SIDDAGANGA INSTITUTE OF TECHNOLOGY, TUMKUR

SCHOOL OF ARCHITECTURE

SUBJECT: 3AR01-History of Architecture – III CLASS: III Sem.

TEACHER: Ar. Vivek C G

MODULE – 01 NOTES

Syllabus Outline:
Coming of Islam to India in 11th century A.D. Imperial style - Delhi: Slave, Khilji, Tuglukh syyid & Lodi
dynasties. Development of basic mosque and tomb prototypes. Eg: Qutb complex, Quwwat-ul-Islam,
Tomb of Iltumish, Alai Darwaza, Tomb of Ghiasuddin Tuglukh, Khiski masjid, Tomb of Firoz shah
Tughlukh, Octoganal and square tombs. Distinctive features of each of these dynasties.

Islam as a Religion:

Islam is a monotheistic and Abrahamic religion articulated by the Qur'an, a text considered by its
adherents to be the verbatim word of God and by the teachings and normative example of Muhammad,
considered by them to be the last prophet of God. An adherent of Islam is called a Muslim.

The word Islam, in a religious context it means "voluntary submission to God". Believers demonstrate
submission to God by serving God and following his commands, and rejecting polytheism.

The Pillars of Islam are five basic acts in Islam, considered obligatory for all believers. The Quran
presents them as a framework for worship and a sign of commitment to the faith. They are,

• Shahadah (creed) – take oath, "I testify there are no deities other than God alone and I
testify that Muhammad is the Messenger of God.“
• Daily prayers (salat) - must be performed five times a day. It is intended to focus the mind
on God, and is seen as a personal communication with him that expresses gratitude and
worship.
• Almsgiving (zakah) - is giving a fixed portion of accumulated wealth by those who can
afford it to help the poor or needy, and also to assist the spread of Islam.
• Fasting during Ramadan
• Pilgrimage to Mecca (hajj) at least once in a lifetime.

Islamic Architecture:

Islamic architecture inspired from Persian/Iranian architecture, encompasses a wide range of both
secular and religious styles from the foundation of Islam to the present day, influencing the design and
construction of buildings and structures in Islamic culture.

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 The principal Islamic architectural types are: the Mosque, the Tomb, the Palace and the Fort. From these
four types, the vocabulary of Islamic architecture is derived and used for buildings of lesser importance
such as public baths, fountains and domestic architecture.

Indo-Islamic Architecture:

Indo-Islamic architecture encompasses a wide range of styles from various backgrounds that helped
shape the architecture of the Indian subcontinent from the advent of Islam in the Indian
subcontinent around the 7th century. It has left influences on modern Indian, Pakistani and Bangladeshi
architecture. Both secular and religious buildings are influenced by Indo-Islamic architecture which
exhibit Indian, Persian, Arab, and Turkish themes. The Islamic rule in India saw the introduction of
many new elements in the building style.

Islamic Architecture in India, passed through three different successive experiences;

I Phase (for limited period)

• Desecration and Destruction

• A large number of fortified towns, temples and similar structures were included in the
spoliation.

II phase

• Buildings were not ruthlessly shattered, but were purposely dismantled and the parts
removed, to supply ready-made materials for the mosques and tombs.
• Structures became the quarries from which supplies of cut stone were extracted – Delhi,
Ajmer, stones were obtained from two sources.
• Dug from the hills, temples demolished.

III Phase

• Muslims firmly established in various parts of the country.

• In a position to plan and build, constructed of masonry, not re-conditioned, each stone
prepared specially for its purpose.
• Architecture, at its true character splendor.

Classification:

THE DELHI or IMPERIAL/PATHAN STYLE - Architecture produced by the dynasties associated with
their rule at Delhi.(capacity city/ center of imperial power) End of 12th century AD, continued for four
centuries, middle of 16th century succeeded by Mughals.

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 THE PROVINCIAL STYLE - Architecture practised in some of the more self-contained portions, after
their governors had thrown off the allegiance to Delhi, proceeded to develop a form of architecture in
accordance with their own individual ideals.- AD 1400, invasion of Timur (Tamer lane) power of Delhi
declined.

THE MUGHAL STYLE - Brought the whole of India under their rule, latest and ripest form of Indo-
islamic architecture(mid of 16th century to end of 18th century) empire founded by the descendants of the
Timurids, the Mughals.

Main Characteristics:

• The main elements in the Islamic architecture is the introduction of arches and beams, and it
is the arcuate style of construction while the traditional Indian building style is trabeate, using
pillars and beams and lintels.
• The introduction of decorative brackets, balconies, pendentive decorations, etc
• The other distinguishing features of Indo-Islamic architecture are the utilisation of kiosks
(chhatris), tall towers (minars) and half-domed double portals.
• The tomb architecture is also another feature of the Islamic architecture as the practice of the
burial of the dead is adopted. The general pattern of the tomb architecture is consisted of a
domed chamber (hujra), a cenotaph in its centre with a mihrab on the western wall and the real
grave in the underground chamber.
• The Mughal tombs are generally placed at the centre of a huge garden complex, the latter
being sub-divided into square compartments, the style is known as char-bagh. The Mughals
also built large gardens in various levels and terraces on the char-bagh pattern.
• The Mughals are also credited to have introduced the double dome system of dome
architecture and the pietra-dura style of inlay decorations.

The Mosque:

The English word "mosque" came from the Arabic word “Masjid" meaning "a place for prostration
(Sajada)". Mosque generally means a Islamic religious building where many people with the same
intention can pray together. Mosques throughout the world are built based on an axis facing Mecca
(Qibla).

They have developed significantly from the open-air spaces that were the Quba Mosque and Al-Masjid
al-Nabawi in the 7th century. Many mosques have elaborate domes, minarets, and prayer halls. At the
prayer at noon every Friday, young male members of community get together at the "Friday Mosque"
(Jami Mosque, it is called Jama Masjid in India) and in principal they pray collectively with a leader of
prayer (imam).

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 Apart from Friday Mosques, block mosques (hara, mahale), private prayer buildings and mosques
completed with tombs, prayer open spaces (idgah or Amusallah) for major festivals (id) in the suburb,
etc.

Parts of a Mosque:

Mihrab: The only element essential to a mosque is a hollow space (mihrab) on qibla wall, showing the
direction of Mecca. In some cases, a lump, symbolizing a light, considered to be one of the predicaments
of God, is drawn inside the mihrab, or a few mihrabs are provided on the qibla wall of a single mosque.
Mihrab is semicircular niche in the wall of a mosque that indicates the qibla; that is, the direction of
the Kaaba in Mecca and hence the direction that Muslims should face when praying.

Minbar: It is a platform in the form of stair, next to the mihrab, may be provided for the preacher
(imam), who leads prayer. Muslims, who are considered to be equal in the eyes of God, pray collectively,
lining up parallel to the qibla wall, being led by the imam.

Liwan/Sanctuary/ Musallah: The prayer hall, also known as the musallah, rarely has furniture; chairs
and pews are generally absent from the prayer hall so as to allow as many worshipers as possible to line
the room. In many mosques, especially the early congregational mosques, the prayer hall has the
hypostyle form (the roof held up by a multitude of columns). Usually opposite the entrance to the prayer
hall is the qiblah wall, the visually
emphasized area inside the prayer hall.

Ablution Fountain: A facility for purification

(udu, which is conducted before prayer, is
important as well. Water flowing from
fountains (hauz) in the courtyard (sahan) is
not only important for ritual purposes but it
effectively creates a pure and clean
atmosphere. As ritual purification precedes all
prayers, mosques often
have ablution fountains or other facilities for
washing in their entryways or courtyards.

Minar: A tower (minaret, minar), from which

a call for prayer can be announced, is not
necessarily essential, however, it is a facility
often seen in mosques. Before the five
required daily prayers, a muezzin calls the
worshippers to prayer from the minaret.

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 MOSQUE TEMPLE

▪ Clarity of mosque ▪ Abode of mystery

▪ Courts open to light, air ▪ Encloses a massive darkness

▪ Many doorways inviting publicity ▪ Narrow passages leading to dimly lit

cells

▪ No need of a central shrine ▪ Garbagriha/sacred chamber as focal

▪ Sufficient for the devotee to turn in the point
direction of Mecca. ▪ Deep inside – endless corridors

▪ No image worshipping ▪ Image worshipping

▪ No rituals – but congregational worshipping ▪ Elaborate rituals – limited

in form of prayers accommodation
- Viewing images (Darshan)
- attending rituals
▪ Space for large gatherings ▪ Space for limited gatherings

▪ Wholly visible and intelligible. ✓ Frequently introspective complex and

indeterminate

▪ Representation of natural forms is ✓ Exteriors – Interiors (walls)pulsage

prohibited. with rich imagery of sculpture/figurative
carvings
✓ Dwelling places of the gods.
▪ Sculptured texts. ✓ Inscriptional art is rare.
▪ Decorative lettering attained its highest form ✓ Convey their meaning through
iconography and carved figure
compositions.
▪ Break wall surfaces – in patterns of different ✓ Multitude of figure forms and
coloured marble, applied schemes of painted sculptured schemes of bands.
plaster, coloured glazed tiles. ✓ Vivid and rhythmic compositions in
natural tint and texture of stone.
▪ Formal mind of Muslims. ✓ Rhythmic mind of Hindus.

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Origin of Islamic architecture in India. . .
❑ The origin of Islamic architecture is the tale of Muslim invasion in India which to a great
extent reshaped the whole architectural element of India.
❑ The earliest attack in India took place in the 8th century, when much of the lower Indus
territories came under the power of the Caliphs of Baghdad, the Arab invaders. This
invasion marked the very beginning of the Islamic architecture.
❑ The introduction of the glazed tile decoration by the Arabs contoured the initial
architectural development of the Islamic architecture.
❑ The second attack occurred in the first half of the 12th century, much later the first attack.
❑ The Ghazna from Afghanistan attacked Punjab from the way to Lahore, the undivided city
of India.
❑ During this period, the Ghori King, Muhammad-bin-Sam conquered Delhi and assigned his
slave Qutub-ud-Din Aibak as the monarch. It was the beginning of the Slave Dynasty in
India.

Slave dynasty . . .
❑ Qutb Uddin Aibak, Turkish slave of Muhammed Ghori became the ruler.
❑ Viceroy of all newly conquered territories.
❑ Spear head of Muslim invasions(N-E India)
❑ Took advantage of caste system
❑ In rapid succession Stormed Ajmer(fortress of Gwalior), Delhi, Kanauj, Kalanjar( chandelas
of Bundelkhand in 1203 AD)
❑ Declared himself independent of Ghorid supremacy and wisely chose the Qila Rai
Pithora(Built by Prithviraj of Delhi)
❑ Credit of realising “he who holds delhi holds India”

Why Delhi ! ? !
❑ Delhi, situated as it was at the mouth of the corridor between the foothills of the Himalayas
and the fringes of the great Thar desert of Rajasthan was Ideal location for defending India
against foreign invasions along the northwest land route.
❑ The focus of the commercial and trading activity generated by DOAB (two rivers).
❑ The earliest concern was not with the trade but intended establishing the power of Islam
over its newly subjugated people and proclaiming in concrete terms with him Islam had
come to stay and rule.
❑ The undisputed power of the sword of Islam had to be now consolidated through the
efforts of its builders.
❑ The first Sultan of India of slave dynasty, Qutb-ud-din Aibak built the oldest mosque
named Quwwat-ul-Islam in 1195.
❑ It was erected on the spacious substructure of a Hindu temple. Materials were taken from
the destroyed temple itself. The columns from the temples were used for the walls of the
mosque.

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 ❑ Its geometric patterns and eight pointed the Hindu influence on arches. It is regarded as a
great work of Islamic architecture on Indian soil.
❑ The origin of Islamic architecture therefore whispers the saga of an amalgamation of varied
styles, shapes and structures. The style of Quwwat-ul-Islam which was initiated by Qutb-
ud-din Aibak was carried further by the Delhi Sultanate.

Quwwat ul islam mosque

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 ❑ Quwwat-ul-Islam mosque (Might of Islam) (also known as the Qutub Mosque or the Great
Mosque of Delhi) was built by Qutb-ud-din Aibak, founder of the Mamluk or Slave dynasty.
❑ It was the first mosque built in Delhi after the Islamic conquest of India and the oldest
surviving example of Ghurids architecture in Indian subcontinent.
❑ The construction of this Jami Masjid (Friday Mosque), started in the year 1193 AD and
completed in 1197AD.
❑ Subsequently, it was enlarged by two later rulers, Sharnsud-Din Iltutmish (A.D. 1210-35)
and Alau'd-Din Khalji (AD. 1296-1316).
❑ The mosque was built by the parts taken by destruction of twenty-seven Hindu and Jain
temples built previously during Tomars and Prithvi Raj Chauhan, and leaving certain parts
of the temple outside the mosque proper.
❑ The mosque is built on a raised and paved courtyard, measuring 141 ft (43 m). X 105 ft
(32 m), surrounded by pillared cloisters.
❑ The blocks of dressed stones, columns and beams which are used to build mosque, were all
recovered from many Hindu temples.
❑ The structural sophistication without binding material had facilitated the work of
demolition and ease of removing.
❑ The walls of the mosque were built on the existing foundations of a Hindu temple.
❑ The east-west direction of Hindu temples was also conveniently suitable to orient the
mosque.
❑ This mosque consisted of a courtyard measuring 141ft X105ft surrounded by pillared
cloisters. Three aisles deep by using short pillars from the temples.
❑ On the west or mecca side of the courtyard, the arrangement of pillars was made more
spacious and elaborated into a series of bays with shallow domed ceilings, to form the
sanctuary. In front of the sanctuary was placed the famous Iron pillar.
❑ The Qutb Minar was built simultaneously with the mosque but appears to be a stand alone
structure, built as the 'Minar of Jami Masjid', for the muezzin to perform adhan, call for
prayer, and also as a qutub, an Axis or Pole of Islam.

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 Cloisters

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 ❑ After two years of hasty improvisation of the mosque, some idea of shortcomings in its
appearance was felt by the rulers and this incompleteness could be overcome by the
introduction of expansive arched façade to be build across the entire front of the sanctuary
on the west.
❑ This screen of arches, had formed a great wall of masonry over 50ft in height at the centre,
its width 108ft with a thickness of 81/2 ft built out of rubble masonry and veneered with
red sand stone.
❑ The wall has five openings, consisting of a large central archway measuring 45ft high with a
span of 22ft, while on each side were two lesser archways, each 25ft in height.
❑ Above the side arches was a kind of clear-storey having a series of four smaller arched
openings, one over each of the side arches.

Maqsura screen……
➢ After two years of hasty improvisation of the mosque, some idea of shortcomings in its
appearance was felt by the rulers and this incompleteness could be overcome by the
introduction of expansive arched façade to be build across the entire front of the sanctuary on
the west.
➢ This screen of arches, had formed a great wall of masonry over 50ft in height at the centre,
its width 108ft with a thickness of 81/2 ft built out of rubble masonry and veneered with red
sand stone.
➢ The wall has five openings,
consisting of a large central archway
measuring 45ft high with a span of
22ft, while on each side were two
lesser archways, each 25ft in height.
➢ Above the side arches was a kind
of clear-storey having a series of four
smaller arched openings, one over
each of the side arches.
➢ This series of red sand stone is by
itself a noble conception of fine
pointed arches with their ogee curves
producing the effect of lightness.
➢ It has a rich pattern of carving
with which its entire surface is
covered.
➢ The wall surface has an
ingeniously graceful border of spiral
form having a floral device within

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 each coil and its convultions especially a hindu conception, and contrasting with it are upright
lines of decorative inscriptions form Koran, purely an islamic art.
➢ 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.

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 Qutb minar
❑ Qutb Minar is the tallest brick minaret in the world and
earliest example of Indo-Islamic Architecture.
❑ The Qutb Minar is 72.5 metres (239 ft) high, has five distinct
storeys, each marked by a projecting balcony carried
on muqarnas corbel and tapers from a diameter 14.3 metres
at the base to 2.7 metres at the top, which is 379 steps away.
❑ Built as a Victory Tower, to celebrate the victory
of Mohammed Ghori over the Rajput king, Prithviraj
Chauhan, in 1192 AD, by his then viceroy, Qutbuddin Aibak.
❑ Aibak however, could only build the first storey, for this
reason the lower storey is replete with eulogies
to Mohammed Ghori. The next three floors were added by
his son-in-law and successor, Iltutmish.
❑ The minar was first struck by lightning in 1368 AD, which
knocked off its top storey, after that it was replaced by the
existing two floors by Firoz Shah Tughlaq, a later Sultan of Delhi 1351 to 1388, and faced with white
marble and sandstone enhancing the distinctive variegated look of the minar, as seen in lower three
storeys.
❑ Thus the structure displays a marked variation in architectural styles from Aibak to that of Tughlaq
dynasty.
❑ The minar made with numerous superimposed flanged and cylindrical shafts in the interior,
and fluted columns on the exterior, which have a 40 cm thick veneer of red and buff colored
sandstone; all surrounded by bands of intricate carving in style of Islamic calligraphy, giving the
minar the appearance of bundled reeds.
❑ In plan, the tower is circular, the base being 46ft in diameter and it tapers to a width of 10ft at the
top.
❑ Each of its four stages is a different pattern in section, the lowest having stellate or wedge-shaped
flanges alternating with rounded flutes.
❑ The second has circular projections, the third is star-shaped, while the fourth is simply round.
❑ On the northern side it is entered by a door way, within which a stairway spirals its way upto each
balcony.
❑ The most elegant features of the monument are the balconies and the method designed for their
support.
❑ The balustrade around these balconies has the form of stepped battlements or merlons called
Kanjuras.
❑ Even more original is a system of stalactite bracketing underneath the balconies by which these
projections are supported and their weight transmitted to the body of the structure.

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 ❑ Stalactite vaulting is represented by means of a cluster of miniature arches or small alcoves , with
brackets in between , the little alcoves are patterned with a network like honey-combing.

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Expansion of the complex
❑ With the growing muslim population in the capital, a large mosque was called for, the then
made the astute decision to enlarge the existing mosque by throwing another colonnade,
symmetrically arranged, around the existing one to create a courtyard that now included the
Qutb Minar within its cloisters.

❑ Expansion of the mosque continued after the death of Qutb. Qutbuddin's successor Iltutmish,
extended the original prayer hall screen by three more arches.

❑ By the time of Iltutmish, the Mamluk empire had stabilized enough that the Sultan could
replace most of his conscripted
Hindu masons with Muslims.

❑ This explains why the arches

added under Iltutmish are
stylistically more Islamic than the
ones erected under Qutb's rule,
also because the material used
wasn't from demolished temples.

❑ 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 in 1300 AD.

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 TOMB OF ILTUTMISH
❑ The Tomb of Shams al-Din Iltutmish
(reg. 1211-1236), is located in the
northwest corner of the Qutb complex
next to Iltutmish's own extensions to
the Qutb Mosque.

❑ The sandstone structure is square,

measuring 9.1 meters along each side,
with a height of 8.41 m to the base of
the (conjectured) dome.

❑ It was constructed of new material, not

making use of the spolia used in other
buildings in the Qutb complex.

❑ It has three entrances, on the north, east,

and south elevations.

❑ The western wall, facing Mecca, houses the

mihrab as the central niche of three.

❑ The upper chamber, now open to the sky,

contains the richly decorated marble
cenotaph.

❑ Steps on the northern side leading down to

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 the burial chamber below.

❑ The square base of the tomb structure is transformed into an octagon overhead with ogee
squinch arches.

❑ These arches are constructed with corbels rather than with true arches.

The squinch system consists of projecting a small arch or similar element

across the upper part of the angle of the square hall, thus converting its
square shape into an octagon, which again, if necessary transformed in
the same manner into a 16-sided figure, a convenient base on which the
lower circular rim of the dome may rest, to form of a small vault or half
dome with series of arches.

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 ▪

▪ The structure has no dome or other roof.

▪ It has been conjectured that the original dome collapsed; it has

also been noted that the exterior walls of the tomb are
comparatively thin (2.2 meters), and might not have been able
to support the outward thrust generated by a dome.

▪ The entrance and parts of the exterior are laid with quartzite,
and the gates are decorated with carvings; however, the real
decorative richness of the tomb is found within.

▪ Elaborate epigraphy on walls, arabesques, and geometrical designs adorn the western niches
and mihrab. The inscription panels include Kufic, Tughra and Nakshi scripts illustrating
chapters of the Quran. Hindu motifs such as lotus flowers and bells on chains are also found in
the sandstone carvings.

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 Further Expansion of Qutb complex
❑ In 1290. A.D. , Firoz Jallal-ud-din-Khalji at the old age of seventy ascended the throne of Delhi.
Jallal-ud-din’s own ambitious nephew Ala-ud-din murdered Jallal-ud-din and he had himself
crowned at Delhi as Sultan of Delhi.

❑ Ala-ud-din-Khilji proved to be tremendously spirited ruler and his architectural projects, seem
to reflect his character. It was during his powerful rule, that Islamic builders took a definite step
forward in their art, venturing into many grandiose projects.

❑ The Alai Darwaza and the remains of the so-called Alai-Minar, as they stand today, were also
only a minor part of a much grandeur scheme.

❑ While Iltutmish had been content with increasing the size of Quwwat-ul-Islam mosque by three
times, Ala-ud-din further enlarged it by more than six times.

❑ This was achieved by throwing yet another asymmetrically arranged cloister around the
existing one. In the center of the extension of the courtyard on the Northern side, he laid the
foundation of Alai Minar.

❑ At symmetrical intervals along the outer walls, it was proposed to install six gateways. Of these,
either the Alai Darwaza was the only one to be completed, or the only one to survive to date.

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 Alai darwaza
❑ The Alai Darwaza that translates to 'Alai Gate'
was named after the first Khalji Sultan named Ala-
ud-din Khalji (Khilji) of the Khalji dynasty in 1311
AD. It lies towards the southern end of the ancient
Quwwat-Ul-Islam Masjid within the Qutb
Complex in South Delhi.
❑ The Alai Gate was constructed with a dome
shaped gate made of red sandstone and decorated
with stunning Turkic features made of white
marble inlay and inscriptions engraved in the ancient Naskh Script and screens made with
Lattice stones depicting unique Turkic craftsmanship.
❑ The Alai Darwaza is also known as the first monument that reveals the true and real Islamic
imprints and hence is historically, one of the most significant buildings made during the Delhi
Sultanate era seen with domes, pointed arches and beautiful carvings that adds a royal charm to
the nearby mosque and complex.
❑ The Alai Darwaza, though modest in size, marks the beginning of the process of refinement of
the basic module of Islamic architecture.- the cube and the hemisphere- as assembled for the
first time in Delhi in Iltutmish tomb.
❑ The refinement is done both in its structural and decorative techniques.
❑ For the first time, the construction was carried out with masonry that was formed of alternate
courses of stretchers and headers, with the headers embedded deep into the thickness of the
wall, ensuring greater stability to the structure.
❑ This structure is the southern entrance hall to the courtyard, a self-contained building known as
Alai-Darwaza or Gateway of Ala-ud-din and the date of its erection was 1305 AD.
❑ From the character of its architectural treatment, its form and construction, it is clear that some
fresh influence and the assistance of experts from other and more matured developments of the
building art were at work.
❑ There are distinct evidences of intelligent supervision with the knowledge of architectural
procedure.
❑ All this can be seen in the various qualities of the Alai Darwaza particularly in
- the shape and the inventiveness of the arches,
- in the method of its walling,
- in the system of support for the dome,
- in the conception of the dome itself
- in the design of the surface decoration.
❑ All are executed with understanding and assurance, vey original and distinctive in style.
❑ This Darwaza is a cubical structure of 55ft side in plan with a total height to the top of its
domical finial of over 60ft. In the middle of each side is a doorway flanked by a perforated stone
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 window, each doorway opening into the single inner room, which is a hall of 36ft side with a
domed ceiling.
❑ In design the three outer faces are much alike, each containing a tall archway over a flight of
steps leading to the higher floor of the interior.
❑ Below, is a plinth, its vertical sides elegantly carved in varied bands, while the surface of the
wall above is divided into two stories and then again into upright rectangular panels, the two
lower being arched recesses with stone grilles.
❑ The geometric design of the Gateway is inspired by Saljuqian characteristics which had
immensely influenced the architecture of the Khalji dynasty.
❑ The bulging Dome of the gate is seen with a central knob and arches designed in pointed
horseshoe shaped styles with its interior fringed with embellishment of lotus buds and
sequences.
❑ Each of the three outer facades has horse-shoe shaped arch in the centre defined by bands of
inscriptions in marble embedded in rectangular panels.
❑ The jambs are adorned with pairs of slender pilasters, inspired by Hindu temple columns.
❑ The intrados of the arch itself is ornamented with the so-called ‘spear-head fringe’ or ‘garland of
buds’.
❑ The treatment of the outer façade as a two-storeyed building with blind windows in its non-
existant upper ‘storey’ proved an exciting technique and became the standard Islamic method
of visually reducing the volume of the lower cubic mass to more comfortable proportions.

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Tughlaq dynasty . . .
❑ Of the eleven rules forming the dynasty of the Tughlaqs, which was in the power at Delhi for
nearly 100 years. Judging from the remains of this period, only three appears to have
contributed generously to the art of building. These were
❑ The founder of the dynasty, Ghias-ud-din Tughlaq– I (1320 - 1325 )
❑ His son, Mohammed shah Tughlaq (1325 - 1351) &
❑ The most prolific of all in his building projects, Firoz shah Tughlaq (1351 - 1388).
❑ Besides other important architectural undertakings, each added his own capital city to the two
already existing at Delhi.
❑ The amount of building construction represented by these three rulers is note worthy.
TOMB OF Ghias Ud Din Tughlaq

❑ In contrast to the ruined condition of Tughlaqabad, his tomb is in a surprisingly perfect

condition. so much can be deduced of the Tughlaq style of architecture from the well presented
tomb of the Ghias-ud-din this tomb of the founder of the Tughlaqs was built in A.D. 1325 within
an unusual irregular pentagonal fortified enclose.
❑ The plan was dictated by the contour of the hillock just outside the southern gates of the
fortress.
❑ Originally standing within an artificial lake, a detached structure but connected with the citadel
by an elevated causeway 250 yards long.

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 ❑ The exterior plan of this fortress tomb is in the form of an irregular pentagon with a spreading
bastion at each angle.
❑ Its longest side measures around 300ft. an unusual shape evidently conditioned by the contours
of the small rocky island.
❑ The count-yard within is of the same asymmetrical outline, with the tomb building placed
diagonally at its widest part.
❑ A position rendered necessary in the order to bring it into correct orientation with Mecca.
❑ The fabric of this tomb building is of red sand sandstones with certain position including the
dome, of white marble.
❑ But the most striking part of its composition is determined by its outer walls, as these are
inclined at an angle of 750.
❑ Its square base is 61ft side and the entire height of the structure, including its sandstone finial is
over 80ft.
❑ In the center of each side is recessed a tall pointed arch way, three of which contain doorways,
while the fourth or western side is closed to accommodate the Mihrab in its interior.
❑ Parts of the exterior design are similar of that Alai darwaza but with certain differences.
❑ The invaders of the pointed arches have treatment of spear-head fringe.
❑ The pointed arches openings has a shape of Tudor outline and their crown. A notable expedient
appears for the first time, namely the imposition of a lintel across the base of the arch.
❑ Thus combining in the construction of this opening, the two principles of support, the arch and
the beam.
❑ A compromise was then affected in the form of a fusion of two systems, the traebeate and the
arcuate, a compounding of the structural conventions of both communities as illustrated in the
archways of this tomb.
❑ The interior of this tomb is a single chamber 30ft square, light being admitted through the three
arched openings.
❑ On top, the domed ceilings are supported on four Squinch arches.
❑ The dome denotes an interesting stage in the evolution of its shape as well as its constructions.
❑ It is a single dome, has no empty space between its inner and outer surfaces. In design it is of
the pointed or tartar shape.
❑ The process of construction was by means of headers and stretchers of marbles attached to a
brick and cement core, dowelled in with metal clamps.
❑ The headers being inserted into the core for nearly a fort. This dome has a space of 55ft and is
crowned by a finial resembling the kalasa and amala motif of a Hindu temple.
❑ Hindu builder adorned it with a deeply modified version of the kalasa pinnacle.
❑ The tomb of Ghias-ud-din tughlaq capped by a marble encased and fully contoured kalasa
topped dome rising to a height 80ft(24m) over the pyramidical base .

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Tughlaqan mosques- old delhi . . .
❑ Kali masjid ( c.1370)
❑ Begumpuri Masjid at Jahan panah (1370)
❑ A mosque in the Dargah of Shah Alam at Timurpuri (c 1375)
❑ Khirki Masjid at Jahan panah ( c. 1375)
❑ Kalan Masjid at Shahjahanabad ( c. 1375)
❑ Last two ones are very important and typical of the style.

Typical characteristics . . .
❑ The plan of raising the whole structure or substructure of arches. Boldly projected entrances
approached by flight of steps, rounded bastions at each corners.
❑ Composition: fortress like appearance, not associated with a place of prayer. System of battering
lines and spaces as expressed in tapering bastions, turrets.
❑ Rough, efficient nature of the masonry. Arch and beam doorway
❑ Interior: consists of cloisters formed by a series of square bays, corner. Corner is supported on a
heavy pier with tudor arches, each bay roofed by a cup shaped dome.
❑ Piers are short and thick, composed of groups of two or four monolithic pillars.
❑ Cruciform plan, produced by crossing of the two main aisles at right angles.
❑ Wide cloisters, entire area is covered except four open to sky quadrangles, one in each of the
four quarters.
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 ❑ Covered mosques, partly covered are rare and unpopular.

Khirki masjid

Coutryard, platform or
basement (12’)

Quoins

Tapering circular Quions

quoins

Imposing flight of
steps

Deep arched niches Sloping buttressed walls

Arched, buttressed pylon

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 ❑ Khirki Masjid was built during the Tughlaq dynasty and famous for its unique structure. The
most extraordinary part of the mosque is covered entirely by a roof.
❑ The Masjid is a fine example of Islamic architecture in India and vanguard of architectural
achievements of Tughlaq dynasty.
❑ The mosque derived it's name because of its distinctive window opening with jalis or tracery
known as Khirki or latticed windows.
❑ These windows are ubiquitous on the upper level of the mosque exterior wall.
❑ The latticed windows were carved out of stone shield.
❑ The prime minister of Feroz Shah Tughlaq, Kha-I- Jahan in the late 14th century built this
mosque.
❑ This one is perhaps the most vibrant one out of seven mosque he built during his tenure.
❑ 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 court yards 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.
This internal layout gives a
spectacular view, which is
a photographers delight.
❑ 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.

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 ❑ 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.” It was considered Firuz Shah’s architectural benefaction.
❑ The importance of the Khirki Masjid's architectural elegance has been considered a precursor to
the intensely metaphorical Mughal architecture (1526-1857), with the Lodhi period's (1451–1526)
architecture – the Delhi Sultanate's last dynasty – marking the transition.

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SAYYID dynasty . . .
❑ The Sayyid dynasty was the fourth dynasty of the Delhi Sultanate from 1414 to 1451.
❑ They succeeded the Tughlaq dynasty and ruled that sultanate until they were displaced by
the Lodi dynasty.
❑ The period of the Sayyid was a period of disorder and war.
❑ The historical buildings constructed during this period can just be called an unsuccessful
imitation of the Khilji buildings.
❑ Lack of financial resources made the buildings to be constructed of very low standard material.

LODhI dynasty . . .
❑ The Lodhi Dynasty ruled from 1451 to 1526.
❑ It was the fisrt and last Afghan dynasty to rule expect the Sher Shah Suri.
❑ The dynasty, in its short ruling period gave importance for building of tombs.

Sayyid & LODhI ARCHITecture . . .

❑ During the entire regime of the Sayyid and Lodhi, they constructed several monuments as
memorials to the dead.
❑ This architectural period is known as the period of the macabre of maqbara, which means
cemetery.
❑ A new architectural form of tomb was developed which influenced the Mughals.
❑ Tombs were constructed in two different forms, one being octagonal plan surrounded by arched
walkway with one storey in height and the other one was based on square plan without
walkway with two or three storey in height.
❑ Both the types had a dome with pillars on each side of the octagonal or square variety.
❑ Important feature is the measurements to match with the structure of the basements.
❑ The height and width of each octagonal face is 30ft including the basement.
❑ The ornamental pinnacles or guldasta is present at the corners. This measurement is also half of
the total height of the building.
❑ Each octagonal face contains three arched openings divided by pillars.
❑ The central opening of the octagonal face is broader than the two other openings.
❑ The tomb chamber inside is octagonal in plan along with an arch and beam opening in each
face.
❑ The octagonal tombs were reserved for the rulers and the square type for the noblesof their
courts.

Examples. . .
Octagonal type
• Tomb of Mubarak Sayyid (1434 AD)
• Tomb of Muhammed Sayyid (1444 AD)
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 • Tomb of Sikander Lodi (1518 AD)
Square type
• Shish Gumbad
• Moth – ki – Masjid (1505 AD)
Designation of domed tombs simply as “Gumbads”
• Bara – Khan – ka Gumbad (1497 AD)
• Chota – Khan – ka Gumbad
• Bara Gumbad (1494 AD)
• Shish Gumbad

Tomb of mubarak sayyid

❑ Enlargement and refinement of the proportions of Tughlaq prototype
❑ 9 m long side of octagon with arched colonnade
❑ The merlons on the parapet and kiosks above the verandahs
❑ 15 m high dome squatly placed over 21 m wide octagonal base – improved in tomb of
Muhammed Sayyid a decade later.
❑ Composition – matter of experiment – position of the dome and the kiosks around its drum.
❑ Common error – not visualizing the upper part of their structure as being raised above eye
level.
❑ Upper parts would be foreshortened, also being marked by the lower ones in front of them. This
resulted in stunted elevation, being pressed down.

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 Tomb of muhammad sayyid
❑ Built ten years later. Drum of the dome was raised.
❑ Kiosks were also relatively raised. Results effect produced – satisfying in all its parts.
❑ Well proportioned. Pleasingly set-out and fulfilling its needs.
❑ The width of the octogonal face is thirty feet, is equal to that of its height, including the
basement and the ornamental pinnacles (guldasta) at the corners.
❑ Each façade (octagonal face) – three arched openings, divided by pillars. Two others were
narrower than the centre ones.
❑ Lines of elevations are perpendicular. Except those at the angles – sloped by means of an
attachment.
❑ Tomb chamber 231/2ft in diameter. Arch and beam opening in each face (inside)

Tomb of sikander lodhi

❑ A copy of tomb of Mubarak Sayyid, the kiosks being removed and replaced by semi – minarets
called Gulsastas attached the base
❑ Placement of tomb within a garden, Lodi Gardens in New Delhi – a formal and elaborate
arrangement along with impressive gateways – clue for the development of “Garden and
tomb” of the Mughals.
❑ Innovation – dome composed of an inner and outer shell of masonry with a distinct space
between the two.
❑ Very finished conception.
❑ Stands within a large walled enclosure.
❑ Ornamental gateway on southern side.
❑ Mosque on the western side.
❑ Octogonal turrets at each corner.
❑ Such arrangements mark definite stage of transition. Earlier type of tomb (between the fortified
walls) – later type of tomb extensive terraced gardens enclosing the mausoleums of the
mughals.

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Double dome. . .
❑ Due to increasing inclination to raise the height of the dome for imposing exteriors.
❑ Rising the height of ceiling/inner surface problem – causing disproportionately tall for the size
of chamber.
❑ Solution – by building two domes (inner and outer shell separated by void)
❑ Proportions were improved.
❑ Later – larger domes were constructed on same principle.
❑ First appearance of such a device in this particular building is important.

Square tombs. . .
❑ Square plan tombs (15th century AD)
❑ Many such square tombs built, larger and more imposing than octogonal ones.
❑ Seven mausoleums (don’t have the names)
❑ Correct identification has not been possible
❑ Designated by local names only.
❑ Gumbad/Gumbaz – dome

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