PROVINCIAL STYLES

UNIT IV- 1.MALWA

2.DECCAN-Gulbarga
-Bidar
-Golconda
3.BIJAPUR

PRINCIPAL PROVINCIAL STYLES

 PUNJAB 1150 AD – 1325 AD

 BENGAL 1203 AD – 1370 AD – 1573 AD
 GUJARAT 1300 AD - 1572 AD
 JAUNPUR 1376 AD – 1479 AD
 MALWA 1405 AD – 1569 AD
 DECCAN 1347 AD – 1617 AD
 BIJAPUR 1490 AD – 1656 AD
 KHANDESH 1425 AD – 1650 AD
 KASHMIR 1410 AD – 1700 AD

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ARCHITECTURAL CHARACTER
 BENGAL-
 Heavy short pillars of temple
 Mihrab –a copy of the niche used in Hindu and Buddhist architecture to
enshrine images of Buddha and hindu deities
 Curved roof to throw off excess water
 JAUNPUR-
 Combination of arch with beam and bracket
 GUJARAT
 -Mihrabs usually niches of temples
 Chajjas or overhangs
 projecting balconies
 Engrailed arch of temple origins
 Nave and Aisles
 Kiosks or Chattris
 Perforated stone screens
 Oriel windows on the parapet ,a common feature of the Hindu,Jain and
Islamic buildings

PROVINCIAL REGIONS IN INDIA

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PROVINCIAL STYLE-GUJARAT
PRINCIPAL BUILDINGS OF THE FIRST AND SECOND PERIODS

SECOND OR AHMED SHAH PERIOD

 PATAN –FIRST PERIOD 

AHMEDABAD
A. Tomb of Shaik Farid(Muslim 

Saint)- converted a Hindu A. Jami Masjid - 1423 AD

temple. B. Tin Darwaza - 1415 AD
B. Adina Masjid-governor of Ala- C. Tomb Of Ahmed Shah-1440 AD
ud-din Khalji(mainly D. Sayyid Alam Mosque
destroyed). E. Ahmed shah Mosque
 BROACH F. Tomb Of The Queens
A. Jami Masjid – 1300 AD G. Haibatt Khan Mosque
 CAMBAY  SARKHEJ
A. Jami masjid – 1325 AD A. Rauza of Shaik Ahmed Khattri
 DHOKLA B. Tomb Of Darya Khan
A. Hila Khan Qazi’s Mosque

PROVINCIAL STYLE -MALWA

 The region was the centre of the

country
 Main regions-
DHAR and
MANDU
 DHAR was the stronghold of the
Hindu dynasty –PARAMARA - Skilled Labour was hence bought
during which there was no in from delhi
significant contributions towards During this period the rule at
architecture Delhi was the TUGLAQ STYLE.
 There were significantly The Muslim invaders should have
numerous temples as usual to
supply materials to the early turned towards artistically
structures of the Muslim Invaders productive Gujarat which was
geographically closer but due to
political reasons, relationships
between them were not amicable

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GENERAL FEATURES

 Influence of Delhi  One of their innovations was an

 Battering Walls attractive method of combining
Pointed arch with SPEAR two structural systems of an arch
with a pillar and beam formed

HEADED-FRINGE of the Tughlaqs
out of temple materials
Arch-Lintel bracket combination
Malwa had long stately flight of


steps leading to their entrances
 Pyramidal roof of the Lodis made necessary by the high
 Decorative Motifs similar to delhi plinth
style  Lofty terraces and elegant
 Actual Masonry material- stairways
SANDSTONE  Use of coloured stones and
marbles-
black,yellow,slate,jasper,agate
 Application of glazed borders and
panels

THREE PHASES
 PHASE I  PHASE II OR CLASSICAL PHASE
 From 1400 AD  Monumental buildings having
 Developed at DHAR sober and massive
Earliest examples at Mandu elegance.Capital shifted from

Dhar and Mandu
 Effort made to disguise temple EXAMPLES:
origin

ASHRAFI MAHAL
4 mosques-2 at Dhar and 2 at

HINDOLA MAHAL

Mandu 

 Effort made for the disconnected  JAHAZ MAHAL

members to look connected.  PHASE III
 EXAMPLES  Less austere structure and more
 KAMAL MAULA MASJID,DHAR fanciful
1400 AD  EXAMPLES:
 LAT MASJID,DHAR -1405  JAMI MASJID ,CHANDERI
 MALIK MASJID,MANDU 1452  KUSHK MAHAL,CHANDERI
 DILAWAR MASJID,MANDU-  KAMAL MAULA MASJID
1405

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 ARCHITECTURAL CHARACTER
 At Dhar-PHASE I  The SECOND PHASE in Malwa
 1400 AD coincides with the establishement
 Effort made to disguise temple origin of the capital at Mandu.
 Effort made for the disconnected  First step taken towards the
members to look connected. erection of fine buildings.
 Homogenous in appearance  No comprehensive effort at town
 Pointed interposing arches were planning
added in between two columns to
 Largest and the most impressive
give a finished appearance to the
interiors being the JAMI MASJID
 LAT MASJID  Begun by HOSHANG SHAH and
 1405 AD finished by his successor SULTAN
 Her the Lower stones of the arches MAHMUD I
are socketed into the shafts of the
columns so they appear to spring
from pillar to pillar with aerial grace

JAMI MASJID-MANDU
 Began by Hushang shah and
finished by sultan Mahmud. 162 sq.ft
 No sign of Fortified planning
 This majestic mosque consists of
the west prayer room, 5 spans in 100’
depth,
 South and north corridors, three
span in depth, and a courtyard Square plan 288 ft sides
surrounded by corridors of 2
spans •The west prayer room has three
 In the east, there is a grand domes of considerable height on the
entrance gate having an central, northern and southern part
octagonal room on a square plan of the roof
with a dome •A total of 158 small domes above
the room

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 VIEW FROM THE EAST

•The whole mosque is built upon a

basement. The wall dividing the
basement into two levels gives a grand
appearance to the mosque .
Arcaded chambers
•The grand darwaza built in the east on
a square plan with high stairs, further
enhance the dignity of the appearance
ENTRANCE TO THE MASJID
of the east front of this mosque

11 arches
162 sq.ft
chattri

•Indeed, the only departure from sobriety is

in the chattri inside the mosque, next to the
mihrab, which shows influences from florid
Gujarati architecture.
•There are no decorations on most of the • People who enter the courtyard
pillars through the room encounter a
•The whole building is faced with red line of 11 arch shaped pillars and
sandstone, with little concession to feel the majestic atmosphere of
decoration this Jami Masjid.

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 Also on the 17 mihrabs,
including the large one at the
centre on the west wall, no
outstanding decorations are seen
Central mihrab still has rather
significant double arches and
medallions, around which an
Arabic inscription from the Koran
Southeast corner of the is written
domed chamber
This pulpit, having a small
domed room, shows traces of
participation by Hindu workmen
in the construction in various
points. It also suggests the legacy
of Hindu craftmanship of central
India remains in this mosque, too.

Mimbar or pulpit

Miihrab

From east-northeast,

From south From North

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 JAHAZ MAHAL
 Represents the classical phase of building art at Mandu
 May have been built by mahmud Khilji
 Last half of the 14 century
 Palace is a Double storeyed structure Departure from the
 Along the two lakes previously solid and
 Its position and name suggest the NAME-JAHAZ somber style at Mandu.
MAHAL OR SHIP PALACE
 Structure appears to be Lively and entertaining The most striking thing
about this monument is its
location between two
water bodies,
The Kaphur Talao and
the Munja Talao, which
gives the building the
appearance of floating on
water, hence its name,
literally the ‘ship palace’.

JAHAZ MAHAL
Extends 360
feet,width less than
50’

 Surfaces are filled with friezes of brightly covered glaze

 Continuous around the front , broad eaves is a triforium of recessed arches and
parapet diplaying a pattern of tiles
 Roof-open pavilions and kiosks and overhanging balconies
 The entire building is reflected in water
 Interiors are pillared comparetments,cool corridors,sumptuous bathing halls
 Elegantly proportioned cupolas alternate with pyramidal roofs while projecting
eaves and cornices produce gratifying passage of light and shade

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HINDOLA MAHAL
 Hushang shah ‘s building
 Used as an assembly hall or a
durbar
 Thick walls,slope like castle
 Appearance like a fortess.Walls
and buttresses inclined at an
angle of 77 degrees The ceremonial zone was
 Creates an illusion that the entire dominated by the Hindola Mahal –
building is sloping-thus called literally ‘swinging palace’
the Hindola Mahal
 PLANNING From the remains of Hoshang
 Represents the Letter T Shah’s palace, it is clear that the
whole area was divided into three
 Upright stem marks the main hall
which was built first zones – ceremonials with halls of
audience, the king’s private
 Oblong in shape
110’X60’X35’high.6 arches chambers and the ubiquitous
zenana, or women’s chambers

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HOSHANG SHAH’S TOMB
 Surrounded by square-shaped
walls.
 One can enter the mausoleum
from the entrance gate, (which is
built on a square plan with a
marble dome) in the middle of
the northern wall.
 The tomb of Hoshang shah is a
grand construction, having a
square plan and a dome.
 It is built on a basement of
remarkable width and height.
 The entire building including the
dome is covered in marble,
providing majestic atmosphere.
 It is interesting to note that the
Hoshang Shah's tomb is situated in main entrance and stairs are
the middle of the courtyard of the situated in the south side, the
majestic mausoleum other side of the entrance to the
courtyard.

HOSHANG SHAH’S TOMB

 The main body of the mausoleum has walls with large arch-shaped
entrances in the north and south.
 These entrances are surrounded by small arch-shaped niches.
 The walls in the east and west have no openings. The inside walls of the
tomb chamber are covered by white marble

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 Arches in either side of the north and
south entrances are filled with an
openwork of geometric patterns.

HOSHANG SHAH’S TOMB

KUSK MAHAL
 Built in 1445
 Mahmud shah of Malwa
 Currently in ruins
 It is seven storied structure though only four stories remain
 It is square in plan
 Two arched passageways crossing at right angles at each other
 They are the dominating features thus dividing the whole into four
quadrants which accommodate the palace halls
 These halls rise storey upon storey each opening out onto tall arched
passageways
 BAZ BAHADUR PALACE
 RUPMATHI PAVILION
 NIL KANTH PALACE
 CHISTI KHAN PALACE
 BADAL MAHAL GATEWAY

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DECCAN STYLE
 GULBARGA -1347-1422
 BIDAR -1422- 1512
 GOLCONDA -1512-1687

 A definitely regional character

 Represents the form of building

art which began when the area
was first occupied by the delhi
sultanate in the last years of the
13th century
 And continued until it was
incorporated into the mughal
empire in the 17th century,
Everywhere else the ultimate result
 A period of more than 350 years was a fusion of the original temple
 The architecture produced architecture with the building ideals
during the Muslim rule evolved of Islam
in a manner rather different from
the other provinces

DECCAN-CHARACTER
 In stark contrast the rulers of the deccan seem to have ignored to a very
large extent the existing styles of the area that they occupied
 They ignored the Dravidian and the chalukyan temples
 Was not a very spontaneous development
 Fundatamentaly it was a fusion of two styles
 FROM DELHI
 FROM PERSIA

 DELHI-
 Due to Mohammed Tughlaq change of capital from Delhi to Daulatabad
 Shifting of people and artisans
 PERSIA-
 Homeland of the original Muslim who took over India
 These people instinctively looked towards Persia for inspiration
 They considered Persia as the overhead of all real knowledge
 People from other Islamic cities were finding their way to the Deccan
ports

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 The first independent ruler of the Deccan was one ALA-UD-DIN HASSAN
BAHMAN SHAH,
A Persian adventurer from the court of tughlaq
He established the BAHAMANI DYNASTY in GULBARGA in 1347
Architecture took an unusual form ,instead of merging with the Indo –
Islamic style and becoming indianised, ,in several instances buildings were
erected in the deccan which were purely and intentionally IRANIAN in their
design and construction
THE DECCAN STYLE CAN BE DIVIDED INTO 3 PHASES
FIRST PHASE
A crude imitation of Tughlaqian architecture with sloping walls
SECOND PHASE
Persian elements wit those combining with that of Delhi
Examples:
In the propotion and shape of the dome
The detailing of the base of the dome above and the octagonal drum
THIRD PHASE
The complete amalgamation of the diverse architectural forms derived from
all the independent sources

 PERIOD WISE AND LOCATION – 3 PHASES

 GULBARGA – 1347-1422-Capital
 BIDAR 1422- 1512 Capital
This was a strategic decision, as Bidar had a more
central position in the kingdom and perhaps more
importantly, was out of immediate striking range of
the Vijayanagara kingdom, which was a constant
menace.
 GOLCONDA 1512-1687 Capital

 GULBARGA -THE BAHAMANI DYNASTY

 BIDAR -BAHAMANI KINGS AND
BARID SHAHI KINGS
 GOLCONDA -QUTB SHAHI DYNASTY
Daulatabad :
Main Gate in Second
Outer Wall.

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IMPORTANT EXAMPLES
GULBARGA-(phase 1) BIDAR-( phase 2)
THE BAHAMANI DYNASTY BAHAMANI KINGS AND BARID
SHAHI KINGS
JAMI MASJID-GULBARGA JAMI MASJID
ROYAL TOMBS(HAFT SOLA KHUMBA-16 PILLARS
GUMBAZ or SEVEN TOMBS ) MAHMUD GAWAN MADRASSA
TOMB OF ALI BARID

GOLCONDA-(phase 3)
QUTB SHAHI DYNASTY
GOLCONDA FORT
ROYAL TOMBS-TOMB OF QULI QUTB SHAH
CHAR MINAR
OTHER MOSQUES
Jami Masjid
Mecca Mosque
Mushirabad Mosque
Toli Masjid

JAMI MASJID-GULBARGA
Completed in 1367,this is
a rare example of a mosque
with no open courtyard.
The whole structure is
entirely is covered in by a
roof
This is might because the
builder-rafi was not of
Indian origin,but of north
persia
Measuring 216’X176’
Covering an area of
37,916 square feet
•Allows for 5000 worshippers to get
Roofed with 68 small
together
cupolas
•Four large domes mark the four corners

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 EXTERIOR

o Grave and restrained

massiveness
o Its stilted dome,poised
over the the square
substructure has a light
and aerial effect which is
result of excellent
proportions.
o In the middle of the
northern side is the main
Althought they had gone in for a covered entrance,a lofty archway
roof, this design did not find favour in Indian breaking the otherwise
and it was never repeated. austere symmetry of the
The reason being that the design is whole in a masterly way
unorthodox and not in accordance with the
tradition

Viewing west from the northeastern

central dome
The most remarkable formation in the interior of this mosque is
the treatment of the cloisters.
Instead of consisting of pillared aisles as in almost all other
mosques,it consists of a range of single archways of an extremely
wide span and with unusually low imposts,creating an
uncommon but not altogether and unpleasing effect

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 Domed chamber,
interior

Domed
chamber
Details of
northwestern
squinch

ROYAL TOMBS
The remaining monuments in GULBARGA illustrating the bahamani period
are the ROYAL TOMBS of the rulers seven in number and are in two separate
groups,their construction covering nearly half a century
The group of bahamani tombs, known as the HAFT GUMBAZ or SEVEN
TOMBS contains memorials of four kings of this dynasty ,the earliest being
MUJAHID BAHAMAN,who died in 1378-showing tughlaq style of
architecture,they are large in size

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 TOMB OF MUJAHID SHAH / GULBARGA

TOMB OF DAUD SHAH / GULBARGA

 Three of these tombs are not dissimilar in architectural styles from

that of the previous one but they are exceptional in another
aspect,as they represent a structural arrangement not found
elsewhere.
 This consisted in building the tomb in a double form of two
mortuary chambers conjoined ,the one containing the tomb of the
king and other that of his family

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 TOMB OF FIROZ SHAH BAhaMANI / GULBARGA

SECOND PHASE-BIDAR
 The capital of the Bahmani empire was
shifted in 1429. This was a strategic
decision, as Bidar had a more central
position in the kingdom and perhaps
more importantly, was out of immediate
striking range of the Vijayanagara
kingdom, which was a constant menace.
 In contrast to Gulbarga, Bidar was
situated on a sloping promontory, on
which were built the fort and its
associated town. The fort, naturally, was
at the highest level, with its citadel at the
northern tip.

The fort could be isolated for better defence from the town by a system of
gates and moats. Inside the citadel walls, ruins of palaces, mosques and
secular structures bear silent witness to a once-powerful empire.

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  A change of capital  Two principles mosques
brought impetus to at Bidar.
building art.  Though the palaces are
 The chief architectural more fanciful in their
productions representing style and vivacious in
the later BAHAMANI their appearance,the
regime as this prevailed at mosques are plain and
bidar,consists of the sombre almost to
FORTRESS and its PALACES austerity
,TWO MOSQUES within  Two forms of
the fort ,a MADRASSA or architecture reflect the
college and the ROYAL contrast between the
TOMBS. colourful pageantry of
 The fortress at bidar is the court and the
larger than the one at solemnity of the creed
gulbarga,and even more  The two mosques are the
remarkable in some of its  JAMI MASJID
constructional features  SOLA KHUMBA-16
PILLARS

Prayer room back -exterior ,from

northwest

Roof of prayer room,from south

SOLA KHUMBA-16 PILLARS Prayer room back exterior,from
northwest

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 INTERIORS OF SOLA KHUMBA
Interior of the domed chamber,from Interior of south corridor, form north
southeast（Left; Mihrab Right; North
corridor)

MAHMUD GAWAN MADRASSA

 A building so exotic in character is the MADRASSA OR COLLEGE,founded
 In 1472 by one who figured prominently in the history of the bahamani
period –MAHMUD GAWAN, the minister of Mahmud shah III.
 As a patron of learning he established this academic institution in the
country
 Here was an islamic college complete with
 Lecture Halls
 Library
 Mosque
 Ample accommodation for both the professor and the students

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 PLANNING

 Rectangular space of 205

feetX180 feet
Conventional quadrangle in
the centre
Open halls and chambers
surround it on all its four sides

EXTERIOR
In the middle of three of these
sides are prominent semi
octagonal projections rising up
to a considerable height .
Surmounted by TARTAR DOMES elevation is in 3 stories of
While the fourth side which is the main arched window openings and
façade contains the entrance and has two there is a wide parapet over all
tall minars in 3 stages, one at each corner

Most of the exterior elevation is in 3

stories of arched window openings
and there is a wide parapet over all

Exterior from east

DECORATION
The surface treatment is wholly composed of
colour produced by brilliantly glazed tiles.
Every part of the façade being overlaid with
patterns.
green ,yellow, and white are the predominate
colours.

Northeast wing,from east

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 Chiefly in form of floral
devices or conventional
arabesque.
Decorative inscriptions
was used on the broad
parapet.
It is interesting to note
that in the foundation of
the building,sheets of
lead were interposed
between the masonary
courses in an effort to
Iwan and room of three prevent damp from
layers injuring the delicate
glaze of the tiles

Viewing north wing, from southwest

part of courtyard

ROYAL TOMBS
 Of all the monuments in  ARCHITECTURAL
bidar, those most enuinely CHARACTER
expressive of the Bahamani Large square building
Dynasty are the 

TOMB of these rulers,  Tiers of arcaded arches


around its vertical walls
 These royal tombs are 12 in Battlemented parapet
number, all very much of the 

same type ,which is an  Turret at each corner

elaboration of the earlier  Octogonal drum on which
examples of the dynasty in stands a massive dome
gulbarga  Not hemispherical but stilted
 None of them are the double an improvement both in
kind profile and volume.
 Bulbous or tartar dome-Slight
constriction in the lower
contour ,and a inward return
of its curve .

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TOMB OF ALI BARID
 The development of tomb
architecture in the Deccan was
continued in the BARID dynasty
whose rule at bidar prevailed
from 1487-1619
 The tomb of these rulers formed a
royal necropolis to the west of
the city
 The finest of the series is the tomb
of ALI BARID, the third in line
who died in 1579
 Instead of being a closed building
as in all the examples of the Elaboration in the treatment of the
previous dynasty,is an open
structure with a large archway in domes
each of its four sides. Surface decoration has long bands of
 The cenotaph carved in black inscriptions in either the Kufic,tughra or
basalt is visible nakshi scripts,

TOMB OF ALI BARID

②Exterior, from south-southeast

①Exterior, from south

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THIRD PHASE
GOLCONDA-QUTB SHAHI DYNASTY
1512-1687

 BUILDINGS IN GOLCONDA
 GOLCONDA FORT
 ROYAL TOMBS-TOMB OF QULI QUTB SHAH
 CHAR MINAR
 OTHER MOSQUES
 Jami Masjid
 Mecca Mosque
 Mushirabad Mosque
 Toli Masjid

GOLCONDA FORT
 Golconda fort was built on the
remains of a Kakatiya citadel by
Sultan Quli c. 1544.
 The main fortress dominates the
town 30 metres below.
 The fort is situated in the
southwest area within the city
walls that extend about 1.5 km
from east to west and north to
south. Graveyard of the royal family of
 The city walls have 8 gates. Qutb Shah extend to the north-west
Outside of the east gate leading to outside of the city walls and there
Hyderabad, there is a large remain many mausoleum.
reservoir outstretching and to the
northeast of the reservoir, Nizam In addition, there are some mosques
ul-Mulk built the new fort Naya from the Qutb Shah period remaining
Qilah in 1724 inside and outside of the city walls

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 The main fortress dominates the town 30 metres
below.
The three successive walls with numerous bastions
for artillery and complex approaches for better defense
testify to a time when wars were common and
imminent attack around the corner.
The Hindu motifs on the gates show a continued
trend of using local craftsmen and decorative
vocabulary, and may also be proof of the religious
tolerance of the Qutb Shahis

Barah Hisar gate

From south, fort

CHAR MINAR OR FOUR MINARS

 served the same purpose as that of the “tin darwaza”
 The Char Minar is a a composition of considerable size .
 Square plan 100 feet
 Four minars one at each end-186 feet high
 The ground storey
consists of four
spreading
archways,one in
each side and each
36 feet span,over
which rise a series
of diminishing
stories beginning
with a subsatnial
arcaded triforium
and having a
smaller arcade and
perforated
balustadre above.

25
 ROYAL TOMBS
These monuments include some 7 tombs which include the ruling family and
other important personages
All the qutb shahi tombs are much of the same type of design which is based
on that of the Bahamani tombs at bidar,but the main architectural
additions are of floral patterns

1.TOMB OF QULI QUTB SHAH

2.TOMB OF SUBHAN QULI QUTB
SHAH
3.TOMB OF ABDULLAH QUTB SHAH

 ARCHITECTURAL CHARACTER

 Displays an increased use of

moulded patterns

 Much of the ornamentation is in

Bulbous Dome stucco of a superficial kind,
Calyx weakens the outlines of the building
flimsy battlements and confusing its surfaces with
richly moulded but fanciful
pinnacles and flimsy battlements

 Full blown bulbous dome with the

addition of a calyx formation of a
plastic order at its base
 Lower portion being extended by
mean of an arcaded verandah and
certain effectivness is obtained by
1.TOMB OF QULI QUTB SHAH cornices projected on brackets

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 From southeast, interior of tomb

INTERIORS
Owing to the height and the increased height of the dome,it was found
necessary to cover the mortuary chamber at a suitable height with a
curved ceiling ,leaving the interior of the dome as a great unused void.

PROVINCIAL STYLE-BIJAPUR
Style depended on the ruling dynasty
ADIL SHAHIS OF BIJAPUR – converted their power & energy to
architectural splendour.
BIJAPUR is one of the prime south Indian cities that shows Islamic
influence.
The factors that affected this style of buildings were many.
Firstly style & type of buildings erected depends on the ruling dynasty.
The style of buildings was from bahmani rulers. The ruling dynasty, Adil
Shahis concentrated on building & the other arts. So it developed fast.
The 3 main kinds of buildings were
Mosques – (Over 50 in number)
Tombs – (Over 20 in number)
Palaces/Mahals – (Over 20 in number)

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PROVINCIAL STYLE-BIJAPUR
 The city had fortified walls.
 The traces of the city show an irregular circle over 6 miles in
circumference and from this citadel in the centre, roads radiate to the 6
city gates.
 However as such there was no serious town planning.
 There were a few extensions to Bijapur – the most important being
Nauraspur build by Ibrahim II. It was located west Bijapur.
 It was connected by means of a thorough fare but Nauraspur was partly
abandoned after construction partly. It contains no building of note.
 This style of building reached it zenith in the first half of the 17th century.
 JAMI MASJID - MOST SIMPLE & EARLIEST.
 IBRAHIM RAUZA - MOST ELABORATE
 GOL GUMBAZ - MOST GRANDIOSE
 MIHTAI MAHAL - MINIATURE BUST MOST
REFINED.
 Foreign influence of Turkey – no Hindu craftsmen involved.

ARCHITECTURAL FEATURES

 Important feature –
 DOME: average proportions, spherical in shape, rises out of a band of
conventional petals @ its base.
 FORMS are repeated at a smaller scale as an ornamental finish to the
turrets
 SHAPE OF ARCH – distinct with graceful contours
 4 centred arch, fuller in its curve – distinct feature.
 CHAJJAS, CORNIES & BRACKETS – remarkable size & features.
 SPANDRILS – a medallion is added.
 Voluted brackets, foliated finial
 ORNAMENTATION – rosettes, conventional hanging lamps, running
borders, interlaced symbols – carved in stone, moulded in stuccowork.
 Carved motifs with glazed tile decoration
 Plain, simple buildings gave way to ornate style.

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JAMI MASJID
 Forms a rectangle – 450’ x 225’
 Immense mound forms the
exterior
 2 rows of arcades within the
walling – one above the other.
 Lower – merely ornamental.
 Upper – open & discloses an
arched corridor, resembling a
terrace, running to the length of
the back of the exterior sides.
 Ogee arch was modified to a 4
centre variety.
 Liwan – 208 X 107 (63m x 33m)
 Central dome rises over the
mihrab bay.
 A single dome – hemispherical
variety covering the bays.

Nine central bays rises to a square, clerestorey platform.

Crescent shaped finial – Turkish origin.
Remaining portions of the liwans roofed by shallow, circular domes over
square bays.
Masonry pieces were used.
The 7 arches of the façade of the Liwan are shaded by a deep, horizontal chajja
Chajja supported over a row of
closely spaced brackets.
Double row of deep arched niches
– provides for the lights and
ventilation.
Courtyard – square of 115’ side.
The courtyard is contained on 3
sides by a range of arches – 7 in
number.
The central opening is
emphasised by foliations
Square, arcaded clerestory holds
the dome above.
The shape & foliations on the
dome – need mention.

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INTERIOR:
Interior of the sanctuary – consists of a hall
– 208 ‘ x 107’ divided into 5 arches by
arches.
square compartment – 76’ diameter
contained within 12 arches 3 on each side.
ORNAMENTATION
Elaborate mural design & relief work.
Use of brilliant colours.
True & distinct embellishment.

MAUSOLEUM – IBRAHIM RAUZA

Built to the order of Ibrahim Adil Shah I
Rauza consists of 2 main buildings – a tomb & a mosque.
Other accssories stand within a square enclosure.
Entire complex forms a garden retreat.
Excellent example of ornate & technical skills.

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PLANNING:
Entire enclosure – 450’ square.
Tomb building – sq -115’ side
Within the enclosure, the 2 principal buildings
stand on an ablong terrace.
Terrace – 360’ long x 150’ wide.
Eastern end – tomb, western end – mosque.
There is an open court in between – occupied by
an ornamental tank & fountain.
The 2 buildings were organized to achieve
balance through scale, placement & proportions
volume

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IBRAHIM RAUZA
 TOMB:
 Central chamber contained with an arched verandah & the whole
surmounted by a dome.
 The arches in the arcade – 2 of which are narrow-to bring in a subtle variety
in the voids
 The alternation in the spacing has been carried out in the entire composition.
 The arches – unique feature.
 The internals between the ornamental finials have also been emphasised
 Tall minar shaped turrets rise from each angle of the building.
 The elaborate, bracketed, battlemented upper storey carries the bulbous dome.
 Within the arched verandah is a row of pillars.
 A double arcade is formed around the central chamber.
 Intricacy of pattern & decoration.
 Each wall in the tomb is spaced into an arcade of 3 shallow arches, enclosed
by a system of borders & panels.
 Extensive tracery work, inscriptions & arabesque could be found.

CONSTRUCTIONAL FEATURES:
Treatment of the interior of the central chamber is unique.
The central chamber is a small room 18’ square.
Graceful curved & coffered ceiling.
The upper portion, instead of being the dome has been converted to a
hanging ceiling giving a well proportioned room below.
Hanging ceiling- This system does not leave a huge void between the hall
and the dome – the height remains balanced.

MOSQUE:
Corresponds to the tomb in
proportions, mass & in architectural
treatment.
Measures less in depth, but is in
perfect harmony in the entire
complex.
Familiar lotus shaped decoration
as the merlons on the dome.

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HANGING CEILING
 In order to raise the dome to an external height & not to create a dark
interior, the 40’ (12m) square chamber is roofed over at the intermediate
level by a ceiling.
 The flat portion measures 24’ (7.3m) square & virtually floats over 7’ (2m)
deep brackets projecting from the walls.
 The rich mortar mix was the secret ingredient.
 The underlayer of stones are merely butt jointed, but kept in place using
the rich mix.

GOL GUMBAZ
 Gol Gumbaz – built by
Md. Adil Shah.
 Is a mausoleum.
 The tomb in the
complex comprises of a
mosque, a khana or a
drum house, a
Dharmashala.
 The interior & exterior
walls – plain , lacks
finishing. A simple cube •Immense size & proportions.
surmounted by a •A simple, square hall enclosed by 4 lofty
massive dome. walls – buttressed by octagonal towers at
 This tomb of Sultan the corner.
Muhammed – rubble •Surmounted by a huge, hemispherical
masonry walls. dome.

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 Sq – 136’ (41.5m)
side on the inside. 144.4’
205’ (62.5m) on the
outside.
The 4 lofty walls are 25’
over 10ft (3m) thick &
(33.5m) high.
Diameter of the
octagonal buttress – 25’
45.7m.

(7.6m) rising to a
200’

height of
Dome – (44m)
110’

diameter outside &

125’ (38m) diameter
inside.
Total height from
ground to the apex =
200’ (60.9m)

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