ISLAMIC ARCHITECTURE

PRESENTED BY ASSISTANT PROFESSOR AISHWARYA G . K.

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INDO ISLAMIC ARCHITECTURE

3 MAIN DIVISIONS OF INDO ISLAMIC ARCHITECTURE ARE THE



IMPERIAL OR DELHI STYLE PATHAN RULE
a)ARAB , b)KHALJI , AND c)TURKISH RULE
(IMPERIAL= PERTAINING TO EMPIRE OR AN EMPEROR)
STARTED CLOSE TO 12
TH
CENTURY CONTINUED FOR 4 CENTURIES

PROVINCIAL - PIVOTAL YEAR OF THIS MOVEMENT WAS AD 1400, WHEN CENTRAL POWER OF DELHI
HAD BEEN BROKEN BY INVASION OF TIMUR ; UP TO MIDDLE OF 16
TH
CENTURY ;


MUGHAL- RIPEST FORM OF INDO-ISLAMIC ARCHITECTURE ;LASTED UNTIL 18
TH
CENTURY


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INDO ISLAMIC ARCHITECTURE
INTRODUCTION

EARLIEST FOOTPRINTS OF ISLAM IN THE SIND VALLEY IN INDIA
ALL STRUCTURES OBLITERATED (THROUGH NATURAL CALAMITIES OR SUBSEQUENT LOOTING)
CAN BE TRACED BACK TO 7
TH
CENT
A.D. 1192 ISLAM OVERTHREW RAJPUTS
MUSLIM SLAVE DYNASTY KING ESTABLISHED RULE IN DELHI

BUILDINGS ARE OF THE KINDS
MOSQUES TO PRAY
TOMBS FOR THE DEAD
VICTORY TOWER
COMPLETE NEW CITIES

1) BASIC MODULE
A CUBE VOLUME CROWNED BY A HEMISPHERICAL TRUE DOME
2) PERFECTED AND NEW TECHNOLOGICAL PRINCIPLES OF TRUE ARCH AND THE DOME
(UNDERSTOOD BY HINDU BUILDERS)
3) CITY BUILDING OF TUGHLAQABAD (GHIAS UD-DIN)
EG. FIRUZ SHAH KOTLA (FIRUZ SHAH), CITY LAID ON THE BANKS OF THE JAMUNA RIVER.
PRINCIPLES ADOPTED OF PLANNING OF A CITADEL - LOCATION USUALLY ON THE BANKS OF A RIVER
- PERIPHERAL DEFENSIVE WALL
- PRIVATE COURTYARDS ALIGNED ALONG
CENTRAL AXIS; ALL CULMINATING INTO ROYAL
PRIVATE PALACES
- STYLE ALSO INCLUDED MILITANT STYLE WITH
BUTTRESS AND CIRCULAR PYLONS



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tybarchhistory.weebly.com/jami-masjid-at-gulbarga.html
http://asi.nic.in/asi_monu_whs_humayuntomb_char.asp
http://en.wikipedia.org/wiki/File:Qutb_minar_ruins.jpg
INDO ISLAMIC ARCHITECTURE
INTRODUCTION

THE CONTRAST BETWEEN HINDU ARCHITECTURE AND ISLAMIC ARCHITECTURE





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ISLAMIC HINDU
OPEN COURTS TO LIGHT AND AIR WITH MANY
DOORWAYS
PASSAGES LEADS TO DIM CELLS, GUARDED AND
REMOTE, ENCLOSING A PHANTASM OF DARKNESS
NO CENTRAL SHRINE- (DEVOTEE TURNS TO DIRECTION
OF MECCA WEST IN INDIA)
CENTRAL SHRINE
MOSQUE IS WHOLLY VISIBLE INTROSPECTIVE
DECORATIVE LETTERING INSCRIPTIONS RARE, MORE IMAGERY, STATUES ETC.
COLORED MARBLE ; PAINTED PLASTER ; GLAZED TILES NATURAL TEXTURE AND TINT OF STONE
FORMAL RHYTHMIC
STRUCTURAL ARTISTIC ABILITY
INDO ISLAMIC ARCHITECTURE
INTRODUCTION
THE CONTRAST BETWEEN HINDU ARCHITECTURE AND ISLAMIC ARCHITECTURE





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MOSQUE HINDU
METHOD OF BUILDING IS ARCUATE TRABEATED
CEMENTING AGENT MORTAR USED NO MORTAR THEREFORE NO ARCH
SKYLINE WAS THE DOME FLAT OR LOW POINTED ROOFS, SPIRE OR SHIKARA,
GOPURAMS,( MORE PYRAMIDICAL SKYLINES.)
BUILDING TYPES WERE THE MOSQUES, TOMB, TOWN
GATES, PAVILIONS ,WELLS , GARDENS , PALACES, FORTS,
AND CITIES
TEMPLES, WELLS, TOWN GATES, CITIES, LARGELY
FOCUSED ON TEMPLES
http://commons.wikimedia.org/wiki/File:Tomb_of_Ghiyas
uddin_Tughlaq.JPG
http://www.youtube.com/watch?v=QZTvF_1AN8A
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http://www.youtube.com/watch?feature=player_detailpage&v=QZTvF_1AN8A
http://upload.wikimedia.org/wikipedia/commons/e/e2/Panoramic_vie_of_Fahpur_Sikri_Palace.jpg
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http://indiapicks.com/Heritage/Qutb/Qutb-E-Iron_Pillar.htm
INDO ISLAMIC ARCHITECTURE
INTRODUCTION

TYPICAL BUILDINGS AND THEIR ELEMENTS

MOSQUE OR MASJID THE PLACE OF PROSTRATION
CONGREGATIONAL SPACE FOR FRIDAY PRAYER PRESENT IN ALMOST EVERY CITY .
DERIVED FROM HUMBLE DWELLING OF FOUNDER OF MEDINA IN ARABIA.

MAIN ELEMENTS OF MOSQUE ARE AS STATED BELOW:
1. OPEN COURTYARD SURROUNDED BY A PILLARED VERANDAH
2. A RECTANGULAR OPEN SPACE OR SAHN THE 4 SIDES BEING ENCLOSED BY PILLARED CLOISTERS
OR LIWANS
3. A FOUNTAIN OR TANK IN THE CENTER FOR ABLUTIONS
4. FOCAL POINT THE CLOISTERS ON THE WEST COURTYARD WERE EXPANDED AND ELABORATED
INTO PILLARED HALL OR SANCTUARY
5. WITH A WALL AT THE BACK CONTAINING A RECESS OR ALCOVE CALLED MIHRAB
6. INDICATING THE QIBLA OR DIRECTION OF PRAYER
7. ON THE RIGHT SIDE OF MIHRAB STANDS MIMBAR OR PULPIT.
8. A PORTION OF THE SANCTUARY IS SCREENED OFF INTO A COMPARTMENT FOR WOMEN
9. AN ELEVATED PLATFORM FROM WHICH THE MUZZIN SUMMONS THE FAITHFUL TO PRAYER IS
THE HIGH TOWER OR THE MINARETS

SECONDARY ELEMENTS BEING:
PORTICOS AND ENTRANCE HALLS ADDED TO EXTERIOR
SCREEN MADE INTO A FAADE
A DOME RAISED OVER CENTRAL SHRINE
DOME OVER THE NAVE IS OBSTRUCTED BY THE PARAPET ON THE FAADE WHICH RISES UP IN
FRONT, LEADING TO LACK OF COHERENCE IN ELEVATIONAL ASPECT, EG QUTB AT DELHI
(AS PER RULE OF ISLAM)
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INDO ISLAMIC ARCHITECTURE
INTRODUCTION

TYPICAL BUILDINGS AND THEIR ELEMENTS

THE TOMB
INITIALLY THESE WERE PROHIBITED -----(ALL FORMS OF MONUMENTAL ART RESTRICTED)
THESE STRUCTURES HAVE IMPOSING COMPOSITION
VAULTED HALLS
TOWERING DOMES
TOMBS ARE ENCLOSED WITHIN A SPACIOUS GARDEN
ALL DONE IN GRAND STYLE
IN THE CENTER A HANDFUL OF DUST LAID IN PLAIN MOUND OF EARTH IS PRESENT
MORTUARY CHAMBER BELOW
THE TOMB QABRISTAN CONSISTS OF SINGLE COMPARTMENT OR TOMB CHAMBER
TOMB CHAMBER KNOWN AS HUZRAH OR ESTANAH
IN THE CENTER OF THE TOMB CHAMBER IS CENOTAPH OR ZARIH

THE WHOLE STRUCTURE IS ROOFED BY A DOME
IN THE GROUND UNDERNEATH THIS BUILDING RESEMBLING A CRYPT, IS A MORTUARY CHAMBER
CALLED THE MAQBARAH OR LAKHANA WITH GRAVE OR QABR IN THE MIDDLE

IN THE WESTERN WALL OF THE TOMB CHAMBER THERE IS A MIHRAB
MAUSOLEUMS(A STATELY TOMB) INCLUDE A MOSQUE AS A SEPARATE BUILDING
WHEN THE TWO ARE TOGETHER INSIDE AN ENCLOSURE IT IS CALLED A RAUZA.

OCCASIONALLY IMPORTANT TOMBS ARE CALLED DARGAH


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INDO ISLAMIC ARCHITECTURE
INTRODUCTION

IMPERIAL STYLE -RUDIMENTARY MOSQUE- QUWWAT- UL- ISLAM , ALAI DARWAZA, CITES ,

PROVINCIAL STYLE ,ASSAULT OF TIMUR, ARTISANS AND CRAFTSMEN MIGRATED TO VARIOUS
REGIONAL CENTRES OF MUSLIM POWER THAT HAD SPRUNG ALL OVER INDIA

CITIES OF JAUNPUR AND PANDUA IN THE EAST
AHMEDABAD IN THE WEST
MALWA IN CENTRAL INDIA
BIJAPUR IN THE SOUTH

IN EACH OF THESE REGIONS IN THE EARLY PHASE MUSLIM BUILDINGS WERE QUICKLY PUT
TOGETHER FROM SPOILS OF THE HINDU TEMPLES GRADUALLY CRAFTSMEN EVOLVED VIABLE AND
INDIVIDUALISTIC STYLES RESPONDING TO THE CLIMATIC GEOGRAPHIC SOCIAL CIRCUMSTANCES OF
EACH REGION

EG. IN BENGAL NON AVAILABILITY OF STONE AS A BUILDING MATERIAL PLUS INCESSANT RAINS GAVE
RISE TO LARGELY COVERED MOSQUES WITH CHARACTERISTIC STEEPLY PARAPET .

IN JAUNPUR STRONG INFLUENCE OF TUGHLAQ STYLE OF DELHI , THE RESULT WAS LARGE
FLAMBOYANT STONE PYLONS INTERWOVEN WITH COLONNADED LIWANS



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INDO ISLAMIC ARCHITECTURE
INTRODUCTION


IN MANDU TUGHLAQ STYLE INFLUENCE IN EARLIER STAGES, BUILDERS EVOLVED AN
EXTREMELY ROBUST AND ORIGINAL STYLE LATER , BEST SEEN IN JAMI MASJID WHICH EVEN
IN IT`S INCOMPLETE FORM IS PROBABLY ONE OF THE FINEST MOSQUES IN INDIA.

GUJARAT INFLUENCED BY JAINA AND HINDU ARTISTIC SKILLS , RESULT WAS LIWANS FOR
MOSQUES WERE VIRTUALLY TEMPLE MANDAPS WITH FAADE OF POINTED ARCHES .

IN SOUTH INDIA THE IMMIGRANTS WERE WELL VERSED WITH PERSIAN TECHNOLOGY , RESULT
WAS LARGE FULLY COVERED MOSQUE CULMINATING INTO THE WORLD`S LARGEST SINGLE
DOME OF IT`S TIME IN BIJAPUR

NORTH INDIA SAYYIDS & LODIS
CITIES OF AGRA AND DELHI
ISLAMIC STRUCTURAL TECHNIQUES DOMINATED AND GOT ESTABLISHED DURING THIS PHASE
CONSTRUCTION OF MASSIVE BOAT KEEL SHAPED DOMES OVER NUMEROUS TOMBS
LODI CRAFTSMEN`S MAJOR CONTRIBUTION WAS THE ADOPTION OF THE OCTAGONAL
TOMB



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INDO ISLAMIC ARCHITECTURE
INTRODUCTION

MUGHAL STYLE : MUGHALS/MONGOLS LED BY BABAR DEFEATED LODIS (IN LEGENDARY BATTLE OF
PANIPAT)
RULED FOR MERE 4 YEARS
ESTABLISHED THE FOUNDATIONS OF MUGHAL EMPIRE

SHER SHAH (USURPED THE THRONE & FORCED BABUR`S SON HUMAYUN TO RELINQUISH DELHI & FLEE
TO PERSIA)
5 YEARS OF RULE
NEW SYSTEM OF ADMINISTRATION
CONTRIBUTION TO ARCHITECTURE WAS HANDSOME
EG 1) QILA MASJID AT DELHI( A BALANCED PERFECTION ACHIEVED IN IT`S FAADE, BECOMING THE
PROTOTYPE FOR MUGHAL)
EG 2) SASARAM IN BIHAR IS THE CLIMAX TO A SERIES OF OCTAGONAL TOMBS.

HUMAYUN SHORT LIVED RULE , AFTER MANAGING TO OUST THE AFGHANS
AKBAR- SON OF HUMAYUN ( BECAME RULER AT AGE OF 11)
HERE ARCHITECTURE INFLUENCED BY PERSIAN IDEAS, BLENDED WITH BUDDHIST TRADITION
EG. HUMAYUN`S TOMB
NEW CAPITAL FATHEPUR SIKRI
AKBAR`S TOMB AT SIKANDRA

JAHAGNGIR THE SON OF AKBAR CONTRIBUTED TO LANDSCAPE ARCHITECTURE ,LAYING OUT OF
GARDENS(PARTICULARLY IN VALLEY OF KASHMIR)


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INDO ISLAMIC ARCHITECTURE
INTRODUCTION




AKBAR `S ARCHITECTURE DOMINATED WITH SANDSTONE AS MATERIAL
JAHANGIR REPLACED WHITE MARBLE (MAKRANA - VERY EXPENSIVE)

SHAH JAHAN SON OF JAHANGIR,
A PASSIONATE BUILDER , HIS CONTRIBUTION BEING THE TAJ MAHAL AT AGRA


GROWING WEALTH OF EMPIRE, RESULTED IN LAYING OUT OF CITY OF SHAHJAHANABAD AT DELHI
THE SERAGLIO (AN INCLOSURE- PLACE OF SEPARATION) DELHI FORT IS STUDDED WITH EXQUISITE
MARBLE PAVILIONS LUXURIOUSLY EMBELLISHED AND SURROUNDED BY GARDENS AND WATER
CHANNELS.

FOR THE FAITHFUL THERE IS THE FAMOUS JAMI MASJID OPPOSITE RED FORT

THE MOSQUE , THE TAJ MAHAL AND PALACES BECAME THE SWAN SONG OF ISLAMIC ARCHITECTURE.




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THANK YOU