UNIT-1

PRE-HISTORIC ROCK PAINTINGS

Introduction:

The word ‘Prehistoric’ refers to that part of history when paper and written word had
not yet been discovered. But the urge to communicate and express led humans to paint and
scribble on the walls of their dwellings acting as their canvas. It is truly wonderful that these
paintings have survived the test of time and historians are able to decode some information
which brings to light the lifestyle, tools and pottery etc. of those times.
About 25000 years ago, world was fully covered with thick jangles. Our ancestors lived
in caves, in valleys, near vegetables or killed beasts for food. With this kind of existence, when
did man start creating the works of art? What prompted him to do so? What did these earliest
works of art look like?
History of art seeks answer to these questions arousing our curiosity to explore more
and more. When man wanted to fulfil his daily needs like hunger and save himself from heat,
rain and natural disasters, he also needed to save himself from big-beasts. He was very weak to
fight with natural disaster and found it difficult to kill the big beasts. So he thought of doing
some magic by which he would get enough strength to kill the big beasts. He made some
drawing on the walls of the caves with wood, stone and mud, said some prayers and went to
the Jungle to hunt. This kind of magic ritual also puts light on mans’ psyche to please a supreme
controlling power.
Humans produced their first work of art during Upper Paleolithic period – Aurignacian
period (45000 B.C. – 35000 B.C.) to be more precise. The earliest made were a series of
meandering line or grooves made by dragging the finger. Later on engraving tools along the soft
layer of clay on the walls were added on. The subject matter included simplified human figures,
their day to day activities, geometric forms and symbols.
The prehistoric rock art has been broadly divided into seven periods : Period I (Upper
Paleolithic), Period II (Mesolithic), Period III (Chalcolithic or Copper age), Period IV & V (Early
historic), Period VI & VII (Medieval)

Study of the Prehistoric Rock Paintings:

A Roaring Animal, Bhimbetka : In this painting, a wild beast (bison) is shown raging and
attacking a man. He has overpowered him as he has now surrendered and is lying on the
ground. This could be the hunting scene where the beast has acted in defence because there
are other human figures also surrounding it. This composition is coloured in red depicting the
bloodshed caused by the attack. The flat forms and imagery of the animal and figures lack
detail. But the large beast and small humans justify the sizeable difference in power between
the two species.

Wizard’s Dance, Bhimbetka : In this painting, an animal is shown in the agony of death and the
men have been depicted dancing with holding hands of each other and a person is shown
playing a big musical instrument and some are sitting to watch them. It is the initial painting
which shows the celebration with full rhythm and movements.
This prehistoric painting help us to understand about early human beings, their lifestyle,
their food habits, their daily activities and above all, they help us understand their mind- the
way they thought.
 ART OF INDUS VALLEY CIVILIZATION
Introduction:
Charles Masson, a soldier and explorer from East India Company first discovered the
ruins of Harappa in 1842. In 1856, Sir Alexander Cunningham who later became the Director
General of Archaeological survey of Northern India published the first seal. More seals of
Harappa were excavated half a century later.
Period:
This civilization developed near 3250 B.C. and 2150 B.C.
Location:
This civilization was mostly concentrated on the banks of river Indus, So this civilization
is called Indus Valley Civilization. The site also takes its name from a modern village called
Harappa located near the former course of the Ravi River. The most important cities of this
culture are Harappa and Mohanjodaro (Mounds of the dead) district Larkana which are situated
in present day Pakistan. There are a few surrounding sites too which are bordering part of India.
Famous sites:
(i) Mohanjo-daro and Harappa, now in Pakistan; (ii) Roopnagar in Punjab; (iii) Lothal in
Gujrat; (iv) Kalibagan in Rajasthan; (v) Rangpur in Gujrat now in North Bangladesh; (vi)
Alamgirpur, a village near Meerut in U.P. (vii) Banawali in Fatehbad, Haryana; (viii) Dhaula
Veera, near Jaipur in Rajasthan; (ix) Some places in U.P.

Sculptures and Terracottas:

[1] Mother Goddess
Title- Mother Goddess
Medium- Terracotta
Date- Harappa Period (2500 B.C.)
Finding site- Mohanjo -Daro
Size- 22x8x5 cm.
Collection- National Museum, New Delhi

General Description: The statue is made of clay and then baked in fire as per the terracotta
process. This figurine is one of the finest examples of the terracotta. The baking is perfectly
done to achieve an unblemished red colour. Some scholars have identified it as “Mother
Goddess”.
This is crude standing female figure adorned with necklaces hanging over upper part of
the body and wearing a loin cloth and a girdle. The most distinct feature of the Mother Goddess
figurines is a fan-shaped head-dress with a cup- like projection on each side. Rest of the facial
figures are very crude and distant from being realistic.

[2] Dancing Girl

Title- Dancing Girl
Medium- Bronze
Date- Harappa Period (2500 B.C.)
Finding site- Mohanjo -Daro
Size- 10.5x5x2.5 cm.
Collection- National Museum, New Delhi
General Description: This is one of the best known artefacts from the Indus Valley. It depicts a
girl whose long hair is tied in a bun. Bangles cover her left arm, a bracelet and an amulet or
bangles adorn her right arm, and a cowry shell necklace is seen around her neck. Her right hand
is on her hip and left hand is clasped down in which she is holding a bowl. She has large eyes
and flat nose. This figure is full of expression and manifests that up to that time people knew
the science of metallurgy and the knowledge of casting a metal and they could create such a
work of art.

[3] Male Torso

Title- Male Torso
Medium- Stone
Date- Harappa Period (2500 B.C.)
Finding site- Mohanjo -Daro
Size- 9.2x5.8x3 cm.
Collection- National Museum, New Delhi

General Description: The male Torso is a red sandstone figure, which has socket holes in the
neck and shoulders for the attachment of head and arms. The frontal posture of the Torso has
been consciously a doped. The shoulders are well caved and the abdomen looks slightly
prominent. This nude Male Torso is considered to be a remarkable object that in its balanced
lines stands somewhat equal to the beautiful art of Gandhara two thousand years later.

[4] Bull (Seal)

Title- Bull
Medium- Steatite (soft stone found in river)
Date- Harappa Period (2500 B.C.)
Finding site- Mohanjo -Daro
Size- 2.5x2.5x1.4 cm.
Collection- National Museum, New Delhi

General Description: This seal is called Unicorn bull. The figure depicted on it is the mixture of
two animals. Up to neck it is looks like a horse, having single horn with special curvature and
rest of the body looks like a bull without the hump. Some inscriptions of symbols are made on it
which have different shapes.

[5] Jar
Title- Jar
Medium- Clay
Date- Harappa Period (2500 B.C.)
Finding site- Mohanjo -Daro
Size- Height 21.75”
Collection- National Museum, New Delhi

General Description: This Jar is made on a potter’s wheel with clay. The shape was manipulated
by the pressure of crafty fingers of the potter. After baking the clay model, it was painted with
black colour. The motifs are geometric form. Designs are simple but with a tendency towards
abstraction. High polished is used as a finishing touch.
 UNIT-2
BUDDHIST, JAIN AND HINDU ART

The Art during Mauryan, Shunga, Kushana and Gupta Period:

Introduction:
During the Mauryan period the forms of art reached at its apex. Most of the depictions
were made on walls of the rock-cut cave that were engraved or painted with different colours.
We got some masterpieces of art from the Mauryan period as Chauri Bearer or Yakshini of
Didarganj, Patna, Bihar and a Lion Capital found in Sarnath, U.P., both are well polished and
finest sculptures of this period. Some of the sculptures have been found which belong to
Shungadynasty, but those are not so popular.
The most popular form of art we got from Kushana period and later in Gupta’s period.
In Kushana dynasty, two schools of art had been developed, one in Gandhara near Peshawar
the first capital city of Kushana that is called ‘Gandhara School of Arts’. In this school, the
sculptures of Buddha and and Bodhisattvas were made on granite in ‘Roman Style of Art’ on the
basis of Indian themes. But surrounding Mathura, the second capital city of Kushanas, the
sculptures were engraved on easily available red sandstone. The Hindu deities, Jain
Tirthankaras and Buddha sculptures were made here in great numbers on the basis of local
traditions. It is known as ‘Mathura School of Arts’ or ‘Indian Style of Arts’.

Study of the Sculptures:

[1] Lion Capital of Sarnath

Title- Lion capital of Sarnath
Medium- Polished Sand Stone
Date- Circa 3rd C.B.C. (Mauryan Period)
Finding site- Sarnath
Size- Height 213.5 cm
Collection- Sarnath Museum (UP)

General Description: The sculpture of four lions grouped together, is the capital (top part of
pillar) of the Stambha of Sarnath’s Deer Park, which was created during the time of Ashoka. It is
believed that it was at this site; Buddha preached his first sermon, thereby “turning the wheel
of the law”. It was excavated in 1905. The Chinese traveller Hsun-Tsang mentioned of a seventy
foot high pillar with shining polish standing at the same site.
This composite sculpture shows a highly advanced form of art. This sculpture has been adoped
as the emblem of Govt. of India.

[2] Chauri Bearer (Yakshini)

Title- Chauri Bearer (Yakshini)
Medium- Polished Sandstone
Date- Circa 3rd C.A.D. (Mauryan Period)
Finding site- Didarganj, Patna, Bihar
Size- Height 64” (5 ft 4 inches)
Collection- Patna Museum, Bihar
General Description: The life-size standing woman known as Yakshini holding a Chauri (fly-
whisk) in her right hand is another good example of the sculptural tradition of the Mauryan
period. The characteristics of this statue are as follows: (i) It is tall, well-proportional, free
standing sculpture of a chatty young woman. (ii) She is adorned with jewels on the forehead,
ear-ring, necklaces, bangles, girdle over loin cloth and laces. (iii) Features of the face are sharp
and smooth with proper roundness of different organs of the body are praiseworthy. (iv) This
Her left hand is broken. (v) The sophistication of the image is shown very beautifully.

[3] Bodhisattva Head,

Title- Bodhisattva Head
Medium- Stone
Date- Circa 2nd C.A.D. (Kushana Period)
Finding site- Taxila
Size- 27.5x20x15 cm
Collection- National Museum, New Delhi

General Description: The Boddhisattva head has typical Hellenistic elements that were grown
over a period of time. The curly hair of the Boddhisattva head has been shown with thick layer
of sharp and linear strokes. The forehead plane is large which has protruding eyeballs. The eyes
are half closed and the face as well as cheeks is not as round as the images found in other part
of India. The ears of the image are elongated especially the earlobes. The linearity and the
outlines of the image are fine and sharp while the surface is smooth. The expression of
calmness is the centre point of attraction.

[4] Sarnath Buddha (Sarnath style)

Title- Sarnath Buddha
Medium- Stone
Date- Circa 5th C.A.D. (Gupta Period)
Finding site- Sarnath, UP
Size- Height 160 cm
Collection- Sarnath Museum, Varanasi, UP

General Description: The beautiful figure is seated in Padmasan, with upturned soles. His hands
are held in DHARMACHAKRAMUDRA. The ear lobes are long and the eyes are half closed. The
face is calm and has a spiritual expression. Behind the head is a huge halo covered with a
beautiful floral decoration.
This sculpture is one of the best examples of Gupta Art. The matured simplicity and rational use
of ornamentation prove the greatness of the artist.

[5] Seated Buddha (Katra Mound,Mathura Style)

Title- Seated Buddha
Medium- Red Spotted Sandstone
Date- Circa 3rd C.A.D. (Kusana Period)
Finding site- Katra-Tila, Mathura, UP
Size- Height 75 cm
Collection- Government Museum, Mathura, UP
General Description: The sculpture of the Buddha was shown seated in Padmasan and the right
hand is in the Abhaya Mudra, raised a little above the shoulder whereas the left hand is placed
on the thigh. The hair knot is shown with a vertically raised projection that called Ushnisha. The
shoulders are broad, one covered with garment, but the hand has been left visible. The Buddha
is seated on a lion throne.
The face of Buddha is round with fleshy cheeks. The bulge of belly is sculpted with
controlled musculature. The image is representative of the development of Buddha Sculptures
in local style near Mathura during Kushana period.

[6] Jain Tirthankara (Sarnath Style)

Title- Jain Tirthankara
Medium- Stone
Date- Circa 5th C.A.D. (Gupta Period)
Finding site- Mathura
Size- 95x60 cm
Collection- State Museum, Lucknow, U.P.

General Description: Many Jain images were found near Vidisa, which belonged to the early
Gupta period. This image is of a Jain Tirthankara, seated on a square pedestal in
VAJRAPARYANKASANA MUDRA. This image of Mahavira Swami, the 24th Tirthankara, is made in
the typical Buddhist and Jain style of the Kusana period.

The Art of Ajanta Caves

Introduction:
Related to Buddhism, Ajanta is the most famous UNESCO world heritage site and
protected by Archaeological Survey of India. It is an ancient rock-cut caves site which is located
in Aurangabad district of Maharashtra state, 60 kms. away from Jalgaon Raiway Station. There
is a U-shaped cliff of a gorge of small river Waghora where 29 caves have been carved. Lord
Buddha, Bodhisattvas and Jatak tales have been engraved and painted on the walls, pillars and
ceiling of the caves. These caves have been constructed during 2nd century B.C. to 5th century
A.D.
This Buddhist site has been discovered in 1819 A.D. by a British officer of a hunting
group. These caves are not in a sequence because they could not be found at a time.

Number of Caves:
Ajanta is a complex of 29 chaitya and vihara caves (+1 unfinished cave) that were chiselled into
live rock and are host to some of the best preserved painting and sculptures of the Gupta
period. Cave No. 1 is the biggest cave which is home to the figure painting of Padmapani. Cave
No. 29 is the best stupa cave. Cave No. 17 has the highest number of paintings.

Types of Caves:
These caves are of two types:
1. Chaitya or Stupa Caves: There were the places of worship and religious discussion, Cave No.
9, 10, 19, 26 and 29 are Chitya Caves.
2. Vihara Caves or Living Caves: They were the living places for Buddha Bhikshus. Cave No. 1 to
8, 11 to 18 then 20 to 28 and 30th.
Study of the Paintings and Sculptures of Ajanta:

[1] Padmapani Boddhisattva (Cave No. 1)

Title- Padmapani Boddhisattva

Medium- Mural painting
Date- Circa 5th C.A.D.
Finding site- Ajanta, Maharashtra

General Description: This painting has been painted on back wall of the interior hall before the
shrine-antechamber in Cave No. 1. The Boddhisattva has been shown holding a Padma (Lotus)
in his right hand. That is why this painting is known as ‘Padmapani Bodhisattva’. He has large
shoulders and three bents in the body creating a movement in the picture space. The
Boddhisattva is wearing a big adorned crown; his head is slightly bent to the left. The eyes are
half closed and are slightly elongated. The nose is sharp and straight, the body colour is natural.

[2] Mara Vijaya (Cave No. 26)

Title- Mara Vijaya
Medium- Rock-cut
Date- Circa 5th C.A.D.
Finding site- Ajanta, Maharashtra

General Description: This is the only sculpture based on Jatak Tales. It is engraved on right wall
of Ajanta Cave No. 26. In this sculptural panel Lord Buddha has been shown seated in Dhayan
Mudra under a Bodhi tree. Mara has also been shown riding his elephant Girimekhala to attack
Buddha with his tenfold army along with his three daughters Taha, Arati and Raga to dissuade
Siddhartha from the path of Buddhism through different activities. The composition of this
relief is very complex and highly dynamic which generates considerable movement. The figures
on the left of this relief have shown Mara riding his elephant with his army consisting of various
kinds of people including some with animal faces. At the lower base, there are some dancing
figures most probably of Mara’s daughters with musicians and one of the dancing figures is
dominant on the right lower end, has expanded her hands in dancing posture.
 UNIT-3

TEMPLE SCULPTURE, BRONZES AND ARTISTIC ASPECTS OF THE INDO-ISLAMIC

ARCHITECTURE

Temple-Sculptures:
[1] Descent of Ganga (Pallava Period)

Title- Descent of Ganga

Medium- Granite Rock
Date- Circa 7th C.A.D.
Place- Mahabalipuram, Tamil Nadu

General Description: Descent of Ganga is one of the largest and oldest sculptural panels known
in the world. There is a natural cleft in the rock which has been cleverly used by its sculptors as
a channel for water to flow down. Water was collected in a massive tank in front of the
sculpted wall. Mahabalipuram was the seaport of the Pallavas. It is famous for its shore temple,
rock-cut architecture, caves, sculptural reliefs and ‘Pandava Panch Rathas’. But this is a most
remarkable sculptural composition at Mahabalipuram. In this famous relief, the story of the
Descent of Ganga has been carved out on the two larger boulder-type granite rocks with a
narrow fissure between them. There have been carved out celestials like the Sun. The Moon
and the Earth, water and rumph’s. It is also known as the ‘Arjuna’s Penance’.

[2] Ravana shaking Mount Kailash (Rashtrakuta Period)

Title- Ravana shaking Mount Kailash
Medium- Stone
Date- Circa 8th C.A.D.
Place- Ellora, Maharashtra

Description: Ravana shaking Mount Kailash is the most popular theme in Ellora caves because it
has been depicted several times in these caves. But the most remarkable of all is the one
depicted on the left wall of Kailashnath Temple (Cave No. 16) at Ellora. It is a colossal sculpture
and is considered as one of the masterpieces of Indian sculpture depicted on the wall of a cave.
In this sculpture, Ravana has been shown shaking the Mount Kailash when Lord Shiva along
with Parvati and other were present on the mountain. The composition of the relief is divided
into several tiers. The lower one has been depicted multifaced and multiarmed Ravana shaking
the Mount Kailash with ease. His hands have been expanded upto the chamber. The depth of
carvings of the multiple hands brings out the effect of three-dimensional space. The upper half
is divided into three frames, the centre occupied by the image of Shiva and Parvati.
3] The Trimurti (Maheshmurti)
Title- The Trimurti
Medium- Stone
Date- Circa 9th C.A.D.
Place- Cave No. 29, Elephanta, Maharashtra

General Description: The Mahesha or Shiva Trimurti is a dramatic representation of the

supreme form of Shiva as the central face, Shiva as a destroyer is on the left and on the right is
the gracious feminine deity. The Gods who were most commonly represented in the Hindu
pantheon were Shiva, the destroyer and Vishnu, the preserver while the third great God of the
Hindu trinity was Brahma the creator. One of the most powerful rendering of this multiple
nature of the deity is seen at Elephanta, where Shiva is seen as the three headed Mahadeva.
The heads represent three different aspects of the God, the center one is his creative self or
Sadashiva, the left is his destructive nature or Aghora and the right is the gracious feminine
manifestation of the beauty of nature or Vanadeva.

[4] Lakshami Narayan (Kandariya Mahadeva Temple)

Title- Lakshami Narayan
Medium- Stone
Date- Circa 10th C.A.D.
Place- Khajuraho, Madhya Pradesh

General Description: During the Chandela period, the sculptures made in Khajuraho temples
have appeared in its most beautiful form. The walls of the temples, both internal and external
are abundantly engraved on both sides. In them, besides dancing, playing on the musical
instruments, looking themselves into mirrors, erotic women shapes are engraved. There are
many idols of loving couples of gods and goddesses. In some internal niches also are engraved
the shapes of the mythological animals. In all, women and men shapes, the artists, to show the
tenderness of organs, have displayed the garments and jewels in such a way that all the idols
are more or less in free state.

[5] Cymbal Player, Sun Temple (Ganga Dynasty)

Title- Cymbal Player, Sun Temple
Medium- Stone
Date- Circa 13th C.A.D.
Place- Konark, Odisha

General Description: This is a female statue which has been established outside the main shrine
of the Sun Temple, Konark to welcome the people with playing instrument, Cymbal. So, this is
in the gesture of the playing instrument forwarding both her hands. Her feet look as if she is
dancing along with instrument. She is adorned with ornaments around her neck, arms, wrists,
fingers, feet and on loin. The posture of the statue is very attractive, but this is in the ruined
form. This temple was built by Narasimhan-I of Ganga Dynasty during 1238-1258 A.D. This
temple is dedicated to Lord Surya. This is also called ‘Black Pagoda’. The salty air coming from
the sea has affected the temple and the statues a lot. So many instrument players were also
installed outside the main shrine.
[6] Mother and Child, Vimal Shah Temple (Solanki Dynasty)
Title- Mother and Child, Vimal Shah Temple
Medium- White marble
Date- Circa 13th C.A.D.
Place- Dilwara, Mount Abu, Rajasthan

General Description: In this statue, the sculptor has shown the motherhood as well loveliness
between child and mother. The mother posture is slightly bent. The expressions of the face and
rest of the body is full of motherly woman. She is holding her baby in her lap with arm support.
The ornaments and the garments are seen in the linear form with proper curvature. Half bent
eyes of the mother and style of hair-bun is very attractive.
The Vimal Shah Temple is fully decorated with sculpture of daily life and Jain
Tirthankaras. Each part of the temple is extraordinarily engraved with geometrical patterns and
the idol of Jain religion.

Indian Bronze Sculptures:

[1] Nataraja (Chola Period)

Title- Nataraja
Medium- Bronze
Date- Circa 12th C.A.D.
Place- Thanjavur, Tamil Nadu
Collection- National Museum, New Delhi
General Description: In Chola Period, bronze sculpture of Shiva has been shown balancing
himself on his right leg and suppressing the Apasmara on his right leg, the demon of ignorance
or forgetfulness, with the same leg. At the same time he raised his left leg in Bhujangatrasita
stance which represents Tirobhava, that is kicking away the veil of Maya or illusion from the
devotee’s mind. His four arms are outstretched and main right hand is posed in Abhayahasta or
the gesture suggesting. In the upper right hands, He is holding the Damaru, his favourite
musical instrument. The upper left hand carries a flame while main left hand holds Dolahasta
and connects with the Abhayahasta of right hand; his hair locks fly on both sides of the circular
Jwalamala or the garland of flames which makes the entire dancing figurative.

[2] Devi Uma (Chola Period)

Title- Devi Uma

Medium- Bronze
Date- Circa 11th C.A.D.
Collection- National Museum, New Delhi
General Description: Devi Uma or Parvati, the wife of Shiva, has been cast in bronze by the
sculptors of Chola and Pallava periods. This is a graceful figure which attracts the people. The
main attraction of this image is the posture in the multi-bent dancing pose. She adorned
loincloths with girdle, along multi-levelled crown on her head and putting the armlets,
ornament around her neck and bracelet. She is standing in such a way that she is holding a
flower or style to say something and try someone to understand. This idol belongs to Chola
Period. Many other figures were also cast in that period by Pallavas and Chalukyas.
Artistic Aspects of the Indo-Islamic Architecture:

[1] Qutub Minar

Title- Qutub Minar

Medium- Red & white sand stone
Date- 1206 to 1232 A.D.
Site- Delhi
Size- Height 72.56 meter
General Description: Qutub-ud-din Aibek, the first of the Slave Dynasty ruler, first of all started
getting this minar constructed as a ‘Symbol of Victory’ but later he sponsored it to his Dilli
(Delhi) master Sufi Saint Bakhiyar Kaki as a gift. This minar is known as “Kutub Minar”. This
minar is a good example of Indo-Turkish style of Architecture. Its boldly projected balconies on
each storey, carved Arabic scriptures on stones and rope-winding stair-cases are its special
features. This is the highest minar of India measuring 72.56 meter high.
Red and white sand-stones are used in constructing the Qutub Minar. On its top floor
marble stones are also used. Stucco lime-mixture as mortar for cementing its constructional
work has been used.
Qutub-ud-din Aibek could get only its first storey constructed during his Rein 1206 to
1210 A.D. Afterward king Iltutmish got the 2nd,3rd and 4th storeys completed. But at the end 5th
storey was constructed by Emperor Firozeshah Tughluk of Tughluk dynasty.Qutub Minar is
situated at Mehrauli in Delhi.

Style of Architecture: Qutub Minar is most famous for its “Shankh” like form; its strong ribs
supporting its balconies, geometrical decorative carvings and Arabic inscriptions along with
pure Indian decorative symbols in its stylistic construction.

[2] Taj Mahal

Title- Taj Mahal

Medium- White marble stone
Date- 1632 to 1654 A.D.
Site- Agra
Size- Ground plan 580 meter X 305 meter, Height 187 feet
General Description: Mughal emperor Shah Jahan is a well known figure until today for its
building construction activities especially for Taj Mahal. He got Taj Mahal Constructed as a
memorial for his wife Mumtaz Mahal. In this building there are two tombs (Graves) - One of his
wife Mumtaz and the other of his own. In fact such memorial building constructed over the
tombs is called “Maqbaras”. Construction of Taj Mahal is a fine blend of India and forein style of
architectural art.
White marble stone from Makrana mines in Rajasthan was brought for the construction
of Taj Mahal, and lime stucco was used as mortar for cementing its constructional work.
Shah Jahan ruled from 1628 to 1658 A.D. and during this period he spent twenty two years for
the construction of Taj Mahal. This beautiful building is situated on the bank of Yamuna River in
the city of Agra. The area of the main building is 313 square feet. The highest dome of the
building is 186 feet high.
 At the four corners of the building there are four minars each having163 feet height. The
double layered domes and minarets are constructed in the Iranian style, but its arches and
balconies are in Persian style. The main emphasis of this building has been especially laid on the
layout, proportions of its different part and on the beautiful Arabic inscriptions. Geometrical
decorative motifs and some other constructional aspects like cubical brackets, designing of the
basements and the high level of platform are some of the best representations of Indian style
of architecture.

[3] Gole Gumbad

Title- Gole Gumbad

Medium- Baked bricks
Date- 17th C.A.D.
Site- Bijapur
Size- Inner area 1600 Square meter

General Description: This monument is the tomb of Md. Adil Shah. It was constructed in special
Indo-Islamic style in 1659 A.D. On a base of 47.5 m length and width walls all around its four
sides, it has a dome whose diameter and height are 44 m and 33.22 m respectively. In base of
the dome have been made shapes as petals of a lotus flower. This is one of the biggest domes
of Asia. Inside this building is a vast hall. There are arcs giving the dome support towards inside,
and a whisper gallery where sound get magnified and echoed many times over. On the four
corners of the buildings are octagonal seven-storeyed minarets. It is situated at Bijapur city of
Karnataka.