu influence. In fact it was
constructed after obliterating and super-imposing upon a Hindu construction, which are quite evident
from a few striking observations.

1) On the main gallery towards on the first Story, towards the entrance, one can clearly find the
chiseled out image of the Hindu God Vishnu.
2) The motif of lotus, found on two occasions, in the central prayer hall, resembling the hindu beliefs
and traditions.
3) Images of Ganesha (The Elephant Headed Hindu God) and Shiva (supreme Hindu God) posing in his
‘Nataraja’ Style, on the outer walls of the Mosque.
• Dancing Ganesh in Adina Mosque, apparently the remnants of the hindu temple on which the mosque
was built.
• The columns are square at the base, rounded at the middle, and slanting towards the capitals
• It measures 21m x 10m and was once approximately 18m high, but is now fallen. In the absence of a
definitive estimate, the domes of the mosque covering squares formed by stone columns have been
variously estimated to be 306 and 370.
• The domes carried by triangular pendentives are now fallen except some on the northern cloisters of
the prayer chamber. They were of an inverted tumbler shape with an elliptical curve, typical of the
dome used throughout the whole sultanate period.
• The nave, much higher than the cloisters, was covered by a barrel vault, which because of its loftiness
dominated the whole structure, and was seen from a long distance.
• The design of the cloister arches with abutments at the sides and a cornice suggests that the vault
must have had an iwan-portal which would be aesthetically in harmony with the design of the facade.
• Covering an area of three aisles depth, on the northern side of the nave and adjacent to the qibla wall,
with seven heavy columns at a row, is an upper storey stone platform. This is the royal gallery
(maqsura), meant for the sultan and his entourage when at prayer. There are two doorways on the
northern side of the west wall of the platform through which the sultan and his party used to enter.
• The beauty of the gallery at present derives from the ten fluted inner columns, and the three mihrabs
in front. Those have been beautifully decorated with carvings, tile-designs and inscriptions in thulth
calligraphy. The arches of the mihrabs, carried on slender columns segmented in various designs, are
fluted like all the other mihrabs of the mosque in the ground floor. Since the platform is an upper
storey of the mosque, it has prompted a higher altitude for this part. This can be noticed from outside
due to the higher planes of the domes erected over the gallery.
• A beautiful ornamental piece of architecture within the nave to its northwest corner and on the right
side of the principal mihrab is the stone pulpit covered by a hooded canopy.
Eklakhi Tomb,Pandua

• curved roof inspired from the bamboo version, and the slight slope on the roof is a departure from
traditional cubical construction and served to throw off rainwater.
• Square and single domed in design, they appear to have been built in imitation of those square ones in
Delhi,
• The building, situated to the southwest of the grand adina mosque, is made of brick, and stands at a
little distance to the northeast of the qutb shahi mosque.
• Its dimensions are 24 m, by 22.7 m, the inner diameter of the crowning hemispherical dome is 14.80
m. The dome rests on squinches on the four corners.
• The exterior of the building is strengthened by four octagonal towers at the corners, and is opened by
four doorways, one each in the middle of each side. Pointed arches with lintels crowning the door
jambs span the doorways, a feature derived from the original Hindu temples through Tughlaqi
architecture. The jambs and the lintels are marked by carved deities - that of the lintel of the southern
entrance being the figure of Visnu, and of the jambs those of dvarpals, a proof of their appropriation
from Hindu temple buildings.
• The western one seems to be the tomb of the Sultan, the middle one that of his wife, and the eastern
one that of his son Sultan ahmad shah. A peculiar feature of the inner spacious room is its four alcoves
built at the corners, often taken as cells for readers of the Quran.
• The ornamentation of the building consists of braced string-mouldings of the corner towers, a divider
moulding of the whole external appearance, and the cornice mouldings in three tiers beside the
terracotta plaques in panels underneath - now broken - imitated from the designs of the Adina
Mosque.
• The dome, like all other domes of the Sultanate Bengal, is without a final, but appears to be covered
with a round rim in the form of a hormica, a Buddhist feature. The hemispherical dome is in fact very
much in the shape of the domes of the great stupas,
• This entailed making the cornice carve downward from the middle to the sides in imitation of the
sloping roof of Bengali huts.
PROVINCIAL IN GUJARAT
• The Islamic Style of Architecture flourished in Gujarat for some 250 yrs from the time early in 14 th
century.
• It is the largest and most important of all the Indo-Islamic provincial style.
• Main two reasons :
 Constant and diligent building ambitions of Muslim dynasties that ruled that time.
 The intense artistic traditions of local population.
3 MAIN PHASES:
First Phase ( 1st half of 14th Century AD)
i. Consisted of the customary phase of demolition of temples followed by the reconversion of building
material.
ii. Buildings had the appearance of being formative and experimental.
iii. Buildings were built using materials from Hindu Temples. Most often , pillars were used as they were, while
the walls would be built of original masonary, sometimes using stones taken from the temples and recut to
suit the requirements. EG- JAMI MASJID AT CAMBAY
Second Phase ( 1st half of 15th Century AD)
i. This period saw the art approaching an early consummation, with slightly tentative qualities.
ii. There was an increased assurance in design and this period is also called the Ahmed Shahi period after the
Sultan Ahmed Shah. EG- JAMI MASJID AT AHMEDABAD.
• Built by Sultan Ahmed Shah in AD 1423
• Considered to be the high water mark of mosque design on W. India
• Most of the architectural effect is concentrated in the sanctuary.
• The flagged courtyard is 255' X 220'
• Sanctuary Facade

i There are 2 types of sacntuary facdes: Screen of arches and the pillared portico with screen in the
center and portico on the wings.
ii. This juxtaposition creates contrast between volume and strength of the wall surface and depth and
airy light of the colonnade.
iii. The large central archway has moulded buttresses of minarets on either sides and two smaller
archways are on either sides of the central one.

Third Phase ( 2nd half of 15th Century AD)

i. This was the most magnificent aspect of the style.
ii. Most of the development happened under Sultan Mahmud I Begarha also called the Begarha Period.
EG- SIDDI SAYYID MASJID
i. Built in 1510 - 1515 and is the largest building of the style.
ii. Its composed of arcades of arches.
iii. 8 square piers supporting the arches form the interior of the mosque.
iv. On top the arcade is a flat roof. Bracket diagonal beams and squinch have been used in the construction of
the ceiling.
v. Walls are composed of perforated stone screen.
The main amongst the buildings of these types, in addition to Masjids & Tombs are Rauzas & stepwells.
Rauza
• Arrangement in which the tomb and its mosque are complimentary in design and produce an attractive
complimentary composition.
• The glory of the ruler would be preserved by the strategy of combining the tomb and mosque.
Step-wells
• Wholly subterranean structures except two kiosks at either end.
• They generally consists of a well shaft and a long flight of subterranean steps which takes one down
right to the water level.
• Usually at the landing level of this long flights, the retaining walls on both sides were connected by
bridges and stairways (because these connections had to be multi storeyed) which supported galleries
of highly architectural order.
• Apart from water source these step wells were also used as resting places and provided a cool retreat
for the travellers and also as summer retreats for royal families, specially women.
PROVINCIAL IN JAUNPUR
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 Sharqi 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.

The style was mainly formed under Sultan Shams-ud-Din Ibrahim (1402- 36).
ARCHITECTURAL 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.
• 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.
MAIN BUILDINGS
• Atala Masjid
• Jhangiri Masjid
• Lal Darwaza Masjid
• Jami Masjid at Jaunpur
ATALA MASJID
The central portico of Atala Masjid in Jaunpur, India has a stately arch. Inside, there is a massive hall, which is
the main prayer room. The three domes of the Atala Masjid differ in size.
• The 'mihrab' (the niche in the wall of the mosque, which indicates the direction of Mecca), the decorations of
the prayer room as well as the two-tiered corridors are the other features of Jaunpur Atala Masjid, which are
noteworthy.
• Some distinct features of the mosque are:
• Square-shaped mosque with robust appearance,
Use of great rectangular pylons in the center of liwan, influence of circular tapering turrets of Tughlaqs resolved
into rectangular shape,
• Hindu influence is present in bracketed openings,
• Huge arch springing between two pylons,
• On the either side of Maqsura pylon are two identical mini – pylons and three separate gateways are also
installed in northern, eastern and southern liwan.
A – EXTERIOR AROUND EAST ENTRANCE

B – CENTRAL IWAN
C- PRAYER ROOM FAÇADE
D – SOUTH WING DOMED CHAMBER
E – DOMED CHAMBER
F – NORTH WING

• 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.
• 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.
• 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.
• 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, JAUNPUR
• Built in 1470 by the last of the Sharqis, Husain Shah.
• Repeats many of the essential features of the Atala Masjid on a larger scale.
• The entire structure is raised on a plinth 16'-20' in height and approached by a steep but 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.
Prayer hall
• The prayer hall is centred 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.
Plinth level
• The magnificent appearance of Jama Masjid at Jaunpur is heightened by a number of factors. The entire
structure of Jami Masjid, Jaunpur stands on a plinth that is six meters high.
Courtyard
• The courtyard is a square of 210' side.
• Surrounded by cloisters on three sides and sanctuary on the west.
Cloisters
• Cloisters are two storeys high.
• They are two aisles in width as opposed to the more spacious 5 aisles in Atala Masjid.
• In the centre of each cloister is an entrance hall covered by a dome.
Sanctuary
• In the centre of the sanctuary facade is a pylon 85' high and 77' wide at the base.
• 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.
• The interior consists of the nave of 38' side.
• The clerestory arcade is open to light the interior of the dome.
• On 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.
• 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.
• 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.
• 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.
• Such a large columnless space is a rare occurance in Indian architecture.
PROVINCIAL IN DECCAN
 Unlike other muslim rulers who made full use of indigenous art and architecture in their domains, rulers
in the deccan largely ignore the local art and produced an independent style of their own.
 Influences in this style come from two main sources:
a) Delhi style : due to forced migration of muhammad tughlag from delhi to daulatabad, many influences
of tughlaquian delhi were bought to the south.
b) Persian style : due to the migration of persians to southern india via sea.
 deccan style can be divided into three main phases:
1. Gulbarga phase (bahmani dynasty) – laying foundation of the style.
2. Bidar phase (bahmani & barid dynasty) – after moving the capital of the deccan sultanate from gulbarga
to bidar, the style developed the bahmani and later the barid dynasties.
3. Golkonda phase (qutub shahi dynasty) – the capital of the deccan sultanate finally moved to the southern
city of golkonda, the stronghold of the ruling qutub shahi dynasty.
 Deccan architecture is an amalgamation of indo islamic and dravidian architecture.
MAIN BUILDINGS
 JAMI MASJID AT GULBARGA
 CHAR MINAR
 HAFT GUMBAZ
 TOMB OF ALI BARID
 MADRASSA OF MAHMUD GAWAN
 JAMI MASJID AT BIJAPUR
 GOL GUMBAZ
 IBRAHIM RAUZA
 MIHTAR MAHAL
COMMON ARCHITECTURAL ELEMENTS:
• the three-arched facade
• the bulbous dome almost spherical in shape
• the graceful, tall and slender minaret,
• frequent use of a masonry pier of considerable size instead of a pillar.
• substantial bold, projecting chhajjas or cornices, and ceilings that seem to be built without any apparent
support as the slabs of stones are bound together by iron clamps and strong mortar.
• Also typical is the richly artistic stucco or stone carving.
JAMI MASJID AT GULBARGA

• The arches design of Jama Masjid Gulbarga reflects in the interiors of Spanish Mosque of Hyderabad,
India. These are only two mosques in India which have the similarity in interiors of the Great Cathedral–
Mosque of Córdoboa in Spain
• This mosque remains inside of the old fort area.
• building of the early Bahmani period
• built by Muhammad Shah.
• The Jama Masjid Gulbarga does not have minarets
• The style is neither Persian nor Indian, but both are amalgamated so as both can be unidentifiable.
• It is a rare example of an Indian mosque without a courtyard as the entire structure is covered with a
roof.
• The structure measures 216' X 176', with cloisters on three sides and a spacious sanctuary with a dome
on the western side.
• The central area is filled in with rows of aisles forming 68 bays, each roofed by a cupola.
•The external appearance of the central dome is made lofty and prominent by raising it on a square
clerestory, its shape being repeated by the smaller cupolas.The dome is supported on the clerestory by
means of squinches, some of the arches being gracefully foliated.
•The main entrance is provided at the north side and has a higher arch-shaped gate than the other sides.
•In the west prayer room, pillars are painted in white with no decoration.
•Constructional methods such as oversailing courses of masonry and vaulting are used in the aisles.
•The cloisters consist of a series of single archways of a very wide spans and low imposts.
•In the middle of the northern cloister is a large archway with the entrance which breaks the symmetry of
the design.
CHARMINAR
• The Charminar is a square edifice each side with 20 meters
• four grand arches each facing a cardinal point that open into four streets.
• At each corner stands an exquisitely shaped minaret, 4 storied and 56 meters high with a double
balcony
• Each minaret is crowned by a bulbous dome with dainty petal like designs at the base.
• A beautiful mosque is located at the western end of the open roof and the remaining part of the roof
served as a court during the Qutb Shahi times
• There are 149 winding steps to reach the upper floor.
• The space in the upper floor between the minarets was meant for Friday prayers. There are forty-
five prayer spaces.
• A vault that 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.
JAMI MASJID AT BIJAPUR
• It is approached by a flight of steps.
• It has corridors on three sides.
• Instead of minarets, it has four domes in the four corners.
• The central dome above the prayer hall is the 1argest.
• A big domed porch projects from the centre.
• The mosque has a square courtyard with open facades of eleven arches, on each side.
• The mosque is said to have been built under the children of a Persian architect.
• The plinth on either side of the main structure has cells with arched openings.
• Three similar domes surmount the prayer hall which is an imposing structure with its rows of pillars and
arches.
• The beautiful niche in the centre is decorated with a scroll of Arabic quotations from the Quran.
• The pulpit near it has a marble dome supported on four arches. The influence of Hindu art is seen in the
brackets.
• It has the smaller domes over the aisles.
• The inner spacious hall has beautiful jali screens on the sides with bands of enamelled tiles above them.
• It has a large central hemispherical dome over the prayer hall with petals around the base.
• A crescent crowns the dome.
• Later Aurangzeb is said to have added a gateway to the Masjid.
IBRAHIM RAUZA
• Ibrahim Rauza was constructed by Ibrahim Adil Shah, the sixth Sultan of the Adil Shahi dynasty, as a
mausoleum for his queen, Taj Sultana. But the king died before the queen, and he was buried there,
hence the building was called Ibrahim Rauza.
• Unlike other tomb buildings, at Ibrahim Rauza, the tomb building, accompanying mosque and the front
entrance are in nearly equal sizes and they all stand together to make a beautiful view
• the minars of Bijapur have octagonal minars that have a constant area of cross section.
• Inside the sepulcher, there are tombstones of Ibrahim Adil Shah, his mother, queen and children.
• The doors of the tomb building are made of teak wood and metal, and they have some interesting
carvings on it.
GOL GUMBAZ
• Gol Gumbad is the mausoleum of Mohammad Adil Shah (1627–55) of the Adil Shahi dynasty
of Indian sultan, who ruled the Sultanate of Bijapur from 1490 to 1686.
• GOL GUMBAZ OR GOL GUMBADH MEANING "ROSE DOME" .
• A REFERENCE TO THE FLOWER/ROSE/LOTUS PETALS THAT SURROUND THE DOME AT ITS BASE,
MAKING IT APPEAR AS A BUDDING ROSE.
• Location: city of Bijapur, in Karnataka , Southern India, was built in 1659 by the famous architect,
Yaqut of Dabul.
• Constructed before his death
• built on a terrace - 200 yards square
• Floor area - 1700 sq m
• Massive square chamber - 50 m
• (160 ft) on each side and covered by a huge dome
• The walls - 3 m. thick.
• IN THE MIDDLE OF THE NORTH SIDE, "A LARGE SEMI-OCTAGONAL BAY" PROTRUDES OUT. WITH AN
AREA OF 1,700 M2 (18,000 SQ FT),
• THE MAUSOLEUM HAS ONE OF THE BIGGEST SINGLE CHAMBER SPACES IN THE WORLD.
• RUNNING AROUND THE INSIDE OF THE DOME IS THE "WHISPERING GALLERY" WHERE EVEN THE
SOFTEST SOUND CAN BE HEARD ON THE OTHER SIDE OF THE MAUSOLEUM DUE TO THE ACOUSTICS OF
THE SPACE.
• Double dome : 44 m - external diameter making it among one of the largest dome structures in
worldand. internal diameter - 37.92 meters, is supported on giant squinches supported by
groined pendentives.
• Height of tomb externally 198 ft, internally 175
• Dome stands unsupported by pillars.
• The dome is supported internally by 8 intersecting arches created by 2 rotated squares that create
interlocking pendentives.
• The facade is varied by using gray basalt within the great arches.
• The doors are positively tiny.
• centre of the chamber is a square raised podium approached by steps in the centre of each side.
• In the centre of the podium are the tombs of Muhammad Adil Shah II and his relations.
• Cenotaphs - Muhammad lies below, along with, on the east, his youngest wife and son and, on the
west, a favorite dancing girl, a daughter, and his eldest wife.
• Western side of the podium in a large apse-like projection is the mosque, also raised slightly above the
floor level of the chamber
• High plinth of tombs and other buildings
• Square plans ( mostly of tombs)
• Exclusive use of domes
• Spire on domes of different materials (gold or metallic)
• Uses of “Chhatries” mostly in palaces
• Arched windows (ogee arches) and grand entrances
• Granite and marble were vastly used