THE TRUE ARCH AND THE TOMB OF BALBAN

⦿ Balban provided some stability after the turbulent state of affairs under the rule of Sultana
Raziya.
⦿ The Indian builders had to wait for a period of over 40 years until the death of Balban in
1287 AD to make their critical experiment in Islamic building.
⦿ The Indian builders had to wait for a period of over 40 years until the death of Balban in
1287 AD to make their critical experiment in Islamic building.
⦿ Ghiyas ud din Balban’s Tomb (12th Century) at Mehrauli has great architectural importance
since it is the first true arch ever built in India. However, ironically, this monument attracts very
little visitors. Despite the rich history, one can hardly see any tourists visiting the tomb. The reason
– most people don’t even know about the existence of this monument.
⦿ The Mehrauli Archaeological Park is constructed in about 100 acres of land. It is one of the
rare structures which has both Hindu and Islamic architecture. However, very little remains of the
original monument, today.

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⦿ Balban was the third sultanate ruler of importance. He was a brilliant administrator and is
known in history as a dynamic ruler who consolidated territories. The structures in the park shows
the evolution of architecture that took place from the beginning to the end of Islamic rule, by
which time it had attained specific characteristics and therefore was termed as Mughal
architecture. Balban’s tomb has a multi-chambered tomb and key stone was used for the
construction of the arches, making it very unique.
⦿ The Jamali Kamali tomb and mosque complex is another structure of importance. It was
built by Jallaluddin, more popularly known as Jamali. He was a Sufi saint and a court poet. The
mosque has exquisite red stones and white marbles inlayed in the details.
⦿ In the 19th Century, Metcalf made a canopy on a hill to get the best view of Delhi. The
canopy is located in such a way that one can even see Qutb Minar very clearly from there and also
get a bird’s eye view of the whole archaeological park.

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 ⮚ No matter what
people believe about the secular nature of
Muslim rulers in India, the Adai-din ka
Jhonpra is the ultimate example of the
destruction of a Hindu or Jain temple to
construct a mosque.
⮚ The mosque is believed to have been
built in two and a half days, thus named
Adhai-din (two and a half days).
⮚ Another belief is that its name is
attributed to a two and a half day fair held
nearby each year.
⮚ The edifice was originally a Sanskrit college, but
Muhammad Ghori converted it into a mosque in 1198 and built a seven-arched wall inscribed with
verses from the Koran
⮚ Designed by Abu Bakr of Herat, the mosque is a fair example of early Indo-Islamic
architecture and is built from masonry taken from broken down Hindu and Jain temples. of special
mention are the pillars which hold up the ceiling in the main chamber.
⮚ An intricate jali (screen) under a raised arch was added by Sultan Altamush in 1230AD.
⮚ Colonel James Tod, the Britisher who was the first to map Rajasthan and write about it in
immense detail, describes the Adhai-din ka Jhonpra as a temple in his book Annals and Antiquities
of Rajasthan Volume I. He writes that "the entire façade of this noble entrance … is covered with
Arabic inscriptions … but a small frieze over the apex of the arch is contained an inscription in
Sanskrit."
⮚ The Arabic script he attributes to Ghori who used local masons and artisans to break down
this originally Sanskrit centre of learning and built a mosque in its place. Perhaps that is the reason
why the mosque was completed in two and a half days, for the original infrastructure must already
have existed.

The Entrance
⮚ The mosque is entered through a simple
gateway in the north, on whose right stands a ruined
minaret.

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⮚ The gate leads into a stairway leading up to a small tower from where the muezzin
(mosque official) called the faithful to prayer.
⮚ The front façade consists of a number of small arches built of yellow limestone.
⮚ The main arch is flanked by six smaller arches of Arab origin wherein tiny rectangular
panels allowed for a lighting system, a feature found in ancient Arabian mosques.

The Interiors of the Mosque

⮚ The interior of the Jhonpra is more on the design of a Hindu temple than that of a mosque,
with a main hall supported by numerous columns.
⮚ Three pillars are placed over each other to gain more height while the roof is supported on
square bays.
⮚ The columns are of an uncommon design, heavily decorated and quite similar to Hindu and
Jain rock temples, each of one being dissimilar to each other.
⮚ Their bases are large and bulbous, tapering as they gain height, with nichés to house
images of gods and goddesses.
⮚ Even the ceiling is an extensively carved adventure, below which is a pulpit especially
constructed to deliver sermons from the Koran.

THE KHILJIS AND TUGHLAQS OF DELHI

⦿ With the end of Balban’s dictorial rule “the stability of which depended upon the personal
strength of the ruler”, Delhi subsequently was ruled by a number of wayward and ineffectual kings,
including Balbans grandson Kaiqubad.
⦿ The Khalji people, though Turkish origin, had acquired a deep overlay of Afghan
characteristics due to their long tenure in the reign of Khalji near Ghazni inAfghanistan.

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ASCENT OF THE KHALJIS

⦿ Ultimately 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.
⦿ 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.
⦿ Thus, the Alai Darwaza at the Qutb, the large water tank of the Alai Hauz (later Hauz Khas)
the frugal remains of his new city of SIRI bear testimony to his dynamic ability.
⦿ The 70 ft high rubble stamp of a minar that was designed to rise higher than the Qutb Minar
is an equally important example.

FURTHER EXTENSIONS OF THE QUTB COMPLEX

⦿ 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.

THE ALAI DARWAZA

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⦿ 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.
⦿ 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 window, each doorway opening into the
single inner room, which is a hall of 36ft side with a domed
ceiling.
⦿
⦿ There are distinct evidences of intelligent supervision
with the knowledge of architectural procedure.

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⦿ 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.
⦿ All this is intelligibly executed in a combination of red
sandstone and white marble, into these two materials, the
Indian carver effortlessly stenciled the arabesques and decorative flat Quranic inscriptional bands
to surround and define the openings, applied more
sculpturesque indigenous details where appropriate.
⦿ 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.
⦿ With infinite patience, the builders have lavished the interior, too with equally intricate
arabesques. Seen in the light, that filters in through the ‘star and hexagon’ jaalis that fill the arched
windows in the lower storey, create intricate and complex patterns.
⦿ These grills were the forerunners of what the mughals were later to elevate to great works
of art.
⦿ The jaali was an eminently sensible architectural device to provide controlled illumination
and ventilation for the large voluminous spaces that were desired by Islam in contrast to the small
and dark cubicals of the Hindu temple.

ALAI MINAR

⦿ now stands, north of the mosque.

⦿ The incomplete Alai Minar
⦿ Alauddin Khilji started building the Alai
Minar, after he had doubled the size of Quwwat
ul-Islam mosque.
⦿ He conceived this tower to be two times
higher than Qutb Minar in proportion with the
enlarged mosque.

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⦿ The construction was however abandoned, just after the completion of the 24.5-metre-high
(80 ft) first-storey core; soon after death of Ala-ud-din in 1316, and never taken up by his
successors of Khilji dynasty.
⦿ The first storey of the Alai Minar, a giant rubble masonry core, still stands today, which was
evidently intended to be covered with dressed stone later on. Noted Sufi poet and saint of his
times, Amir Khusro in his work, Tarikh-i-Alai, mentions Ala-ud-din's intentions to extend the
mosque and also constructing another minar.
⦿ Ala-ud-din conceived a very ambitious construction programme when he decided to build
the second tower of victory when he returned in triumph from his Deccan campaign.
⦿ However, the Sultan died before even the first storey was finished, and the project was
abandoned. Ala-ud-din felt compelled to increase even further the size of the Quwwat-ul-Islam
mosque.
⦿ His scheme called for increasing the size of the enclosure four times, providing ceremonial
entrance gateways on each side, and a great minar, twice the size of the Qutb.
⦿ This is the unfinished base of the mammoth tower begun by Ala-ud-din Khilji intended to
give competition to Qutb Minar.

THE DELHI OR IMPERIAL STYLE:

THE TUGHLAQ DYNASTY (A.D. 1320 TO 1413)
Of the eleven rulers forming the dynasty of the Tughlaqas, 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

1. The founder of the dynasty, Ghias-ud-din Tughlaq – I (1320 - 1325 )

2. His son, Mohammed shah Tughlaq (1325 - 1351) &
3. The most prolific of all in his building projects, Firuz 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 rules is
note worthy.

Architectural inspiration from Multan

⮚ Ghias-ud-din’s former capital of Dipalpur lay directly on the classic route of western
invasions into India, and he had become the traditional ‘warden of the marches’.
⮚ Hence he had developed a distinctive notion of the architecture, mere akin to that of
fortresses and military establishments.
⮚ Added to this was Ghias-ud-din’s familiarity with Muslim architecture in Multan that was
composed largely of brick.

⮚ A typical example of this is the tomb of Rukhn-I-Alam built within a fortress like structure in
Multan in 1340 A.D.

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⮚ In the building of a massive structure like the Rukhn-I-Alam with brick, which has a lower
crushing strength than stone, it is imperative that the load of the superstructure be gradually
reduced as it rises higher to prevent the bricks in the foundation from being pulverized.
⮚ Thus the most dominant features of the architecture of Multan was the characterized
tapering brick masonry walls that were gradually reduced in thickness as they go higher.
⮚ In erecting the outer ramparts of the new city of Tughlaqabad in stone masonry, the
builders seem to have taken their Multan inspiration or Ghias-ud-din’s architectural inclination of
Multan.
Tomb of Hazrat Rukn-e-Alam, Multan

⮚ The tomb, built in 1320-24 A.D., lies inside Multan Fort.

⮚ This elegant building is an octagon in plan with a diameter of 15'
9ù and a side measuring 20’6".
⮚ It is the first octagonal tomb in the South Asia subcontinent.
⮚ The special features in the construction of the Shrine are the
tapering walls, horizontal wooden beam embedded at the exterior of
brick work and a wooden frame built with horizontal and vertical beams.
⮚ One of the main important features of the Shrine is the carved
wooden Mehrab, a delicate and intricate piece of work, which is the
earliest specimen of its kind in the whole South Asian Sub-continent.
⮚ The structure is built entirely in red brick, the whole exterior
elabora-tely decorated with glazed tile panels in string-courses and
merlons.
⮚ The colours used are Indian blue, persian blue and white, which
contrast with the red of the finely dressed bricks.
⮚ The enamelled tiles of this tomb are of a special type having
relief patterns, raised from half an inch to two inches from the
background.
⮚ The second storey, also octagonal, is elaborately decoratod with
geometric, floral and arabesque designs.
⮚ It is further beautified by calligraphic motifs, brick design in relief pattern of caustic tiles
and ornamental brick work.

TUGHLAQABAD

⮚ Ghias-ud-din Tughlaq, founder of the dynasty his efforts in the field of architecture during
the limited period were concentrated on the building of third city of Delhi known as Tughlaqabad,
standing in the highest point of a rock formation.
⮚ It is the first of those great complexes combining a city, fort and palace, which grew out of
the residential and military requirements of the times, elaborated reproduction of which became
later notable features of the Indo Islamic style.

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⮚ The ground plan of Tughlaqabad is irregular in outline, for which the topography of the site
is responsible; it follows the shape of the rocky outcrop.

⮚ A rough rectangle of approx. 2200 yards each side. At close intervals throughout, the entire
circuit of walls of four miles is immense circular bastions, sometimes in two stories. Their slopping
sides are performed by amenable openings for arches.

⮚ This fortress can be entered by fifty two gateways, most of which are in complete ruin.

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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.
⮚ 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 courtyard within is of the same unsymmetrical
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 sandstones with
certain position including the dome, of white marble.
⮚ But the most strictly part of this outer walls, these are
inclined at an angle of 75 0. 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 to that of 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 link across the
base of the arch.
⮚ Thus combining in the construction of these openings, 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 trarebeate 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.

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⮚ The dome denotes an interesting stage in the evolution of its shape as well as its
construction.
⮚ 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 foot. 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 .

Tughlaqan mosques- old delhi 1370

Militant palaces and mosques…

⦿ 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 of tughlaqan mosques…

⦿ 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.

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⦿ Wide cloisters, entire area is covered except four open to sky quadrangles, one in each of
the four quarters.
⦿ Covered mosques, partly covered are rare and unpopular.
⦿ Begumpuri mosque, large open courtyard
- tudor arched façade forming cloisters.
- Western side, tall arched pylon in the center, triple entrance leading to sanctuary over which
dome.
- Tapering turrets at each quoins creating the sloping appearance
- The tall pylon, completely masks the rising dome at its rear.

Khirki masjid..
Most characteristic mosques…

⦿ 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.
⦿ The turrets flanking the southern and northern gates are circular in shape; the articulation
on these gives them a three storied appearance.

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⦿ ⦿ 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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Khirki Masjid
⦿ 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.

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⦿ This one is perhaps the most vibrant one out of seven mosque he built during his tenure.
⦿ Khirki Masjid is another example of Indo- Islamic architecture among many other
monuments in India.
⦿ Khirki Masjid was also built on the same principle, which is a fusion and adaptation of Hindu
and Islamic architecture.
⦿ Open court covered with chambers or colonnades were the unique in Hindu style whereas
ornamentation was typical to Islamic style.
⦿ The variations of style was predominant in many architectural marvels at that era.

FIRUZ SHAH TUGHLAQ, the prince of Builders

⮚ Firuz shah, who succeeded Mohammed tughlaq, to whom was bequeathed a depleted
empire, must have had to make heroic efforts. He was very desirous to build many public buildings.
⮚ There are enough evidences, that he had built hundreds of gardens, towns, mosques,
villages, reservoirs, dams, bridges, hospitals, baths, and tanks.
⮚ Judging from the extant remains Firuz shah’s buildings efforts were indeed extensive, even
through Spartan in appearance austerity in terms of finish and constructive methods, remained the
hallmark of this prolific periods of building.
⮚ Since Firuz shah Tughlaq prince of buildings’ successes. Muhammed, the so called prince of
moneyers’ who had bankrupted the Delhi treasury by his experiments with the finances of the
empire.
⮚ Firuz shah’s 37 years of experiments with architecture proved more successful than those of
his predecessor with the economy.
⮚ The confidence with which Firuz shah set out to give concrete shape to his dreams of
building is apparent from the choice of his first buildings venture in Delhi.
⮚ That is, the erection of a new capital city and that too on a territory well away from the
earlier sites his was the first Islamic city of Delhi to be built on the banks of the river yamuna.
⮚ It appears that the source of water supply around the Qutb area was no longer reliable. In
choosing to build in the banks of yamuna well north of the earlier three cities of Delhi, Firuz shah
set up precedent that was to be followed for centuries.
⮚ In order to receive both fresh air and the water of the yamuna uncontaminated by the dying
remains of an old city, the builders of the new cities sited the locations along the banks of river
yamuna and thus moved to north of the existing city.

THE CITY OF FIRUZ SHAH KOTLA

⮚ Apart from making a more rational choice of the site. Firuz, in the planning of his new city,
set up precedents that remained valid for centuries.
⮚ His city palace, in fact became the prototype of the great mughal palace cities of the 16 th
century. These planning standards were possible because the Muslim administration of India was
gradually, jailing into a discernible pattern that could be interpreted in terms of town planning.
⮚ The Firuz shah Kotla, as the palace city of Firuz shah Tughlaq came to be known, is planned
as a slightly irregular rectangle, half a mile (800m) long and a quarter mile (400m) wide, defined by
moderately defensive walls.

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⮚ The eastern and longer side of the rectangle was parallel and abutted the banks of the river.
In the middle of the side opposite the river was the main entrance gate planned in the usual
manner of a protective barbican.
⮚ Directly opposite this was a large rectangle court defined by cloisters, meant to be the
Diwan-i-Am (hall of public audience) where the king, when in residence, would daily give audience
to the common public.
⮚ Just behind this was the Diwan-i-khan (hall of private audience) where the king held his
cabinet meetings and met the important officers of his administration.
⮚ Right along the river banks that were not only comparatively safe against military attacks
but also afforded the finest view were located all the private palaces, mosques and the harems of
the royal court.
⮚ The areas north and south of the central axis were divided into various square and
rectangular courtyards, in which were a great variety of structures such as pavilions for different
purposes, grape and water gardens, Baths, Tanks, Barracks (a building or group of buildings used to
house military personnel), Armoury and servants quarters all conveniently disposed and
communicating with one another.
⮚ The broad planning principles of a Muslim city center enunciated for the first time by Firuz
shah consisted in locating the Diwan-i-khas at the heart of the complex backed up by a series of
private palaces along the river front, well protected on the other side by army barracks and other

sundry structures, with the limited access for the common public to the Diwan-i-am.
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⮚ Firuz shah’s builders proved to be just as innovative in
the detail design of some of the palaces within the complex as
in the hundreds of mosques built during his reign.
⮚ Within the kotla is located a curious three-tiered
structure, every platform of which is set back from the
preceding one to create terraces infront of the series of
compartments on the periphery.
⮚ No doubt designers of this building were inspired by
the terraced Buddhist Viharas that abounded the Indian
countryside.
⮚ The structure was most probably inhabited by the
numerous concubines of the King.
⮚ The picturesque quality of this indigenously inspired
structure is appropriately completed by a stone stambha of
the Asoka period planted at its apex.
⮚ The latter is believed to have been brought here from
its original site somewhere near Ambala.

FIRUZ SHAH
AND THE HAUZ KHAS

⮚ The Indian tomb under the innovative hands of

Firuz Shas’s builders followed the formal aspects set by
Ghias-ud-din, though built with inferior materials.
⮚ But Firuz Shah, with an uncanny eye for situation
rather than mere self exaltation, decided to be buried in

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unostentatious but beautiful environment of the Hauz Khas built by Ala-ud-din Khilji some 75 years
earlier.
⮚ The Hauz Khas palaces had obviously remained a favourite ‘picnic spot’ for the Khilji kings.
⮚ Firuz Shah, comprehending the innate peace and
beauty of the surroundings and to fulfil his pious
ambitions, decided to build a mosque at the northern end
of the existing tank and to install a ‘Madrassa’ or ‘college
of theology’ in the buildings along the northern and
western banks.
⮚ The college buildings are two storey domed and
pillared halls.
⮚ The upper storey is at ground level with ample
cross-ventilation while the lower is just above water level
and closed on one side.
⮚ The two storeys together were an ideal
combination to combat the varying extreme climates of
Delhi.
⮚ At the corners where the two wings of the college
buildings met, Firuz shah decided to erect his own tomb.

FIRUZ SHAH tomb

⮚ This tomb is a beautifully proportioned 45ft(13.7m) square structure, built in
the characteristic ascetic style of the Tughlaqs.
⮚ The familiar rubble masonry walls are finished with a thick layer of lime
plaster punctured with arch and lintel openings, the whole crowned with a parapet of
merlons.
⮚ The handsomely contoured dome appears to rise over a base of trilobed
merlons.

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⮚ The interior of the tomb is finely decorated with geometrical design cut into thick layers
of plaster rather than in stone, obviously for economic reasons.

THE SAYYID (1414-51) AND LODI (1451-1526)

⮚ After the invasion of TIMUR and the sack of Delhi, inspite of the devastation thus caused, in
the course of time the imperial power in northern India to a certain extent revived, but it was little
more than a shadow of its former state.
⮚ During the fifteenth century and also into the first quarter of the sixteenth a number of
buildings were erected in various parts of the Delhi area, first under the rule of Sayyids and
afterwards under that of their successors, the Lodis, but owing to the much diminished influence of
these two dynasties, all forms of enterprise languished, and what architecture was produced
reflects the broken spirit of time.
⮚ No great buildings, no imperial palaces, no fortresses, no mosques, no colleges, no public
buildings of any kind appear to have been produced.
⮚ It is significant that almost the only form of monument that appealed to the rulers and their
subjects at this juncture, were those expressive of dissolution – they excelled in memorials to the
dead.
⮚ In the sphere of architecture it was a period of the macabre, appropriately so-named as that
word is probably derived from maqbarah, the Arabic for cemetery.
⮚ At no other time has the tomb been more manifest in the consciousness of the people than
during the rule of the Sayyids and Lodis.
⮚ Delhi on account of its imperial associations, was considered the most appropriate site on
which such buildings should be erected.
⮚ Scores of large tombs therefore arose within its neighborhood, so much so that in the
course of time the country around the capital was converted into a vast necropolis.
⮚ The spaces between the various cities were occupied by groups of memorial monuments,
great and small, and they also spread themselves into the tracts beyond.
⮚ Upwards of fifty of these tombs are of size and importance, at least three of which are large
mausoleums of the rulers themselves, nobles and other prominent personages of their court.
⮚ They range from simple open pillared pavilions in which the cenotaph is exposed to view, to
imposing structures standing within spacious walled enclosures entered by tall gateways, and with
the addition of a mosque recalling a mortuary chapel on their western sides.

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⮚ No longer were their precints designed to appear like miniature fortresses, but they now
began to assume the character of cloistered garths surrounding a central monumental pile, and
were thus more in keeping with their peaceful and solemn purposes.

⮚ The more important of these tomb-buildings took two separate forms, the outcome of two
different conventions.
Sl.No Octogonal plan Square plan
1 Surrounded by an arched No verandah
colonnade/verandah
2 Projecting eave one-storey in height 2 or 3 stories in height
3 Design for royal tombs Design for nobles and others of high
rank
4 Surmounted by a single dome
5 Range of pillared kiosks rising above parapet.
6 One over each side One at each corner.
⮚ The three large domes identified as memorials of the Sayyid and Lodi rulers are of the
octagonal order.
⮚ The origin of the octagonal form of mausoleum has already been referred to in connection
with the tomb of khan-i-Jahan Telangani, erected towards the close of the previous dynasty, where
it was noted as a starting point of tomb architecture.
⮚ Under Sayyids and lodis – it development as initial examples – presented a complete
sequence of tombs of similar pattern – over a period of almost 200 years.
⮚ Its culmination under the Suri dynasty, and its conclusion as seen in the tomb of Adam
Khan (early mughals)
⮚ The three royal tombs of the octogonal type built during the Sayyid and Lodi regime are
those of
1. Mubarak sayyid died in 1434 A D.
2. Muhammed sayyid died in 1444 A D
3. Sikandar lodi died in 1517 A D
⮚ Were erected within a year or two either before or after their demise.
⮚ First two – isolated structures, no supplementary structures.

Tomb of mubarrak shah sayyid

⮚ First – Mubarak Sayyid
⮚ Notable improvement on its prototype
⮚ 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.
⮚ Result : stunted elevation, being pressed down.

Tomb of Muhammed sayyid

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⮚ 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 Adam khan

⦿ Elements of Interest
⦿ Buttresses of corner piers
⦿ Furizian slope
⦿ Last buildings of the kind – structural batter
⦿ Elevation – additional drum
⦿ Intermediate storey – triforium
⦿ Arched recesses in each of 16 faces of drum- skillful
device.
⦿ The last octagonal type of tomb.

Tomb of isa khan

⦿ Minister of sher shah

⦿ Son of salim shah
⦿ Replica of tomb of Sikandar Lodi.
⦿ Complementary mosque and courtyard.

Tomb of sikandar lodi

⦿ 3/4th century later

⦿ Slight modification in its elevation

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⦿ Lodi tombs – no kiosks
⦿ Structural alteration of significance.
⦿ 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.

First application of double dome

⦿ An attempt at construction of tombs
⦿ Shihab-ud-din-Taj (AD 1501)
⦿ Sikandar Lodi (AD 1518)
⦿ Development of the dome as an architectural feature, put into effect by the builders of
Persia, Iraq and Western Asia.

Reasons for 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 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
⦿ Bara khan ka gumbad
⦿ Chota khan ka gumbad

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⦿ Bara gumbad (1494)
⦿ Shish gumbad
⦿ Tomb of shihad-ud-din-taj-khan (1501)
⦿ Dadi ka gumbad
⦿ Poli ka gumbad

Characteristic features
⦿ Mostly isolated structures without walls.
⦿ Octagonal plan (1/3rd larger than square type) and square plan (1/3 rd higher than the
octogonal type - height-80ft)
⦿ No sloping parts at corners /angles
⦿ All the lines and planes are true and vertical.
⦿ Elevation – 2 & 3 stories are not definite floors ( arcaded zones)
⦿ Introduced as arch decoration to their facades.
⦿ Facades central portion – projection of rectangle shape containing a large recessed archway
of total height, till the parapet.
⦿ Within arched recess – doorway of beam & bracket order
- above, arched window opening
⦿ Stories – arched recesses in sunk rectangular panels.
⦿ Arches on both sides of doorway – openings like window.
⦿ Parapet – treated in same way.
⦿ Single dome, four kiosks at corners
⦿ Single chamber – interior square in plan
⦿ Sunk archways – each on 3 sides - west , mihrab arch.
⦿ Interior, each corner – Squinch arch, to support base of the dome.

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⦿ Over the cornice is a blind arcade with an arch in each of its sixteen sides.

Moth-ki-masjid

⦿ Interested to return to more ornate forms of Khiljis (fine

ashlar masonry)
⦿ Definite attempt
⦿ Form of arch – better materials
⦿ More finished workmanship
⦿ Advancement in treatment and technique
⦿ Preparation for 4th example
⦿ Final example marks the end heralds the beginning.
⦿ Connecting link between old and new.

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