unit3 imperial architecture

The earliest appearance of Islamic Architecture may be divided into five phases corresponding to the dynasties that prevailed from 12th to 16th centuries. They are 1) Slave dynasty as 1191-1246 Sayyid (1414-1444) 5) Lodi ( 1451-1557)

2) Khalji dynasty – ( 1290- 1320)

3) Tughlaq ( 1320-1410) 4)

SLAVE DYNASTY • •

Qutb -ud -din aibaq was appointed as governor of his possessions in India by Mohammed of Ghuri. Qutb –ud –din established the slave dynasty on the death of Mohamed of Ghuri in 1206.Qutb ud din and his son-in-law Iltumish were the active patrons of building art.

QUTB MOSQUE • • • • • •

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Retaining the plinth of temple the mosque was constructed to cover a rectangle of size 212 feet long by 150 feet wide, the whole being enclosed in wall and with cloisters on its four sides. The courtyard of the mosque was 141 feet by 105 feet surrounded by pillared cloisters three aisles deep, the short pillars placed one above the other to secure the necessary height. On the west side or Mecca side of the courtyard, the arrangement of the pillars were made more elaborate into a series of bays with shallow domes ceilings to form the sanctuary. Its arcaded aisles were composed of pillars carved in most perfect Hindu style. In front of the sanctuary was erected the famous iron pillar but deprived of the crowning figure the garuda . In 1199, an expansive arcaded facade was projected across the entire sanctuary in the front. It was built out of entirely new materials, Indian masons tried to work according to the specifications told by the Muslim overlords to create a work of art of originality , grace and power. When completed this screen as a whole formed a great wall of masonry over 50 feet in height at the centre , its width 108 feet and with a thickness of 8 1l2 feet. It was pierced by five openings , constituting a large central archway measuring 45 feet high with a span of 22 feet , while on each side arches was a kind of clerestory having a series of small arched openings one over the each side arches. However the screen was an independent object in itself having no connection with pillars on the lower side of the mosque and the clearstorey arches did not serve the purpose of lighting the sanctuary or anything else. The screen of red sand stone by itself is a noble conception, with its ogee curves producing the effect of lightness necessary in such a massive volume. The arches have a border of spiral form , having a floral device within each coli of convolutions with the upright decorations that are Islamic, Upon the surfaces were engraved the verses of kuran like in a manner that could be done in wax. In this screen arch the rudimentary system of corbelled arch was introduced. The shape of the arch was similar to facades of rock cut caves of Barabar hills, the curve was an ogee ( S- shaped line) arch but never a true arch.

PLAN OF QUTB COMPLEX

ARCADE IN FRONT OF THE COMPLEX

QUTB MINAR

DETAIL OF THE BATTLEMENTED PARAPET

PLAN AND VIEW OF QUTB MINAR •

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In the last year of the twelfth century Qutb- ud din laid the foundations of Qutb Minar. This was an immense and lofty tower, originally 238 feet in height , its primary object that of proclaiming to the whole world the authority and prestige of Islam. The word Qutb signifies - a pole and axis and thus the pivot of justice , sovereignty and of faith. It is inscribed “to cast the shadow of God over the East and over the west.” The one which equaled Qutb was the Giralda at Seville in Spain constructed during the same time. The example of this type of structure can be traced to a minar of star shaped plan at Ghazni in Afganisthan. This tower of victory was also used to call the faithful for the prayer. It was situated outside the original mosque to the left of the main entrance .As the mosque plan developed a more symmetrical design became the custom, the minars were not separate but attached to the main architectural scheme usually the façade of the main building. Quth minar when completed consisted of four stories diminishing as they ascended, with a projecting balcony dividing each stage. The upper most storey was circular with a window openings and a domical roof crowning the entire structure. Renovations have made an additional upper storey, increasing its height and changing its proportions.

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Its plan of the tower at at the base being 46 feet in diameter and tapers to a width of 10 feet at the summit. Each of the four stages is different in its plans. The lowest having stellate – the wedge shaped flanges alternating with the rounded flutes, the second has circular projections, the third is star shaped, while the fourth is simply rounded. On the northern side is entered by doorway leading to a spiral staircase up to each balcony. When first built the balustrades took the form of stepped battlements or merlons. Below the balcony there is system of stalactite bracketing by which the projecting balconies are supported transmitting the weight to the body of the structure. This stalactite bracketing, is represented by means of miniature arches or small alcoves with brackets in-between . This was an attempt to replicate the muqarnas but influenced by the cusped tracery of temple ceilings. Qutb minar is made of red sandstone, the changing texture of its fluted stories with the overlay of inscriptional bands, the contrast between plain masonry and rich carving and the shadows underneath balconies, all combine to produce an effect of vitality. The tapering appearance was given to give an appearance of increased height and it also represents stability like that of a pyramid.

ARHAI DIN KA JHOMPRA

VIEW OF SANCTUARY SCREEN, ARHAIDIN KA JHOMPRA

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Another important structure during the period of Qutb ud din was Arhai-Din-Ka –Jhompra ( hut of two and a half days).The construction of this mosque begun in 1200 AD. Prepared in the same manner as in Delhi, the building was evolved with the compilation of materials from Hindu temples, was a better organized conception. It occupies twice the space of the Delhi mosque. It gave more scope to the builders .It is shown in the gracefulness of its slender pillars, and finer proportions of the columned aisle. Increased height obtained by superimposing three columns to form each pillar. The mosque consisted of an open courtyard surrounded by a open colonnade .In the west later an arched screen was built across the front of the sanctuary to form a facade, that was built during the reign of Shamsuddin Iltumish. In the screen of arch, there is no upper storey or triforium but above the parapet of the main archway are fluted minarets on either side. The screen has central arch flanked by two arches on either sides. The central arch is near to four centers type whereas the side arches are cusped and and multifoiled . Totally there are seven arches across the facade. There is a rectangular panel in the spandrel ofcentral arch from the ancient mosques of Arabia.

TOMB OF SULTAN GHARI

• PLAN , SECTION AND VIEW OF SANCTUARY FAÇADE OF SULTAN GHARI’S TOMB •

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This building seemed to a private shrine for the members of the royal family apart from being a tomb. The Sultan Ghari or sultan of the cave as it is called is so named because the cenotaph is in an underground chamber. The whole structure was raised on a hign plinth with a massive portal on the eastern side. The exterior is made up of grey granite with circular bastions at the corners giving it a kind of appearance of a fort or defensive structure. The courtyard 66 feet side has an octagonal platform in the centre, forming the roof off the tomb chamber below. This structure was originally designed to support a pillared pavilion above which now has disappeared. There are pillared arcades on east and west side , that on the west side forming the sanctuary. Mihrab is formed of an elegant foliated arch. The nave is fronted by a colonnade of marble pillars with a pyramidal roof which is extracted from Hindu temple.

SQUINCH SYSTEM

THE SYSTEM OF CIRCLE FROM A SQUARE

SQUINCH •

The squinch system consists of projecting of 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 may be transformed into a sixteen sided figure, a convenient base over which the lower circular rim of the dome may rest.

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The squinch system takes the form of a small vault, or half dome with an arch on its outer and diagonal face. It is neither a true vault nor a true arch, made of from overlapping courses providing an artistic solution.

Only from the tomb of Balban the system of true arches with voussoirs evolved.

KHALJI DYNASTY •

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Khaljis were Afganised turks from Ghazni. Of them , Allaudin Khalji rose to power in 1296. HE extended the Qutb to include the previous two mosques which was done by his predecessors which he concentrically extended it .He proposed a colossal minar at the northern end of the complex. This minar was double the proportions of the previous minar but could not be accomplished. One structure that was finished and providing an illustration to the whole architectural style was Alai Darwaza or gateway of Ala ud din built in 1305. This entrance gateway to the mosque of Alaud din Khalji occupies a key position in the evolution of Islamic Architecture in India. In Alai Darwaza one can see the fusion of two great styles, one that of the Persian and the other that of Indian Alai Darwaza was built to serve as an entrance to the mosque. Though entrances along eastern side were planned, this was the only one which was completed is in the southern side of the mosque. Alai Darwaza is 55 feet ,cubical in plan with a total height to the top of the domical finial being 60 feet in height. In the middle of the each side is a door way flanked by a perforated stone window on either sides. Each doorway opens into the inner room which is a hall of 36feet side with a domed ceiling.

VIEW AND ELEVATION OF ALAI DARWAZA

EXTERIOR • •

The dimensions show that the building is of moderate size. In the design of the 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 the plinth its faces are carved with horizontal bands. The surface of the wall above is divided into two stories and Upper storey is divided as rectangular panels. The lower storey panels are

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arched recesses with stone grilles. All these are executed in red sand stone and white marble. with arabesques and decorative inscriptions. The arch present in the façade is horse shoe or keel shaped and the system of construction of this arch is by voussoirs or true arch, with dressed stones. The treatment in the underside of these arches or on the intrados is a “fringe” of spear heads and in the spandrels are sockets which once contained projecting bosses, typical of the doorways of the saljuqs. Supporting the arches are the slender nook shafts ,carved and molded and the whole is contained within a rectangular frame work bordered with bands of inscription patterns in white marble.

INTERIOR • •

In the interior of the hall at the point of transition from square to octagon of the roof the squinch arch is employed, here also the method of radiating voussoirs is applied for the squinch. At each angle of the hall, a semi vault of pointed arches which recesses one within other is found forming the support to change the square into an octagon and then a circle. These arches are also of pointed type.

THE TUGHLAQ DYNASTY Only three of the tuglaqs were interested in the building art. These were the founder of the dynasty 1)Ghiyas ud din Tuglaq – 1320-25 2) his son Muhamad Shah Tuglaq-1325-51 2) the prolific o f the builders- Firoz shah Tuglaq.-1351-88 The rulers citadel does not exist in an intact condition now. But his major work in Tughlaqabad, his tomb is in a perfect condition .

TOMB OF GHIYAS –UD DIN TUGHLAQ

VIEW OF GHYIAS UD DIN TUGLAQ’S TOMB

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Originally it was standing in an artfificial lake , connected to the citadel by an elevated causeway, i t takes the form of a self contained fortress in miniature . There is some noted connection with the tomb of the Sultan Ghari .Some Mosques were constructed in such a way that they can be put readily into a state of readily put into a state of defence.It is possible that this structure was produced in such a manner due to the unsettled nature of the country.

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The exterior plan of the fortress tomb is in the form of irregular Pentagon, with a spreading Bastion at each angle.It greatest length being less than 300 feet. The shape is due to the contours of the rocky island on which it was built. The courtyard has the same asymmetrical outline with the tomb building placed diagonally at the widest part as it was necessary for the tomb to face Mecca. The fabric of the stone is made up of red sand stone while certain portions including the tomb is built of white marble. Th e most striking feature is the sloped outer walls, as these are inclined at an angle of 75 degrees, suggesting a converging sides of a pyramid.

ARCH AND THE LINTEL IN THE DOOR WAY •

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Its square base is sixty one feet side and entire height of the structure including the sand stone finial is over eighty feet.In the centre of each side is a recessed tall tudor shaped arch way, three of which are doorways and the fourth one is closed to accommodate the mihrab. Parts of the exterior design is similar to Alai Darwaza, but with certain differences.Both are same in the sense , that they have the arches which are treated with spear headed fringes, but the horse shoe arch of Alai Darwaza is modified into a Tudor shaped arch, with the slightest “ ogee” at the crown. The major difference is in the imposition of lintel across the base of the arch way in Ghiyasud din’ s tomb, thus combining the two principles of support,the arch and the beam.Though thelintel was erected due to the Hindu masons who were doubtful about the stability of the tudor, arch , this we can see as a fusio n of two systems the trabeated and arcuated system of construction. They introcuced brackets below the lintel which continued to be used in the subsequent styles.

INTERIOR •

The interior of the tomb is a single chamber , thirty feet square , light being admitted through the three arched openings. Above the domed ceiling is supported by means of four squinch arches in the same manner as that of Alai Darwaza,but , the angle between the octagon and the sixteen sided figure over it was filled with three projecting blocks of stone acting as brackets.

DOME • •

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It is a single dome , and design it is of “Tartar” shaped , which later became the characteristic of Indo Islamic style as a whole. The process of construction was by means of headers and stretchers of marble attached to a brick and cement core, dowelled in with metal cramps , the headers being inserted inside the core to nearly one foot, the whole being erected to a kind of temporary shuttering. The dome has a span of 55 feet, is crowned by a finial resembling the kalasa or amla of a Hindu temple.

TREATMENT OF THE EXTERIOR •

The centralbay framing the archways , was projected in the front slightly , and also extended beyond the parapet topped by small merlons. A marble band continue to unite the structure by continuously running along all the four sides.

ORIGINS OF THE SLOPE OF THE TOMB. •

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At the same time erecting his own tomb at Tughlaqabad , he erected a magnificient mausoleum at Multan over the remains of the saint Rukn – i- Alam.The city already contained , tombs built out of brick. As brick has lower crushing strength than that of the stone , the load of the superstructure had ro be reduced gradually to prevent the bricks in the foundation being pulverised. Thus the dominant architecture of Multan was the characteristic tapering walls which gradually reduced in thickness as they rose higher.Thus it seems that decisive batter in tuglaq’s tomb may have been suggested by the brick architecture of Multan and other towns in Punjab.

The general characteristics of Mosques in the Tuglaq period • • •

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All the mosques had a Pseudo –militaristic style of Ghyias ud din . This was not achieved by sloping the building wall, but by locating a circular tapering bastion like quoins at the corners and in the rear wall of the maqsara and at the entrance points. A more prominent symbol of the militarism in Architecture was a massive arched and buttressed pylon like structure planted in the middle of maqsara facade.This ceremonial pylon became a popular innovation. The striking example is the Bebumpuri Masjid. Another feature was that these mosques were built over a platform or basement often raised more than 12 feet above ground level. This necessitated the imposing flight of steps upto the entrance gateways . The lower periphery of the erected basement became deep arched niches large enough to be put to use as living rooms for attendant priests or dormitories for pilgrims on festive occasions.

KHIRKI MOSQUE

VIEW OF KHIRKI MOSQUE •

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The structure being more impressive by the plan that the whole structure being raised on a Takhana, or substructure of arches.The mosque has resemblance to the enclosure of tomb of sultan Ghari,with their boldy a projected entrances approached by flight of steps, and the circular bastions thrown out from each corner, the entire structure havinga fortress like appearance , not usually associated with the place of prayer. The entrance has an arch and beam doorway , one of the Firuzian type of Mosques. Th interior consists of cloisters formed by a series of square bays, the corner of each supported by a heavy pier, with “Tudor” arches between and each bay roofed by a cup shaped dome. The piers are short and thickest some times in groups of two or four plain square monolith pillars,.

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The Khirki Masjid or Kali Masjid was covered by a combination of a domed and flat roof leaving four symmetrically arranged open to sky courtyards for ventilation and light.No doubt hot sun was cut and more comfortable praying consitions were created. This type of Mosque is quite rare, and although not in altogether in accordance with historical usage of a single space for prayer, this being seem to divide in to 4 groups are rare.

THE CITIES OF DELHI MOVE TOWARDS NORTH As the water supply around the Qutb was not reliable , Firuz shah built his city to the north the previous cities. To receive the fresh winds and waters uncontaminated by the dying remains of previous city , prompted the Khaljis , Tughlaqs and his predicissors to build north of the existing city.

THE CITY OF FIROZ SHAH KOTLA •

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The city of Firoz shah Kotla was built on an irregular rectangle , half a mile (800m)long and a quarter wide(400m), defined by moderately defensive walls. The eastern and longer side of the rectangle was parallel and abutted by the river. In the middle of the side opposite to the river was the main entrance which lead to Diwani Am ( Hall of Public audience)where the king appears to the public, just behind was the Diwani – Khas ( Hall of Private audience) where the king had his cabinet meetings. Right along the river were relatively safe against the attacks and afforded the finest view were the palaces, mosques and harems of the royal court. The areas north and south of the central axis were divided into square and rectangular courtyards , were a great variety of structures such as pavilions for different purposes , baths , tanks, barracks , armoury and servants quarters all conveniently communicating with each other. This type of planning principles were to be followe later by the Moghuls and became a prototype.

PLAN OF HAUZ KHAS

VIEW OF FIROZ SHAH’S TOMB

FIROS SHAH AND HAUS KHAS The Haus Khas palaces were built by Khaljis and was a favourite oicnic spot for the Khalji kings. Firus Shah realizing the peace and beauty of Haus Khas , decided to built a mosque at the northern end of the existing tank and to install a Madrasa , in the building along the northern and western banks. The college buildings are two storied domed and pillared halls.Upper storey is at ground level with ample cross ventilation , and the lower storey is just above water level and closed on one side. This was ideal combination to combat varying extreme climates of Delhi.

At the corner where the two wings of the college building met was the tomb of Firuz shah.The tomb is 45 ft square structure, built in the characteristic style of Tuglaqs. Built with rubble masonry walls and finished with a thick layer of lime plaster. Th openings had lintel and arch combinations , and the whole crowned with a parapet of merlons .

THE SAYYID AND LODI DYNASTY th

During the 15 century and into the first quarter of the sixteenth century a number of building were erected in the Delhi region, first under the rule of Sayyids and afterwards under that of their successors. No great building undertakings are , no capital cities ,no imperial palaces and no public buildings of any kind appear to have been produced. They excelled in the memorials of the dead.Large tombs arose in the neighbor hood, so much that the country around the capital was converted to a necropolis. The tomb buildings took two separate forms , the outcome of two different conversions .One was the on an octagonal plan , surrounded by a collanade with a projecting eave and one storey in height. On the other was another type square in plan having no verandah, and exterior being two or sometimes three stories in height. In both the types the buildings were covered with a dome. There were pillared kiosks one over each side on the octagonal variety and at the corners of the square type. The octagonal one was reserved for the kings whereas the square type was for the nobles.

VIEW OF MUBARAK SAYYID’S TOMB

VIEW OF MUHAMMED SAYYID’S TOMB

OCTAGONAL TOMB • •

The three royal tombs of the octagonal type built during Sayyid and Lodi regime are 1)Mubarak Sayyid , died 1434 2) Muhammed Sayyid , died 1444 3) Sikander Lodi – died 1517. The first two are more or less isolated structures , on the other hand hand , the tomb of Sikander Lodi is a very finished conception stands within a walled enclosure having an ornamental gateway on the southern side, the mosque on the western side and octagonal turrets at each corner. This type of structure stands between the earlier fortified tombs an extensive terraced gardens of the subsequent mausoleum of the Moghuls.

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The tomb- buildings are identical in their dimensions and proportions , except that of tomb of Mubarak is somewhat four feet lower than the other two . Their measurements are 30 feet in octagonal side , 74 feet width and height of the building including the finial is 54 feet , The tomb of Mubarak is that of 50 feet . In the tomb of Mubarak, as the building of octagonal type was still under experimental stage , as seen in the position of the dome and the kiosks around its drum.Those who built made an error in the position of the dome , the dome and the kiosks were nearly hidden to the spectators eye due to the collanade surrounding the drum. The result is stunted elevation an appearance of the whole superstructure comprising the dome and the kiosks being pressed down onto the octagonal portion that supports it. These initial defects was corrected in tomb of Mohammed Sayid which was erected some ten years later.In this example the drum of the dome has been raised to several feet and kiosks were also elevated to the same extent. The effect produced is a conception satisfying in all its parts and well proportioned. The width of each octagonal face is 30 feet is equal to that of the height including the basement and its ornamental pinnacles at the corners.; this measurement is also half the height of the entire building including the finial. Each octagonal face contains three arched pillars , the two openings at the sides being narrower than the central one. All the lines in the elevation are perpendicular except the those at the angles which are sloped by means of an attachment. This slope persists through out the series.

The tomb chamber inside is octagonal in plan 231/2 feet in diameter with an “ arch and beam” opening in each face.

SIKANDER LODI’S TOMB

VIEW AND PLAN OF SIKANDER LODI’S TOMB • • The Sikander Lodi’ tomb was on the same lines as that of the other octagonal tombs , But there is a slight modification in the elevation, as the Lodi’s tomb has no Kiosks and there was also a structural alteration, in the construction of the Dome. • Here the dome is composed of an inner and outer shell of masonry with a distinct space in between the two ,what is known as double dome. This type of dome had long been put into practice by the builders of Persia, Iraq and western Asia. T • his as a structural procedure was necessary due to the inclination to raise the height of the dome , to offer an imposing exterior. This naturally increased the height in the interior chamber, thus causing the interior of the dome to be loftier and disproportionately tall for the chamber that it has to

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cover.By building two domes , in the form of interior and exterior shell separated by void, the proportions of the exterior and interior were much improved. Later most of the larger domes in India were constructed in the same principle , so that the first appearance of the double dome in this building remains important.

SQUARE TOMBS

VIEW OF BARA GUMBAD The other type of tomb that designed on a square plan has its name as “ Gumbad” after its name , Gumbad being the vernacular for the dome. Some of the important Gumbads were 1) Bara –Khan ka Gumbad 2)Chota Khan ka Gumbad 3) Bara Gumbad and Shish Gumbad.

THE CHARACTERISTIC FEATURES OF THE SQUARE TOMB. •

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Most of of them are isolated structures without any surrounding wall.The average plan of the octagonal plan is one – third larger than the square type and the average height of the square tomb is one – third higher than the octagonal one. The height of the Bara Khan Gumbad is 80 feet to the top of the dome excluding the finial. Difference from the octagonal type is that the square type does not have sloping parts,all the lines and planes are truly vertical. The two and three stories found in the elevation are not definite floors but merely arcaded zones introduced as architectural decoration to their facades. Th e façade has a rectangular projection in the centre which containing a recessed arch way occupying the total height of the structure almost to the parapet. Within the arched recess is a dorrway of beam and bracket order the space above occupied by an arched window opening.The “stories” of the façade are formed of arched recesses set in rectangular panels, those on either side of the doorway being made into openings to admit light into the interior. The parapet and the dome are treated much like the octagonal examples. The interior is a single chamber square in plan with sunk archways on each side that on the west containing the mihrab. In each corner is a squinch arch to support the dome, while over the sixteen sides are blind arches one on each of the sixteen side. The square tomb in its disposition of the arches at the corners and the squinch has similarity in planning and style as that of the Khalji building ,Alai Darwaza

There is a notable building the mosque built by the Primeminister of Sikander Lodi, that is Moth –Ki-Masjid.It is a preliminary example of series of building which achieved perfection in Qila –i- Kunha masjid. At Delhi in the city of Purana Qila.

MOTH KI MASJID

VIEW OF SANCTUARY FAÇADE OF MOTH KI MASJID • •

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VIEW OF THE REAR WALL OF MOTH KI MASJID

It developed into a composition of grace and power. The sanctuary screen measures nearly 125 feet across. There are attractive features in the design of the facade, such as the shape and proportion of the five arches of the façade , the emphasis given to the central bay; the spacing and disposition and volume of the three domes. , the refinement of the turrets of the rear wall; the design of the doorway and its projecting balcony in the sides and above all the towers in two stories at the corner, which add to the pleasing vitality to the building. There is also colour employed in the treatment of the building.In the central portion of the nave , the system of squinch arch is found. , but in the side aisles the system of pendentives to bring the transition from square to the octagon. In place of the usual carving, patterns in plaster are inserted in the form of borders above the arches and as medallions in the spandrels., excuisite arabesque design , moulded in low relief and painted in brilliant colours.

THE TOMBS OF ISA KHAN AND ADHAM KHAN Tomb of Isa Khan shows the sloping buttress of corner piers , the remains of Feruzian slope and is notable as it is the last building to include this structural slope in the composition. The Isa Khan’s tomb is a well balanced structure complete in all particulars, but slightly lacking in height. An attempt to overcome this defect is found in the example of Adham Khan built later. Additional elevation is gained by raising substantially the drum of the dome thus converting it into an intermediate storey or triforium.An arched recess is found in each of the sixteen faces of drum which created a shadow into the composition.

VIEW OF ADHAM KHAN’S AND AND ISA KHAN’S TOMB