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MODULE 3

Provincial Indo- Islamic Architecture

The provincial style of Islamic architecture includes the introduction of the Islamic architectures and their
gradual developments in the Indian subcontinent region in the medieval period. These Indo-Islamic
architectures in India were introduced during the Islamic rules in different provinces which made tremendous
growth especially in this field. These styles were neither Islamic nor Hindu but the fusion of both. The Muslim
rulers tried to reshape the Hindu architecture by adding arch, dome and minar to their constructions as well as
they also borrowed several Hindu styles and applied to decorate their buildings. Due to this many new features
were introduced in their building art. The Muslims rulers during this period mostly created mausoleums,
mosques, minarets, forts and palaces. There were numerous reasons which conditioned the character of the
provincial styles, one of which was the Muslim powers and their practice of arts at Delhi. When a province
remained closely associated to the central power which was the Muslim dynasty, their effect on architecture
grew strong, while this influence is less noticeable for the distant parts of the country. Another major factor
in developing the provincial style was the nature of the indigenous arts which succeeded within the area of the
province that flourished due to the association of local artisans. Another reason behind the development of
provincial style in India was the migration of experienced foreign craftsmen to the court of different Muslim
rulers. They were wonderful artisans and created amazing Islamic architectures and different principles of
their native land mixing with Indian provincial culture. Sometimes climatic conditions also played a major
role in developing a specific provincial style. In certain parts this climatic conditions imposed several technical
differences, one kind of building material being common in some regions and rare in others, all of which
naturally affected the character of the building art. These provincial styles of Islamic architectures developed
in Indian subcontinent from Punjab province and gradually expanded to the entire India. They constructed
wonderful architectures with the fusion of typical Islamic style of Western Asia and the Hindu culture. The
provincial developments of Islamic architecture .

Indian subcontinent were divided into following categories:

Indo- Islamic Architecture in Punjab: Punjab was the first province that experienced the Islamic
architecture in Indian subcontinent. These architectures established in the city ofMultan. Arab invaded the city
from the Sindh region earlier in the eighth century. But the province received a permanent Islamic influence
in the tenth century. The Indo-Islamic architecture of Punjab province was mainly of brickworks and produced
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highly decorated building arts. Their palaces were embedded with brickwork and other wooden elements,
mainly their doorways, windows and other hanging balconies. These buildings wereconstructed in Islamic
styles with the fusion of Hindu culture.
Indo- Islamic Architecture in Bengal: In the thirteenth century Arabs invaded the Bengalprovince and
introduced their architecture for the first time in this region. These Muslimrulers constructed several new cities
fortresses, palaces, free-standing victory-towers, citadels, immense land bridges and embankments, etc in this
province that included present day Bangladesh and West Bengal in India. These architectures were maintained
for a period of two hundred and fifty years. They created the buildings with the locally available building
materials combining the regional styles with the typical Muslim features such as domes, arches, the minaret
and the mihrab. This amalgamation resulted into a new and improved technique named as Indo-Islamic
architecture, enriched with regional building tradition in Bengal.
Indo- Islamic Architecture in Gujarat: Early in the fourteenth century, Gujarat developed the Islamic style
of architecture. When Khalji dynasty of Delhi established their Governors in this province, they started to
build their architectures for the first time. They constructed and developed their Islamic architecture until the
independent rule of the Ahmad Shahi dynasty declined, and absorbed into the empire of the Mughals in the
sixteenth century. They constructed their several mosques, tombs and other buildings with the amalgamation
of Hindu culture.
Indo- Islamic Architecture in Malwa: Malwa province experienced the Indo-Islamic architecture in the late
medieval period with the invasion of Muslim invaders. This province which included the cities of Dhar and
Mandu also experienced a large number of Islamic architectures during the Muslim dynasty. Initially they
constructed new buildings on the ruins of Hindu and Jain temple materials. Gradually they developed their
own style in building art of Islamic culture. Their skilled artisans constructed the buildings to its distinctive
appearance and decorated wonderfully in which colour played an important role in their architectural scheme.
They obtained
this colour sequence partially by the use of various coloured stones and marble, and partially by means of
encaustic tiles and usedsand stone, marbles and semi precious stones for the construction of the buildings.
Indo- Islamic Architecture in Bijapur: This city came under Muslim rulers in the medieval period. Allaudin
Khilji was the founder of the Islamic architecture in the Bijapur province in the 13th century. Later this city
experienced several other styles of Islamic architecture with the gradual change of dynasties like the Bahamani
Empire and Adil Shahi dynasty from 13th to 17th century respectively. The golden period of Indo-Islamic
architecture in Bijapur was the period of Adil Shahi dynasty. These rulers concentrated their energies on
architecture and their related arts. Each member of this dynast developed his predecessor`s architectural
projects in number, size or magnificence. They constructed their buildings in three different ways-mosques,
tombs, and palaces. They also created several Citadels, palaces, gardens, and pavilions and developed the city
to its political, cultural and territorial peak.
Indo- Islamic Architecture in Kashmir: The Islamic architecture of Kashmir is known for its famous
woodwork, beautiful gardens and wonderful mausoleums to the holy mosques and shrines. These all represent
the previous glorious saga of Islamic architectures in the valley. Major wooden constructions in Kashmir were
done by deodar trees in the earlier years of the Muslim regime but later apart from the wooden architectures,
Mughals also tried to establish stone buildings in that province.

BENGAL (1203-1573 AD) (3main buildings- Dakhil darwaza, Firoze Minar, Adina Masjid)
• Bengal was established in 1203-1573 AD.
• In the 13th century Arabs invaded the Bengal province
• The strategic center was at the junction of the Ganga and Mahananda
• Two major capitals were Gaur and Pandua.
• rulers constructed buildings locally available building materials & Islamic architecture
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 • This amalgamation resulted into a new and improved technique named as Indo-Islamic architecture,
enriched with regional building tradition in Bengal.

Three phases of Islamic building art of Bengal:

first two preliminary stages , third ultimate development to a specific style.
• Period extending from 1st conquest of country and while the capital was at gaur until it was moved to
pandua from 1200-1340 AD.
• From the date when the capital was established at pandua until the building of the eklakhi tomb-1340-
1430 AD.
• During the period from the
date of the retransfer of the
capital to gaur until the country
was acquired by mughals.-
1442 to 1576 AD
Some important architectural achievements
• Alluvial river delta region , No good construction stone available
• Brick work was a popular method with decoration in terracotta – Basalt was also used
• These brick and timber walls were sloped for stability, the battering surfaces
• Later stages- curved cornice
• Wood and bamboo was used (stone scarce)
• Courtyards was not popular- because of sudden climatic change – rain suddenly or very hot
• walls were sloped for stability, the battering surfaces, survival of ancient mudand brick traditions

ADINA MOSQUE
• Built in 1364
• Constructed by Sikander shah
• Largest in pandua
• Jami masjid of pandua
Architectural features
• Rectangular in plan
• Main entrance pointed arches
• Corridor on east side with three bays
• 5 bays on the western side
• Courtyard surrounded by basalt 88 arches
• Each bay is covered by dome
• 260 columns & 378 domes in total
• Miharab decorated with large rosettes and interlaced
ornamentation
• The walls are made up of grey stones of
approximately 10 feet in height, and red stones all the
way to the top of the structure.

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DAKHIL DARWAZA
Dakhil Darwaza literally an entrance gate, is the largest structure of its kind in the architectural history of
Sultanate Bengal. It was the main entrance to the citadel of gaur, Dakhil Darwaza, meaning entrance gate
was probably built in 1425 A.D.This impressive gateway formed the northern entrance to the then fort of Gour
and was possibly built by Barbak Shah. It is made of small red bricks and terracotta work.

FIROZ MINAR

Firoz Minar (also known as Firuz Minar)

(English: Tower of Firoz/Firuz) is a five-
storeyed tower situated at Gaur, West
Bengal, India. It was built by Sultan
Saifuddin Firuz Shah of the Habshi dynasty
between 1485 and 1489. It was built in the
Tughlaq style of architecture

• Constructed by saifuddin firoz

• This tower is 25.60 m high
• High pedestal
• Spiral staircase having 73 steps
• Alternately known as 'blue tower’
• 5 storeys of twelve sides
• demarcated by ornamental bands
• The fourth and fifth storeys are circular
with reduced diameter.
• The last storey originally an open arched room covered by a dome has been changed into an open flat
roof by some restorer.
• This is considered as a victory tower as its builder is credited with many victories in battles
• Scholars attribute it as a bengali version of the qutb minar (1486 - 89 AD). 6
JAUNPUR (1376-1479 AD) –
(2main buildings- Atala Masjid, Jami masjid)
Some important architectural achievements
• Tapering minarets
• Battered sides
• Stucco decoration work
• Arch & beam openings
• Low four centred arches
• Decorative fringes
• Tall propylons
• Space for ladies in mosque / screened with jali
without being exposed to male worshippers

ATALA MASJID
 Built by Shams-ud-Din Ibrahim in A.D. 1408 on
the foundation built by Firuz Shah Tughlaq 30
years before.
 Built on the site of the Atala Devi temple whose
materials along with those of other temples were
used in its construction.
 Provided the model on which all future mosques of
the style would be based.
 The façade has beautiful and noticeable interplay of
solids and voids
 Entry through 3 domes gates, North south and east
 The gate way has two propylons enclosing arch
 They are appox 75’ high battered.
 The propylon are 55’ wide at the base and 47’ wide at the top
 There 2 rows of 5 tiers of 5 small arched openings apertures at the upper level, above the main entrance opening.

 The towers on either side are battered and have projecting string courses. Each of 4 storeys of the tower has
small sunken arches, one over the other. The first level or the ground level is plain without any ornamentation.
 There are 2 pylons of smaller size on either side of the main entrance.
 The entrance opening is supported on brackets
 Jharokhas and jali work can be witnessed on the façade.
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  The internal courtyard is 258’
 There is a hypostyle hall surrounding the courtyard.
 There is a dome of diameter55’, which is hidden behind the huge propylon.
 The sanctuary has nave and oblong rooms
 There are two small rooms in the interiors, made in double storeys for the ladies.
 There are 3 miharabs on the western wall and the pulpit approached by a flight of steps. Out of these, central
miharab is beautifully ornamented
 The oblong shape of the nave has been converted into square with the help of massive corbels, which is
projecting from the side walls.
 Out of this square, there are resting eight arches, out of which four arches are acting as squinches to convert the
square into octagonal base, for receiving hemispherical dome on it
 Courtyard is enclosed with cloisers around.
 cloisters rise up to 2 storeys.
 Two aisles of the lower storey are formed into a series of cells with a pillared verandah facing the street to
provide accommodation to visitors and merchants.
 There are 3 entrance gateways, one in the centre of each cloister, with the northern and southern ones
surmounted by domes

JAMI MASJID AT JAUNPUR

 Built by Husain Shah in A.D. 1470.
 Repeats many of the essential features of
the Atala Masjid on a larger scale.
 The entire structure is raised on a plinth
16'-20' in height and approached by a steep
but imposing flight of steps.
Plan
 Square plan
 Entry on three sides
 Eastern entry
Courtyard
 The courtyard is a square of 210' side.
 Surrounded by cloisters on three sides and
sanctuary on the west.
Cloisters
 Cloisters are two storeys high.
 They are two aisles
 In the centre of each cloister is an entrance hall covered by a dome.
Architectural features
 The mosque was built on high platform 20’ high
 In the centre of the facade is a pylon 85' high and 77' wide at the base, 71’ on top

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  The arcaded wings of the side aisles
are seen on both sides of the pylon
with the roofs of the two halls which
form the transepts above them.
 The interior consists of the nave of
38' side.
 The clerestory arcade is open to light
the interior of the dome.
 On both sides of the nave are pillared
side aisles with an upper storey. This
has its openings filled in with stone
jalis to provide a private area for the
royal ladies.
 Beyond the side aisles on both sides
are two great vaulted halls, each 50'
long, 40' wide and 45' high.
 The interior of these halls have
3 mihrabs each on the western wall, opposite which are the archways which open into the courtyard.
 To achieve such a large columnless space, the builders first threw across the 40' space a framework of
two transverse ribs at wide intervals in the middle and two wall ribs or 'formerets' at each end.
 To counteract the thrust of such a large vault, the side walls, made upto 10' thick.
 Such a large columnless space is a rare occurance in Indian architecture.

MALWA (1405-1569 AD)

(2 main buildings Hindola Mahal, Hawa Mahal)

Salient Features:
 Battered walls.
 Pointed arches with spear head fringe.
 Combination of Arch, Lintel and Bracket.
 Boat keel domes.
 Most artistic combination of arches with pillar and beam.
 Buildings are raised on high plinths, accessed by long and stately flight of steps.
 Prominent use of colour in decoration. Use of different coloured marble, semi-precious stones and
glazed tiles. The artisans in Malwa possessed a secret formula for creating Turquoise blue colour

HINDOLA MAHAL
 Built by Hushang Shah, probably around A.D. 1425 as a Durbar hall. The
walls are inordinately thick and slope like those of a castle. The slope of over
77 degrees gives a swinging appearance to the building, hence the name.
 The Hindola Mahal (English translation: “Swinging Palace”), is a large
meeting hall, or durbar, in the ancient Indian city of Mandu, Madhya
Pradesh. Today the Hindola Mahal is a tourist destination in the ruined city.
 The plan of the Hindola Mahal is a T-shape, though examination of the
exterior walls leads to the conclusion that the crossbar was added later.
 The vertical mast of the plan consists of one main hall measuring 30 by 18
metres (98 by 59 feet) and 12 metres (39 feet) high.

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  walls are 3 metres (9.8 feet)
thick and further reinforced by
massive inclined buttresses
that angle over 77 degrees.
 These highly inclined
buttresses give the Hindola
Mahal (Swinging Palace) its
name.
 They also neutralize the
outward force of five
massive ogee arches
 On each exterior of the long
sides of the main hall are six
recessed arches which hold
doors in their lower sections
and three slabs of open-work
stone windows to let in air and
light.
 A high wall holds battlements
on the roof of the building.
 The crossbar of the Hindola Mahal is of about the same proportions as the main hall but is split into
two tiers. The upper floor, which is divided into two rooms, looks onto the main hall through an arched
opening. The ground floor consists of a cruciform gallery with arms that extend to another entrance to
the building and an arch to the main hall.
 The Hindola Mahal represents the characteristic elements of the architectural style of the Malwa period
(1400–1550): simplicity, boldness, and well-proportioned.
 The Hindola Mahal emphasizes its architectural simplicity with minimal ornamentation and stands out
boldly through massive inclined buttresses.
 These elements make the Hindola Mahal a unique exaggerated example of the Malwa style.
 In addition, the pointed arches on the building’s interior reflect how Malwa architecture was
influenced by the Delhi styles.

HAWA MAHAL
Situated at Badi Choupad, Pink City of Jaipur,
Hawa Mahal was built in 1799. It has 953 windows
on the outside walls. The honeycomb shaped and
beautifully carved windows allow breeze to blow
through the palace and makes it a perfect summer
palace. he structure was built in 1799 by Maharaja
Sawai Pratap Singh
Hawa Mahal (English translation: "The Palace of
Winds" or "The Palace of Breeze") is a palace
in Jaipur, India. Made with the red and
pink sandstone, the palace sits on the edge of
the City Palace, Jaipur, and extends to the Zenana,
or women's chambers.
 Lal Chand Ustad was the architect of this unique structure.
 Built in red and pink coloured sandstone, in keeping with the décor of the other monuments in the city
 Its façade depicting 953 niches with intricately carved jharokhas (some are made of wood) is a stark
contrast to the plain looking rear side of the structure.
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  Its cultural and architectural heritage is a true reflection of a fusion of Hindu Rajput architecture
and Islamic Mughal architecture; the Rajput style is seen in the form of domed canopies, fluted pillars,
lotus, and floral patterns, and the Islamic style as evident in its stone inlay filigree work and arches (as
distinguished from its similarity with the Panch Mahal at Fatehpur Sikri).
 The entry to the Hawa Mahal from the city palace side is through an imperial door.
 It opens into a large courtyard, which has double storeyed buildings on three sides, with the Hawa
Mahal enclosing it on the east side. An archaeological museum is also housed in this courtyard. [11]
 Hawa Mahal was also known as the chef-d'œuvre of Maharaja Jai Singh as it was his favourite resort
because of the elegance and built-in interior of the Mahal. The cooling effect in the chambers, provided
by the breeze passing through the small windows of the façade, was enhanced by the fountains
provided at the centre of each of the chambers.[12]
 The palace is a five-storey pyramidal shaped monument that rises to about 50 feet (15 m).
 The top three floors of the structure have the width of a single room, while the first and second floors
have patios in front of them.
 The front elevation, as seen from the street, is like a honeycomb with small portholes.
 Each porthole has miniature windows and carved sandstone grills, finials and domes.
 It gives the appearance of a mass of semi-octagonal bays, giving the monument its unique façade.
 The inner face on the back side of the building consists of chambers built with pillars and corridors
with minimal ornamentation, and reach up to the top floor.
 The interior of the Mahal has been described as "having rooms of different coloured marbles, relieved
by inlaid panels or gilding; while fountains adorn the centre of the courtyard".
 The top two floors of the Hawa Mahal are accessed only through ramps. The Mahal is maintained by
the archaeological Department of the Government of Rajasthan.

DECCAN (1347-1617 AD)

CHAR MINAR
 Presents the most real architectural value of the
buildings of the Qutub Shahi period.
 Built in A.D. 1591 in Hyderabad.
 Charminar is a square-shaped structure built
out of granite and lime mortar. The monument
predominantly has an Islamic-style design, but
influences of Hindu architecture can also be
seen in its ornamentation. It is flanked by four
minarets on every corner which are 48.7 meters
high. Each minaret is four stories tall, and the
floors are divided by beautifully carved rings
around it. The mosque is located on the top
floor, and visitors can enjoy a short climb of the
149 steps to get there.
 It is a square in plan and measures 100' side.
 The minars, one in each corner are 186' high.
 The ground storey consists of large archways
on each side, each having a span of 36'. Above the arches, the upper storeys show first a triforium,
surmounted by a smaller arcade and a perforated balustrade above.

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  The building displays the showily attractive character of the buildings of this period and style and a
superfluous application of detail.

BIJAPUR (1490-1656 AD) (2main buildings- Jami masjid, Gol gumbaz, bijapur)
ARCHITECTURAL CHARACTER OF BUILDINGS OF BIJAPUR

 Adil Shahi kings were of Turkish origin and accordingly the symbol of crescent is borne in the finials of
 the monuments.
 The buildings were developed from the earlier Bahmani style but with some techniques and experience which
are ottoman in character.
 The chief among these character is the shape of the dome which is almost spherical in shape and which rises
out of band of petals at its base.
 These forms are repeated as ornamental finish on top of the turrets and also on top of the slender
 minarets.
 The arch too lost the angularity and ogee of the BAhmani protype to become graceful type.
 Evidences of the low imposts of arches from Gulbarga is still observable.and has converted into the form of
shapeliness.
 The typical Bijapur arch is four arch variety. There are no pillars they take the form of masonry piers
 usually rectangular in section .
 There is chajja or cornice which are supported by closely spaced brackets.

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  Among the decorative element is the pattern in the arch spandrels holding a medallion and above the arch a
foliated finial .Apart from these rosette, hanging lamps ,running borders and interlaced symbols either carved
or moulded in stucco.
JAMI MASJID AT BIJAPUR

 Built in Bijapur during the reign of Ali

Adil Shah, the Jami Masjid at Bijapur
clearly shows the connection with the
Bahmani style of the previous century.
 The main entrance gate is from the east,
though the north gate is used more
frequently.
 The ground plan is a large rectangular
structure measuring 492 by 262 feet
(150 by 80 meters) with a square
courtyard of 164 feet (50 meters).
 A passage from the eastern gate leads
into the courtyard, which has fountains
and a large reservoir in the center.
 Elevation - The exterior has been treated
by introducing two storeys of arcades
recessed into the wall, The lower ones
are ornamental while the upper ones
form a continuous open gallery that runs
along three sides of the mosque and
courtyard.
 The courtyard is a square of 155' side,
contained on three sides by seven arches
on each side.
 On the west, this arcade shows a central
opening emphasized by foliations,
forming the facade of the sanctuary.
 A wide and deep cornice supported on
brackets projects above this arcade.
 Above the middle of the sanctuary the
arcaded square clerestory rises which supports the dome hemispherical in shape with a metal finial crowned by
the crescent symbol.
 The interior of the sanctuary is a
large hall 208' X 107', divided
into five aisles by arches on
large masonry piers.
 The nave is a square of 75'
diameter contained within 12
arches.
 The arches intersect at the top to
form an octagonal cornice for
supporting the base of. the
dome.
 Around the nave are the square
bays of the aisles, whose ceilings
are built on the same principle as
the nave, but modified to suit
their smaller size.
 Ornamentation has been kept to a minimum, being of a broad and restrained order and any plastic treatment is
of an architectonic nature, more for accentuating a line or space than for embellishment.
 An incongruous ornament, in the form of a mural design in relief was added at a later date but is confined to
the mihrab arch. 13
  Other features such as the ornamental merlons above the parapet of the courtyard
GOL GUMBAZ, BIJAPUR

 It is the tomb of Sultan Muhammad

 The construction started I 1656AD
 The dome of gol gumbaz is the largest in india, second in world
 Gol Gumbaz is one of the biggest single chamber structures in the
world.
 The building is square, having sides of 136’ interiors and 205
exteriors
 The walls of the tomb are over 10’ thick
 The height of structural walls is 110’
 The faced has three arches. Two arches are bling and the central
arch is having three levels, created with arches and openings
 There are octagonal buttress in the form of towers at the 4 corners
of the square plan.
 The diameter of these octagonal buttress is 25’ and the height is
150’.
 The octagonal towers, buttress have 7 tiers, created by projections
and openings at these levels.
 The buttress are toped by small circular domes having turrets
surrounding them.
 There is a central hemispherical dome on top of the structure,
having internal diametrer of 125’ and external dia of 144’
 The apex of the dome is at 200’ from the ground
 Inside the mausoleum hall, is a square podium with steps on each
side.
 In the middle of the podium, a cenotaph slab on the ground marks
the actual grave below.
 A very strong circular foundation was discovered in the basement
that resembled the circular opening of the dome above. But this
foundation supports only a platform and a light wooden pavilion.
 The real graves are in the basement, which can be accessed by a
staircase below the entrance on the west. The south door is the main entrance to the tomb.
 The builders used the method of intersecting arched to place the dome of square plan
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  The thickness of the dome is 10’. The dome was casted of concentric layers of brick masonry. The material
used was concrete, made of ballast and lime mortar.

 The method of construction employed for this dome was based on intersection. "Eight intersecting arches
created by two rotated squares that create interlocking pendentives" support the dome.. The octagon was the
base for the dome above.
 The parapet is also in two tiers, with ornamentation of arch apertures at the two levels and 4 minarets on each
face.
 There are chajja projections supported with brackets, around the structure

GUJARAT STYLE
 First and Second Periods (1300- 1458)
 Third or Begarha Period (1459- 1550)
 The Gujarat style is the most important of all the provincial styles in India.
1. Two factors are responsible for the prodigious output of architecture in this region:
The egotism of the powerful Ahmed Shahi dynasty who wanted to surround themselves with
architectural evidences of their might.
2. The supply of skilled indigenous workmen.
The Gujarat style is the most indigenous Indian style of all the provincial styles. Many structures are adaptations
or extracts of local Hindu and Jain temples.

The style can be divided into three main periods:

First Period (First half of the 14th Century A.D.)

 Consisted of the customary phase of demolition of temples followed by reconversion of the building
materials.
 The buildings of this period have the appearance of being formative and experimental.
 Many buildings were built using materials from Hindu temples. Most often, the pillars would be used as they
were, while the walls would be built of original masonry, sometimes using stones taken from the temples and
recut to suit the requirements.
Second Period (First half of the 15th Century A.D.)

 In this period, we see the art approaching an early consummation, with slightly tentative qualities.
 There is more directional authority in the buildings and increased assurance in the design.
 This can also be called the Ahmed Shahi period, after the Sultan Ahmed Shah.
Third Period (Second half of 15th Century A.D.)

 This is the most magnificent aspect of the style.

 Most of the development in this phase happened under Sultan Mahmud I Begarha (1458-1511).

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 JAMI MASJID AT CAMBAY

 Built in the year 1325 A.D.

 Judging from the appearance, it is probable that local artisans were reinforced by a group of artisans
from Delhi to build this structure.
 The sanctuary of the mosque is having an enclosed facade with a screen of arches.
 The shape and position of the arches, the masonry consisting of alternate broad and narrow courses
and the overall architectural treatment is reminiscent of the architectural style of Delhi under the Khalji
dynasty.
 The arrangement of pillars inside the archways of the facade borrows from the Ajmer type of mosque.
 The pillars have been enriched by an engrailed arch similar to one found in temples, a motif which
later figures prominently as the flying arch within the central openings of mosque facades in Gujarat.
TEEN DARWAZA
 Teen Darwaza is a triumphal archway
straddling the 'King's Way' which
connects the royal citadel and Jami
Masjid in Ahmedabad constructed by
Sultan Ahmed Shah.
 It is 37' high, 80' wide and 45' deep.
 It consists of 3 archways, each of the
same height, with the two side arches
only marginally narrower than the
central archway.
 The contours of the pointed arches are
some of the best to be found in India.
 The parapet is skillfully arranged, being
relieved by three elegant oriel windows on
brackets.
 The buttresses projecting from the piers
are richly carved.

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JAMI MASJID AT CHAMPANIR
 Built with the Jami Masjid at Ahmedabad as model
except on a smaller scale and a few differences.
 The entire structure is a rectangle of 270' X 180'. A bit
less than half the space is taken up by the sanctuary.
Cloisters
 The courtyard is surrounded by a range of arched
cloisters, one aisle deep.
 An imposing entrance pavilion projects from the centre
of each of the north, south and east cloisters. The eastern
pavilion is a fine example of architecture in itself.
 A series of moulded buttresses along the exterior of
the qibla wall along with traceried openings at close
intervals along the entire periphery makes the exterior of
the mosque attractive as well.
Sanctuary
 Sanctuary facade is of enclosed type containing 5
pointed archways with two slender minarets
flanking the central opening.
 The ornamentation of the minarets is restricted to
their buttress like bases, with the five stages
above left mostly unadorned.
 On the whole, the frontal screen is more or less
economically treated, relieved only by 3 oriel
windows, one above the central arch and two on
the minarets.
 Sanctuary is a pillared hall measuring 270' X 130',
containing 176 pillars.
 The nave rises to 65' in height through 3 storeys
and covered by a dome.
 From the second storey, it takes the form of a Latin cross with very short arms.
 Each storey is accessed by a staircase in the minarets.
 The level of the first floor is continuous with the roof of the rest of the building, forming a wide
terrace for circumambulation among the cupolas with a square well above the nave.
 The second floor is restricted to the Latin cross and is a large pillared gallery with an octagonal well.
This floor communicates with the oriel window above the central arch in the sanctuary facade.
 The zenana chamber is placed at the northern end of the transept.
 Around the galleries are provided stone seats with sloping backs.
 The Champanir mosque is based on the Ahmedabad mosque as a template, though the builders were
not able to provide much of an improvement on the Ahmedabad archetype. The pillars in the
Champanir sanctuary are more sophisticated than the Ahmedabad example, as may be seen in the
vertical recessed chases of the shafts and other architectural details of a similar nature.

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 Adalaj stepwell
INTRODUCTION
Adalaj Stepwell is a
unique Hindu 'water building‘.

The stepwell was built in 1499 by

Muslim king Mohammed Begda for
Queen Rani Roopba.

The step well or 'Vav', as it is

called in Gujarati, is intricately
carved and is five stories in depth.

To the semi arid regions of

Gujarat as they provided basic
water needs for drinking, washing
and bathing.

 These wells were also venues for

colorful festivals and sacred rituals.

HISTORY
The history of the Adalaj step-well built in 1498
is established by an inscription found on a marble
slab positioned in a recess on the first floor.

Its construction was started by Rana Veer

Singh.But whereafter the Muslim king Mahmud
Begada of a neighbouring state built it in Indo-
Islamic architectural style, in 1499.

Early stepwells were made of stone, later step wells were made of
mortar, stucco, rubble and laminar stones.

The well cylinder was the basic form used to deepen the wells.The Stepwells in
Gujarat have survived so long in view of the builder’s knowledge of the soil
conditions and the earthquake proneness of the region.

The cultural and architectural depiction in the deep wells at various levels are
a tribute to the history of step wells, built initially by Hindus and subsequently
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ornamented and blended with Islamic architecture during the Muslim rule.
 STRUCTURE
Built in sand stone in Indo-Islamic
architectural style, the Adalaj stepwell
is five stories deep.

It is octagonal (8-sided polygon) in

plan at the top, built on intricately
carved large number of pillars.

 Each floor is spacious enough to

provide for people to congregate.
It was dug deep to access ground water
at that level, accounting for seasonal
fluctuations in water level due to rainfall
over the year.

The air and light vents in the roofs at

various floors and at the landing level are
in the form of large openings.

Built along a North-South

axis, entrance is from the
South, the three staircases
are from the South, West
and East directions leading
to the landing.

Four small rooms

with oriel windows
decorated with minutely
carved brackets are
provided at the landing
level, at the four corners.

At the bottom of the well

is a square stepped floor in
the shape of a funnel
extending to the lowest
plane. PLAN AND SECTION
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 From the first story
level, three staircases lead to
the bottom water level of the
well, which is considered a
unique feature.

The structural system is typically

Indian style with
traditional trabeat with horizontal
beams and lintels.

The square stepped platform

is chiseled into a circular well.

 Above the square

floor, columns, beams, wall
and arched openings spiral
around; a feature that
continues to the top.

 The top part of the

well, however, is a vertical space
open to the sky.

The four corners of the square

are strengthened with stone
beams, set at 45 degrees angle.
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 Adalaj stepwell is a magnificant example of fusion of
hindu craftmanship and the floral,geometric pattern
of islamic architecture.

 5 stories of adalaj well use cross beams all along

their length.

 Events happened during the construction of this well

are carved on the walls of the well as it was started
by hindus but decorated in a islamic style.

 Step wells were used as meeting and resting places

during summer since their cool interiors offered
unbelivable respite from the scorching sun outside.
• The plateform rests on 16 pillars,8 on
the corners,and 2 infront of each main
side for
built in shrines,with doors,windows and
balconies,mark the 4 corners of the
platform.

• Walls of stepwell are veritable showcase

of sculptures and ornamentaton.

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• The stepped corridor begins from this square
platform.

• The corridor is entirely surrounded by a 1m high

parapet wall with a rounded topping.

 The motifs of flowers and graphics of

Islamic architecture blend very well
with the symbols of Hindu and Jain
gods carved at various levels of the
well.
 The dominant carvings on the upper
floors are of elephants (3 inches
(76 mm) in size, each of different
design).

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