Lecture #6

Year / Part: I History of Islamic Architecture / Islamic Architecture / 2014

THE MUGHAL PERIOD (1526 – 1837 AD)

 Founded by Babur in 1526 AD after defeating the Lodi king Sultan
Ibrahim
(Sher Shah Sur takes over Delhi between 1540 to 15 55 AD and
Humayun, son of Babur is exiled to Persia; later Akbar takes capital to
Agra)
 Patronage of arts in general and architecture in particular
 Characterized by refined architectural style and advanced structural
approaches
 Reasons behind developments
 Imperial wealth and power
 Political stability
 Royal patronage
 Forthright relation with craftsmen

Important rulers and phases of developments

 Babur
 Emphasis over formal gardens, strict geometry and symmetrical
patterns
 Not much architectural works but ornamental gardens
 Trend setter of thoughts with intellectual contributions
 Humayun
 Exile to Persia brings Persian ideas and features in Mughal
architecture
 Akbar
 Red sandstone phase of Mughal architecture
 Jahangir
 No great patronage of building arts as his interest lay elsewhere
 Concentration on miniature paintings than in buildings
 Shah Jahan
 White marble phase, hallmark of Mughal architecture

Course Teacher: Ar. Anuj Kumar Toppo Architecture Dept. - BIT 1

 Lecture #6
Year / Part: I History of Islamic Architecture / Islamic Architecture / 2014

Early Mughal Architecture

Tomb of Humayun, Delhi (1565 AD)
 Built under the patronage of Humayun’s wife Hazi Begum and eight years
after his death, this tomb building provides inspiration to general
development of Mughal architecture and more specifically to Taj Mahal
 The chief architect was MIrak Mirza Ghiaz
 Humayun’s tomb marks the beginning of Mughal tomb architecture in India

Mughal Tomb Architecture in India

 The most striking element of Mughal tomb is not the building itself
but rather the layout of the entire complex
 The tomb does not stand alone in wilderness but it is conceived as
the heart of symmetrically arranged formal Char Bagh (Four
Gardens)
 The idea of planting the garden around tomb was most probably
the homage to nature loving vision of Babur by later Mughal kings
 Organization of natural forms within the confinement of man made
frame work of geometrical patterns
 Plantation of trees at strategic points with rigid water channels
running along the cardinal axes served with fountains at regular
intervals
 The grass quadrangles are also bordered with rows of flower beds

 Persian influence is apparently seen in dome shape and construction,

arched alcove entrance façade and in internal planning (Perfect blend of
indigenous architecture with Persian inspirations)
 Indian indigenous character in cupola kiosks, workmanship in stone and
marble
 Whole complex is arranged in park like enclosure with the tomb in the
center of a formal garden – Lodi influence
 The tomb is approached from all four sides while the main entry gateway
is at west side

Course Teacher: Ar. Anuj Kumar Toppo Architecture Dept. - BIT 2

 Lecture #6
Year / Part: I History of Islamic Architecture / Islamic Architecture / 2014

 The division of garden is made with rectangular compartments of flagged

pathways
 The tomb exhibits a perfect composition with proper proportions,
relationship of masses and their distributions
 The 42.4m high tomb is raised on a high plinth having arched alcove
called stylobate provides a suitable base for the huge cubical mass above
 The façade consists of a central rectangular fronton flanked on each side
by chamfered cubic mass – Persian character
 The arched alcove on central rectangular fronton is splayed for better
diffusion of light to the interior which also plays a three dimensional effects
on the façade
 Surface treatment of red sandstone with white marble linings is significant
 The true double dome is used for the first time as inner dome makes the
ceiling
 Cluster of pillared cupola kiosks around the dome are present
 Octagonal central cenotaph with octagonal corner rooms makes the
internal division of space along with clerestory screed windows for lighting

Course Teacher: Ar. Anuj Kumar Toppo Architecture Dept. - BIT 3

 Lecture #6
Year / Part: I History of Islamic Architecture / Islamic Architecture / 2014

Early Mughal Architecture

The Period of Akbar
 Akbar was the king of builders – for his extensive building activities, for his
architectural vision through his half century of empire and city building
 Akbar gave his artists from various parts of the country the opportunity to
exploit their ideas to the fullest and the freedom of expression, his builders
were not asked to stick to “style representing the single religion”
 Akbar had no desire for promoting any particular regional style – a liberal
patronage - but he wanted to achieve a “central theme” in building
activities along with all-India empire
 Architectural features of buildings of Akbar
 Trabeated structure and arcuated elevational development / decorative
arcading
 Decorative, many sided pillar shafts with bracketed capitals
 Carving and inlay works
 Interior paintings
 Use of red sand stone – minimal use of white marble

It is recorded that Akbar had built five hundreds buildings and pavilions within the
enclosure of Agra Fort. These structures from Akbar’s time were demolished
some sixty five years later by his grandson Shah Jahan to accommodate new
white marble buildings. Few of those surviving edifices are Jahangiri Mahal and
the rampart and the Delhi Gates.

Agra Fort, Agra (1565 – 74 AD)

 A fortified palace in the form of irregular semi – circle laid on the banks of
river Yamuna
 The massive red sand stone enclosure with high 70 ft. high rampart with
battlements – first application of dressed stone with iron dowels
 Two gateways, one on the southern side for private entry and other on
west known as Delhi Gate was the main entrance

Course Teacher: Ar. Anuj Kumar Toppo Architecture Dept. - BIT 4

 Lecture #6
Year / Part: I History of Islamic Architecture / Islamic Architecture / 2014

Delhi Gate in Agra fort:

 Octagonal towers joined by an archway
 Use of recesses with arches on the elevation
 Rich ornamentations along with white marble inlay works
 Use of bird motifs – contrary to the Quranic objection to the living
forms
 Back side has arcaded terrace with cupolas, kiosks and pinnacles
above

Jahangiri Mahal in Red Fort, Agra (1570 AD)

 Of experimental nature – a state of transition from Hindu Palace to Muslim
one
 Irregular grouping / asymmetrical arrangement of halls and rooms
dispersed around two courtyards aligned along a central axis
 Interior works are much more Hindu as wooden derivatives are apparent in
brackets, struts, etc.
 The two storey front façade of the building consists of central arched
opening and deep horizontal Chajjas over wall of blind arches with
octagonal turrets at the corners

Fatehpur Sikri – The Ceremonials Capital, Agra (1590 AD)

Sikri was a place of some significance to Akbar as his grandfather Babur had
waged a crucial war in the plains below and built a small mosque to celebrate his
victory. Akbar in 1570s was riding a crest of success with his triumphs in Gujarat
and Rajasthan thought that the Sikri hill would be an auspicious site for his new
capital, also considering its architectural potential. Within a decade the site was
transformed into a new capital city of the Mughals which had a population of
2,00,000. In Fatehpur Sikri, the buildings were of disparate nature schematically
put together into a unified dynamic complex. It was probably due to available at
site, the architects departed from conventional ideas of building isolated
structures linked up by streets. Instead the buildings were planted around and in
the middle of the courtyard forming a visual and spatial sequence.

Course Teacher: Ar. Anuj Kumar Toppo Architecture Dept. - BIT 5

 Lecture #6
Year / Part: I History of Islamic Architecture / Islamic Architecture / 2014

 The most ambitious architectural project of Akbar’s reign and also the
most notable building achievement after Taj Mahal
 Located 26 miles west of Agra, the Sikri was the great complex of palatial,
residential, official and religious buildings
 It holds the concept of unified India – as craftsmen and artists from various
parts of India were involved and allowed to express their designs freely
ensuring visual unity - consequently craftsmanship of various regions is
apparent in building details – “architectural expression of politics”
 Built on as isolated rocky outcrop, rising considerably high over its
surrounding, the city rose considerably in short time period
 It was a rectangular enclosure of two mile length and one mile width
 The city had no streets but broad terraces and stately courtyards,
interconnecting numerous palaces, pavilions, mosques, tombs, stables
and courts to form as urban complex (however it is also said that in its
layout there is a little evidence of any systematic town planning having
been put into practice)
 The whole complex was executed considering economy and natural
terrain – planned and matching with natural contours
 The city runs from north east to south west and most of the buildings are
planned at an angle to get north south orientation to align them in harmony
with the religious structure of Jami Masjid
 All the buildings on the south side, the Diwan – i – am, Jami Masjid were
accessible to people, the rest being disposed off
 The whole complex can be divided into two parts: the religious complex
(oriented EW) and the secular complex (oriented NS)
 Except for Jami Masjid of religious complex which is arcuated in
construction, most of the other structures are trabeated
 It is said that the structures were built in present day concept of
prefabrication, the columns, slabs, chajjas being prepared in stone
quarries and brought to site for assembly
 Use of rich red colored sand stone also bringing visual unity

Course Teacher: Ar. Anuj Kumar Toppo Architecture Dept. - BIT 6

 Lecture #6
Year / Part: I History of Islamic Architecture / Islamic Architecture / 2014

 The life of the city was short, the city was hardly used but abandoned as
soon as it was completed probably because of shortage of water and
remained empty ghost city for about three hundreds years

Buildings at Sikri
 Religious buildings / structures
 Jami Masjid
 Tomb of Salim Chisti
 Buland Darwaza

 Secular buildings
 Palaces: Khwabgah
Jodha Bai’s Palace
Mariam’s Palace
Sultana’s Palace
Birbal’s House
 Administrative buildings: Diwan – i – khas
Diwan – i – am
 The Paanch Mahal

Jami Masjid
 Largest and imposing structure
 Rectangular area measuring about 164.2 m X 132.7 m
 When first constructed, it was approached by the entrances at north, south
and east
 Western side contains the main sanctuary and three sides are cloisters
 Also contain tank of water in the middle of court
 There is a large dome in center of the sanctuary and smaller domes on
either sides of naïve

Tomb of Salim Chisti

 Located with in cloistered quadrangle of Jami Masjid, the tomb stands out
as a jewel set in marble against red sand stone background of mosque

Course Teacher: Ar. Anuj Kumar Toppo Architecture Dept. - BIT 7

 Lecture #6
Year / Part: I History of Islamic Architecture / Islamic Architecture / 2014

 Later addition by Jahangir

 Seems to be aerial in weight and embroidered in delicate carving of
marble
 Serpentine brackets support the broad sloping eaves
 Whole structure is covered by low dome
 The marble work and the delicate treatment of infill in arched openings
provide a delicate quality more benefiting a piece of jewelry than the
robust architecture of Islamic style
 The whole complex is low, the scale is human and is in total contrast to
backdrop of Jami Masjid and the Buland Darwaza

Buland Darwaza
 A triumphal gateway placed at the southern part of mosque – a later
addition by Akbar
 A grand archway made of red sand stone
 The huge 15.3 m wide and 30.5 m high arch is approached by grand flight
of steps of total height of 12.8 m from ground level, the steps spread out
as they descend – a lofty base
 The arch rises to total height of 40.8 m including steps exhibit massive
proportion and bold solidity with its gigantic size
 Entry arch is recessed with semi dome on half decagon
 Parapets with cupola kiosks provide wavy skyline
 Band for inscriptional ornamentation are present
 Towards the mosque, the great height is reduced to half with inside
elevational treatment to reduce solidity and massiveness
 The central framed arch is flanked by soaring thin minarets and chamfered
back broad surfaces

The Palace of Jodha Bai

 The most complete among all buildings of the complex
 Built in courtyard system with high and plain wall
 More developed than Jahangiri Mahal
 Inward looking plan with secluded courtyard

Course Teacher: Ar. Anuj Kumar Toppo Architecture Dept. - BIT 8

 Lecture #6
Year / Part: I History of Islamic Architecture / Islamic Architecture / 2014

 Two self contained double storey flats

 Hindu décor and architectural treatments
 Roof exhibits cupolas at certain places
 Regional group of artisans were used (for speedy works)

Mariam's House
 Simple structure without a interior courtyard but with Persian mural
painting
 Two storey and smallest residence

Sultana's Palace
 Single storey pavilion with one apartment with pillared verandah
 Carved decoration - timber antecedents

Birbal's House
 Two storey house with four rooms on ground floor and two rooms and
terrace on first floor
 Verandah on ground floor giving Hindu look
 Porches with pyramidal roofs and rooms with domed roof

Diwan - i - khas
 House of special audience of simple square plan
 Notable feature is central mushroom pillar used to form circular platform
(36 brackets)
 Two storey building with flat roof, parapets and kiosks at each corner
 Single room interior with hanging corridor on first floor supported on
central column

Diwan - i - am
 A simple pavilion with colonnaded surrounding gallery, placed with in a
courtyard beyond which common people could not enter
Other structure: Girl's school, Anup Talao (recreational platform), storehouse,
stable, etc.

Course Teacher: Ar. Anuj Kumar Toppo Architecture Dept. - BIT 9

 Lecture #6
Year / Part: I History of Islamic Architecture / Islamic Architecture / 2014

Final Phase of Mughal Architecture

The Period of Jahangir
 Jahangir came to throne in 1605 AD and ruled for about 22 years
 Concentrated more on miniature paintings than on architecture – no
great patron of building arts
 Loved nature and recorded them in paintings
 laid formal Mughal gardens in Kashmir
 Period of transition from red sandstone to marble to reach its climax during
the reign of Shahjahan

Akbar’s Tomb, Sikandra (1613 AD)

 Jahangir erected tomb for his father at Sikandra near Agra
 Originally envisioned by Akbar himself
 An architectural retrogression compared to Humayun’s tomb even if
built around 50 years later
 Jahangir’s intention or attempt rather spoilt the original conception –
conflict of idea
 The creators obviously seemed to have produced original composition with
departure from conventional domed structure
 A pyramidical composition devoid of architectural merit
 The built form exhibits composition in 3 stages, the topmost mass being
finished in marble
 The main entrance is elegant in proportion with inlay works and minarets –
later addition by Shahjahan (fortuitous addition)
 The garden consists of fountain and water basin at pathway crossing
 The tomb is square in plan measuring 97.5 m with total height of around
30 m and placed in the middle of huge formal garden with entrance
gateway on south side
 The ground floor consists of recessed arches in all four sides with tall
rectangular structure in the middle to contain arched alcove
 Doorway in the southern alcove leads to the corridor further leading to the
chamber

Course Teacher: Ar. Anuj Kumar Toppo Architecture Dept. - BIT 10

 Lecture #6
Year / Part: I History of Islamic Architecture / Islamic Architecture / 2014

 The upper storeys consists of 3 tiered pavilion with arcade and kiosks,
seem to be light and fanciful and also out of proportion over such a
powerful sub-structure
 The top storey is an open court with arcaded cloisters with while marble
screen all around and with graceful kiosks at corners

Jahangir’s Tomb at Shahdara, Lahore (1626 AD)

 Built by Jahangir’s wife Nur Mahal Begum (Nurjahan)
 Ill-conceived design
 A persistently feminine design is apparent
 Placed in the middle of immense garden, the tomb is square in plan
measuring 99 m with 30.5 m high minarets planted at each corner
 The 457.3 m square garden is divided into 16 squares by means of paved
pathways with fountain and pools
 Even though the 4 minarets are graceful in themselves, seem out of
proportion with the central flat mass
 The dome or canopy in the center should have been raised over the
square platform to add the balance
 The entire structure is in brick with color decorations all over the surfaces
– use of fresco paintings, inlay colored works, colored glazed tiles, semi-
precious stones
 Use of so many decorative techniques results in museum of surface art
rather than a work of architecture

Tomb of Itmad – ud – Daulah, Agra (1626 AD)

 Itmad – ud – Daulah, a pillar of the empire
 A miniature version of tomb at Shahdara – as unconvincing as its
prototype – fat and ungainly in proportion
 The tomb of distinguished nobleman and father of Jahangir’s queen
 Marks transition from Akbar’s style to that of Shah Jahan
 The tomb stands in white marble within comparatively small garden
 Octagonal minarets at corners with central pavilion as second storey
 Three arched openings in each façade with cornices over brackets

Course Teacher: Ar. Anuj Kumar Toppo Architecture Dept. - BIT 11

 Lecture #6
Year / Part: I History of Islamic Architecture / Islamic Architecture / 2014

 Over the roof of central structure is irrelevant marble kiosk with jail all
around
 Significant surface decorations – pietra dura

Opus sectile: marble intarsia of various colors

Pietra dura: hard and rare stones (such as lapis, onyx, jasper, topaz, cornelian,
etc. are embedded in marble graceful foliations

Shah Jahan (1627 – 58 AD) – The White Marble Phase

 Prince Khurram, a favorite son of Jahangir was crowned as Shahjahan
(ruler of the universe)
 The reign of emperor Shah Jahan becomes the golden era of Mughal
architecture with architectural production of exceptional splendor
 Sets up high standard of design, workmanship and details
 It was the age of marble in its most refined form, taking the place of
sandstone
 Use of well grained Makrana marble obtained from quarries of Makrana in
Jodhpur
 Stylistic departure apparent in marble fineness, in character of arch –
foliated with nine cusps, in Persian dome with constricted necking and
bulbous outline and in tapering shaft of pillars with voluted capital and
foliated bases and curvilinear ornaments
 Initially sets up Red Fort at Agra

Diwan - i – am, Agra Fort

 Double pillars on main sides and single in inner bay
 Cusped arch and simple base and capital in columns – an innovation in
marble
Diwan - i – khas, Agra Fort
 Doubled columned exterior bays
 Cusped arches and fair amount of inlay works
 Use of cornices and brackets

Course Teacher: Ar. Anuj Kumar Toppo Architecture Dept. - BIT 12

 Lecture #6
Year / Part: I History of Islamic Architecture / Islamic Architecture / 2014

Shahjahanbad, Delhi (1638 – 49 AD)

 Shah Jahan moves capital to Delhi in his new city – the last great citadel of
Mughal / Muslims
 Executed in rather dry but systematic manner adopting the fundamentals
of Firoz shah Kotla built some 200 years ago
 Orientation of Shahjahanbad is in north-south direction probably due to
orientation needs of the mosque
 The city consists of palaces, courts, hall and gardens within fortified wall
enclosure measuring 945.1 m X 503 m
 Two main gateways, one in the middle of long side on west – Lahore
gate (main and ceremonial gate) and another on south side – Delhi gate
(private entrance)
 The axes connecting these two gates intersect at the center of
Naubatkhana square, the square containing water tank in the middle
 Strict geometry is followed in the layout with every feature in regular and
form, mostly laid in square with hardly any oblique or curve lines
 The arrangement of structures can be resolved into 4 parts
 A large central quadrangle containing Diwan – i – am
 Adm./ service courts on the south side
 Ornamental garden on north
 Range of palaces and royal apartments along eastern side overlooking
the river Yamuna
 Almost all structures are in form of open pavilion in single storey with
arcaded façade along with kiosks at each corner also with shadow casting
chajjas

Jami Masjid, Delhi (1644 AD)

 It is said that a thorough study of Mosque Architecture in India preceded
the finalization of its design
 Most spectacular than any of its predecessors
 On a high plinth with steps and imposing gateways

Course Teacher: Ar. Anuj Kumar Toppo Architecture Dept. - BIT 13

 Lecture #6
Year / Part: I History of Islamic Architecture / Islamic Architecture / 2014

 Characterizes shahjahan’s architecture with some of its fundamental

design ideas being revival of old ones, for e.g. mosque over raised
platform – Tughlaqain style
 The most structure of its kind with beautifully composed arcaded
façade, i.e. Maqsura
 The inner square quadrangle measuring 67 m
 Use of red sandstone with black and white marble décor
 Use of cusped arches, minarets with use of white graceful bulbous dome
over sanctuary, tall vertically stripped minarets

Taj Mahal, Agra (1634 AD)

 A tomb built by Shah Jahan for his beloved wife Mumtaz
 Ultimate and finest monument of Mughal architecture
 Listed on World Heritage List, is one of the seven wonders of the
world
 The building draws influence from Humayun’s tomb at Delhi
 The 74.2 m high tomb stand on the bank of Yamuna, within an enclosure
measuring 576.2 m X 304.8 m with central square garden measuring
304.8 m
 The tomb stands on square terrace measuring 95.4 m
 The foundation consists of 36 wells with ebony plank, the technology
protects the structure from shaking and reduces the effect of floods as
ebony does not expand or shrink in water
The garden
 The Char Bagh concept with linear axes intersecting at center of garden
contains water body
 For the first time in Indo – Islamic architecture, the tomb is logically placed
at the head of formal garden rather than in its center which adds depth
and perspective to distant view of tomb from entrance
Form and proportion
 The vocabulary of built form remains the same, the cube over a raised
platform and the domed roofing, but the composition achieves a perfect
balance

Course Teacher: Ar. Anuj Kumar Toppo Architecture Dept. - BIT 14

 Lecture #6
Year / Part: I History of Islamic Architecture / Islamic Architecture / 2014

 The arrangement of all the elements are in great harmony also revealing
the great complexity of its creation
 From entrance to complex, Taj seems to be floating above ground and as
one approaches, it grows in size maintaining the proportion
 It exhibits complex coherence of external form achieved through subtle
measurements in proportioning
 Entire width of tomb equals its height
 The height of façade equals the height of dome
 Top of the parapet above large alcove is middle of whole elevation
 The chamfered edge of tomb further enhance 3D effect
Space conception
 Arrangement of compartments are copied from Humayun’s tomb
 Consists of a central hall with subsidiary chamber in the angles with
radiating passages
 The interior of Taj uses the form know n as Hasht Behisht or the eight
paradise in which eight chambers surround the main central one
 Te4h central hall consists of mock cenotaph of Mumtaz and Shah Jahan
placed just above the real one in the basement
Domed roofing
 Double dome concept: outer dome maintains the proportion of façade
while inner one establish the scale of space inside
 The lower part of the dome rests on drum and the section above extends
to foliated base of finials
 The inverted lotus and tapering Kalasa finial, both being indigenous
symbols, harmonize with the crescent at the tip
 The height from base of the dome to top if finial is 44 m
 Immense hollow space of about 36.58 m between two shells of dome
The minarets
 3 storey minarets are marked at each staged by discrete balconies
supported by brackets
 Topped by cupolas supported on 8 finely proportioned columns
 The minarets frame the central structure
 Rising from terrace, the minarets reach the height of 41.78 m

Course Teacher: Ar. Anuj Kumar Toppo Architecture Dept. - BIT 15

 Lecture #6
Year / Part: I History of Islamic Architecture / Islamic Architecture / 2014

 The face of finely cut marble blocks are counter sunk and lined with black
slate – this rustic appearance of minarets enhance the beauty of tomb
itself
Surface decoration
 Use of pietra dura inlay, preferred over tiling as inlay does not disturb the
smoothness of surface and also merges cohesively
 Inlaid mural decoration, stucco relief, calligraphy and Jaali works on
marble surfaces
 Inlay works gracefully combine with Jaali works as floral patterns are
carved in Jaali blend with inlayed flowers
Shah Jahan also had intended to build his own tomb in black marble on the
opposite bank of river Yamuna, connecting both the tombs by a bridge.

Aurangzeb and decline of Mughal Architecture

 Aurangzeb was third son of Shahjahan who imprisons his own father in the
Agra Fort
 In 1658 AD, he assumes the control of the empire under the title of
Alamgir
 No significant architectural contribution made
 It was the period of death and decline of Mughal architecture – exemplified
by the tomb built over Aurangzeb’s wife at Aurangabad in 1678 AD in
which builders intended to produce a small replica of the Taj Mahal which
was not really accomplished
 Other building ventures in the form of mosques were also not of any
significance

Course Teacher: Ar. Anuj Kumar Toppo Architecture Dept. - BIT 16