INDIAN PROVINCIAL

ARCHITECTURE

PROVINCIAL ISLAMIC ARCHITECTURE

The Provincial (belonging to some particular province: local) Style of Architecture
encompasses the architectural trends and developments noticed in different provincial
capitals in India, but specifically in:
CENTRAL INDIA: Jaunpur, Malwa
EAST INDIA: Bengal
WEST INDIA: Gujarat
SOUTH INDIA: Bijapur

JAUNPUR (1376-1479 AD)

The Governor of Jaunpur, an eastern province of the sultanate was given the title Malikush-Sharq (King of the East) by the Tughlaq monarch in Delhi. Hence, the dynasty was
called the Sharqi dynasty.
Under the Sharqi monarchs, Jaunpur became an important centre of Islamic art, architecture
and learning, a university town known as Shiraz-i-Hind after the city of Shiraz in Iran.
Most of the structures of the style were destroyed when Sikander Lodi of Delhi reconquered Jaunpur, leaving only 5 mosques.

JAUNPUR (1376-1479 AD) Salient Features:

Pylons built on the facade to accentuate
entrances are a common feature.
Arches are of the depressed four centered or
Tudor variety with Fleur-de-lys fringes
The builders were never certain of the curves and
contours of the arches, which wavered weakly in
the larger examples
The predominantly Hindu masons and artisans
were more comfortable with the pillar beam and
bracket (trabeate) system of construction which
was frequently used.
The pillars have square monolithic shafts with
bands across the middle The same bands above
form the capital out of which clusters of brackets
emerge, These have a feel of rough execution.

Dome

Pylons

4 Centered Arch

Accentuated
entrances

ATALA MASJID
The Atala Masjid stands on the site of a Hindu temple of
Atala Devi. It was built in 1408 by Sultan Ibrahim (14011440
A large number of its pillars, brackets, lintels and flat
ceilings were extracted from Hindu monuments.
The mosque complex consists of a long rectangular
prayer hall that opens onto a large square courtyard to the
west.
The courtyard is enveloped by a two-story veranda on
the exterior that are used by merchants and visitors.
It is entered from three domed gates facing north, east
and west.
The screened upper story was most likely reserved for
women.
5

ATALA MASJID
The mosque occupies the western side of the
courtyard its facade is marked by an imposing
central portal, close to twenty-three meters tall,
flanked by secondary portals.
Its plan is centered around a tall domed
sanctuary behind the central portal, with two
long three- bay deep galleries to the north and
south.
The dome of the main sanctuary is carried on
squinches. Although it is raised on an octagonal
drum, it is still not visible from the courtyard due
to the imposing height of The entry, a distinctive
element of Jaunpuri architecture.

Central
Portal

Secondary
Portal
6

ATALA MASJID
Inside the sanctuary is stone mihrab niche with a
ribbed semi-dome, flanked by the stone minbar.
The decoration consists mainly of carved floral
patterns.
The gallery wings have two-floors and are
centered around domed rooms with a mihrab and
courtyard entrance.
Their flat ceilings are supported on twin columns
and beams resting on brackets.
The three domed rooms of the prayer hall project
beyond the qibla wall, with tapering turrets
bracing their corners in the manner of Delhi's
Tughluqid architecture.

Dome on
Octagonal Drum

Tapering Turrets

JAMI MASJID JAUNPUR

The Jami Masjid is the largest and the most ambitious of
the Jaunpur mosques. It was built in 1470 by Husayn Shah
(1458-1483), the last ruler of the Sharqi dynasty.
Built on a 6 meter high plinth, the mosque is accessed by
an imposing flight of steps.
Its plan, similar to previous Sharqi mosques, consists of a
long rectangular prayer hall occupying The western side of
a colonnaded courtyard.
The prayer hall is centered around a square sanctuary,
covered by a dome that measures 11.4 meters in diameter.
windows pierced into The dome's drum illuminate the
interior.
On either side of the sanctuary are barrel-vaulted galleries
that are accessed from three arched openings along the
courtyard facade.
8

JAMI MASJID JAUNPUR

Cloisters
Cloisters are two storey's high, They are two
aisles in width as opposed to the more spacious
5 aisles in Atala Masjid.
In the centre of each cloister is an entrance
hall covered by a dome.
Sanctuary
In the centre of the sanctuary facade is a pylon
85 high and 77 wide at the base.
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

Vaulted Roof

Pylon

Arcaded Wing
9

JAMI MASJID JAUNPUR

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 column less 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 at each
end. On this permanent centering were laid the infilling of flat stones fitting on the backs of
the ribs.
To counteract the thrust of such a large vault, the side walls, from the haunches of the ribs
to the foundation were made up to 10 thick.
Such a large column less space is a rare occurrence in Indian architecture.
10

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.
Main examples of the style are found in the cities of
Dhar and Mandu
Malwa was influenced more by the early Tughlaq
style from Delhi This was due to the lack of
significant local traditions in Malwa and hostile
relations with neighboring Gujarat.
11

SALIENT FEATURES
Battered walls
Pointed arches with spear head.
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 color in decoration
Use of different colored marble, semi-precious
stones and glazed tiles.

12

MALWA
The cities of Dhar and Mandu of the Malwa province provide examples of distinct
architectural elements in the form of polychromatic ornamentation of buildings, which was
obtained by the use of coloured stones and marble as well as by means of encaustic tiles.
The earliest buildings of this period are the Kamal Maula Masjid (1400) and the Lat
Masjid (1405) at Dhar and the Dilawar Khan Masjid (1405) and the Malik Mughis mosque
(1452) at Mandu.
The architectural activity took a new turn with the establishment of the capital at Mandu,
especially under the rule of Hoshang Shah (1405-1435).
Important buildings in Mandu are the Jahaz Mahal (a 120 meter long ship palace built by
Sultan Ghiyas-ud-din-Khilji between two artificial lakes Munj Talao and Kapur Talao).
Taveli Mahal with two wells called Ujali and Andheri Baoli, Hindola Mahal, Dilawar
Khan's Mosque, Hoshang Shahs Tomb, Ashrafi Mahal and the Jami Masjid built by
Mahmud Shah Khilii I.
The city also has several gateways like the Delhi Darwaza, the Alamgir and Bhangi
Darwaza, Rampol Darwaza, Jehangir Gate and Tarapur Gate.
13

THE JAMI MASJID AT MANDU

The Jami-Majid near the centre of the Mandu
plateau was one of the finest achievements of
the Ghaun dynasty.
Vast scale to accommodate numerous
worshipers.
Entrance from the east with a main arched
doorway flanked by two smaller openings.
A squat, yet well-proportioned domes at
entrance, with its profile being reflected in
smaller domes over the cloisters surrounding
the central court.
The courtyard is surrounded on three sides by
columned cloisters with galleries of majestic
arches.

Courtyard

The Prayer
Hall

Entrance

14

THE JAMI MASJID AT MANDU

Chattri

The whole building is faced with red sandstone,

with little concession to decoration.
Chattri inside the mosque, next to the Mihrab,
which shows influences from florid Gujarati
Mihrab
architecture.
Mosque covers a square of 288 side, prolonged
on eastern front by another 100 by a projecting
domed entrance hall and a wide flight of steps
Dome
There are also two subsidiary entrances to the
north, one for the priests and the other a private
entrance for the zenana.
Prayer hall
Being raised on a high plinth, this enables the
front side of the basement to contain a series of
arcaded chambers to be used as a serai.
15

THE JAMI MASJID AT MANDU

The entrance hail bears traces of exquisitely coloured borders and panels in glazed tiles The
domed gatehouse responds to the three similar domes of the sanctuary on the opposite side of
the courtyard.
The courtyard is a square of 162 side, surrounded by arcaded aisles, 11 openings on each side
forming a facade for the pillared halls beyond.
The pillared halls on the north and south are 3 aisles deep, that on the east is 2 aisles, while
the western sanctuary is 5 aisles deep.
In addition to the 3 large domes on the top of the sanctuary, the entire roof is covered with a
symmetrical patterm of cylindrical cupolas, one over each bay of the interior, thus making 158
in all.
Sculptured mihrabs are present at regular intervals in the qibla wall with an elegantly
designed mimbar in the central bay.
The overall design of the mosque gives an appearance of quiet solemnity, relying mainly
upon the simple broad treatment of its constituent elements, eschewing ornamentation apart
from the mihrabs and mimbar and some restrained colour decoration.
16

HOSHANG SHAHS TOMB

Conceived and partly built by Hushang Shah,
completed by Mahmud I in 1440 A.D. The tomb stands in
a square enclosure contiguous with the western wall of
the Jami Masjid at Mandu, approached by a domed
portico on the north, with a pillared cloister on the west
for devotions or accommodation.
The tomb itself if a square structure of 86 side, with
30 high walls surmounted by a large central dome with a
cupola on each corner, standing on a square plinth of 100
side.
The walls are faced with white marble relieved by occasional patches of
colour.
There are triple openings on two of its sides, with the central archway on
the south providing the entrance, while the other two sides are plain,
uninterrupted walls.
17

OTHER IMPORTANT STRUCTURES

18

GUJARAT (1300-1572 AD)

Early in the fourteenth century, Gujarat developed the Islamic style of architecture,
when Khailji 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.

19

THE JAMI MASJID AT AHMADABAD

Built by Sultan Ahmed Shah in A.D. 1423
considered to be the high water mark of mosque
design on western India.
Most of the architectural effect is concentrated in
the sanctuary.
The flagged courtyard is 255 X 220.
The architect has combined the two types of
sanctuary facades, the screen of arches and the
pillared portico, with the screen in the centre and
the portico on the wings.
The large central archway has large moulded
buttresses of minarets on either sides, whose upper
parts have now disappeared.
Two smaller archways are placed on either side
of the central one.

Central Arch

Basin

20

THE JAMI MASJID AT AHMADABAD

The sanctuary is a hypostyle hall 210 x 95,It consists of
around 300 slender pillars, closely set at an average
intercolumniation of 5.
The columns are symmetrically arranged to form 15 bays
across the long axis of the hall, each surmounted by a dome
and connected to the next through a columned interspaces.
The central compartment of the nave rises up to 3 storeys.
the side aisles are 2 storeys and the rest of the hall is single
storied.
Each overlooking balcony is provided with an asana or a
sloping backed seat as seen in temples Around the exterior
of the balconies are pillared verandas and in the arcade
between the pillars are stone jalies through which the
galleries are illuminated.
21

THE JAMI MASJID AT CHAMPANIR

Built with the Jami Masjid at Ahmadabad 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.
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.
22

THE JAMI MASJID AT CHAMPANIR

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.
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.
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
23

THE JAMI MASJID AT CHAMPANIR

The zenana chamber is placed at the northern end
of the transe Around the galleries are provided stone
seats with sloping backs
The Champanir mosque is based on the Ahmadabad
mosque as a template though the builders were not
able to provide much of an improvement on the
Ahmadabad archetype The pillars in the Champanir
sanctuary are more sophisticated than the Ahmadabad
example. as may be seen in the wettical recessed
chases of the shafts and other architectural details of a
similar nature.

24

BIJAPUR (1490-1656 AD)

Indo Islamic architecture in Bijapur, a city in the state of Karnataka flourished under the
Muslim rulers in the medieval period.
This city first experienced its Islamic architecture in the end of 13th century under Allaudin
Khilji and later under the Bahamani Empire in 1347.
Bijapur was decked and dotted with wonderful Indo Islamic architectures during reign of
the Adil shahi dynasty in the 15th to 17th century.
Bijapur became the capital of the Adil shahi dynasty when the Bahmani Muslim kingdom
broke up in 1482.
This was the period of greatest Islamic architectural and artistic achievement.
During the entire regime, Adil shahi rulers concentrated their energies almost exclusively on
architecture and on the allied arts.

25

PROVINCES
Architectural constructions
were influenced from the
regional culture and thus
became the amalgamation of
Turkish culture (as they belong
from the Turkish origin) with
that of Indian culture. The
main features of the building
art of Bijapur were dome,
which, in buildings of average
proportions.
They were almost spherical
in shape, and rises out of a
band of conventional petals at
its base.
26

BIJAPUR (1490-1656 AD)

These forms were repeated to the turrets to provide an ornamental finishing, surmounted the
principal angles of the minarets. This specific Bijapur arch was fuller in its curve and had
four-centre.
In the Islamic architecture of Bijapur province, they used cornice, a characteristic
architectural ornament in most of the buildings which were famous for their remarkable size
and projection.
Apart from their separate architectural style, the lndo-Islamic architectures of Bijapur
province were also famous for their sculptural element.
The patterns which they used to decorate their buildings were individual in character.
Among these different sculptures, one important and famous pattern was the arch spandrels,
consisting of a volute bracket holding a medallion, and above the arch was a foliated finial all
singularly graceful.
Several other sculptures were either carved in stone or moulded in stucco with this typical
design such as conventional hanging lamps, running borders, and interlaced symbols.
27

PROVINCES

28

JAMI MASJID BIJAPUR

Construction of the mosque began in the citys eastern
quarter, in 1576 under Ali Adil Shah I (1558-1580).
It is the largest mosque of Biiapur, covering an area of
54, 250 square feet.
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 centre.
The perimeter walls are articulated on the exterior by
two orders of superimposed arches.
29

JAMI MASJID BIJAPUR

The lower arch are ornamental while the upper ones form a
continuous open gallery that runs along three sides of the mosque
and courtyard.
The arches of the gallery facing the courtyard have fine
proportions and simple lines.
There are also several windows of pierced stone-work carved
in a variety of pattern.
The prayer hall on the west side has a facade of seven bays,
each bay having an arched opening.
The arches are equal in size, while the central arch is
delineated through delicate arabesque patterns in stucco.
The prayer hall is crowned by an elegant, well proportioned
dome. It has a diameter of 57 feet (17.4 meters) and rises to 120
feet (36.6 meters) from the ground.
30

JAMI MASJID BIJAPUR

The structure was never completed as it lacks the two
minarets which were supposed to flank the exterior of its
eastern entrance the hole part being left unfinished.
An entrance gateway was added later by the Mughal
Emperor Aurangzeb.
Other features such as the ornamental merlons above the
parapet of the courtyard are also missing.
The structure covers a rectangle 450 x 225
The exterior has been treated by introducing two storeys
of arcades recessed into the wall the lower one being
ornamental while the upper one is open and discloses an
arched corridor running across the entire back and sides of
the exterior.

31

JAMI MASJID BIJAPUR

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 meddle of the sanctuary the arcaded
square clerestory rises which supports the dome
which is no longer stilted but hemispherical in shape
with a metal finial crowned by the crescent symbol.
The interior of the sanctuary is a large hall 206 x
107, divided into five aisles by arches on large
masonry peers

Foliation

32

IBRAHIM RAUZA BIJAPUR

The Ibrahim Rauza, a mausoleum situated outside the
city walls on the western side. It is the tomb of the fifth
king of the Adil Sahi dynasty, Ibrahim Adil shah II (15801627).
The Rauza consists of two main buildings, a tomb and a
mosque with certain accessories all standing within a
single square enclosure.
The mausoleum is only 450 feet square, while the tomb
building inside is only 115 feet. The entire architecture
for every part was carried out in a most meticulous
manner.
Two major buildings present within the enclosure of the
mausoleum having an oblong terrace 360 feet long by
150 feet wide, at the eastern end of which is the tomb and
at the western end facing it is the mosque.
33

IBRAHIM RAUZA BIJAPUR

The arched verandah of the building consists of
a row of pillars, forming a double arcade around
the central chamber, providing a structural
magnification preparing the spectator for the
complete finesse of the interior scheme.
The outer wall surface of the tomb chamber is
ornamented with carving.
Each wall is spaced into an arcade of three
shallow arches.
These arches are enclosed by borders and panels
and surface with graceful shapes which are filled
in either with arabesques, repeating diapers, or
traceries inscriptions.
Built on a single rock bed, it is noted for the
symmetry of its features.
34

IBRAHIM RAUZA BIJAPUR

Built as the tomb for lbrahim Adil shah just outside the city walls of Biapur.
The building consists of a tomb and a mosque within a square enclosure, the whole forming a
garden retreat
The enclosure is a square of 450 side while the tomb building is a 115 side square
The area between the two is occupied by an ornamental pool and fountain.
In order to achieve symmetry, both buildings have been balanced in style in volume, though
the tomb is the more splendid conception.
The tomb building follows the conventional plan comprising a central chamber surrounded by
an arched verandah the whole surmounted by a dome
Two of the arches on each facade are narrower than the others providing a subtle variety in the
voids.
This alteration in spacing is a further carried through in the rest of the composition, emphasized
also by the intervals between the ornamental finials above the parapet.
Tall minar-shaped turrets rise from each corner of the building.
35

IBRAHIM RAUZA BIJAPUR

The enormously ornamented and bracketed
upper storey is the crowning feature of the
composition with the bulbous dome.
The entire structure is profusely
ornamented especially the outer wall of which
every part is covered with ornamental
carving.
The tomb chamber is a small room 18
square covered by a gracefully curved and
coffered ceiling.
The masonry of the roof was joggle jointed,
which meant that the ceiling appeared to float
without any apparent support. This shows that
the masons of Bijapur were experts.
36

GOL GUMBAZ
Gol Gumbaz is one of the biggest single chamber structures
in the world.
The central dome is the second largest in the world (the
largest being the dome of St Peter s Basilica in Rome)
measuring at 38 meters in diameter and covering an area of
1700 sq m with 51 meters in height.
The structure is composed of a cube, 47.5 metres (156 ft) on
each side, capped by a dome of 44 m (144 ft) in external
diameter.
The walls are 3 m thick and 30.5 m in height.
The measurement from the interior is 41m on each side.
At each of the four corners of the cube, is a dome-capped
octagonal tower seven stories high with a staircase inside.

37

GOL GUMBAZ
The upper floor of each opens on to a round gallery which
surrounds the dome.
A small annex to the north side might have been intended as a
resting- place for his mother, but it is a later, unfinished addition.
The walls are 3 m thick.
Eight intersecting arches created by two rotated squares that
create interlocking pendentives support the dome.
The eight high pointed arches bisect in the interior of the cube at
regular intervals.
There are six openings at its base. The low drum below the dome
is encircled by a foliated band.
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.
38

GOL GUMBAZ
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.
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.

39

GOL GUMBAZ
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.
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 use of groined compartments or pendentives,
which counteract the outer thrust of the dome.
They have a large central arch, above which is a
cornice of grey basalt and a row of small arches
carrying a second line of plain work crowned by a
balustrade 6 feet high.
40

GOL GUMBAZ
Dome with intersecting arches from the inside
Inside, at the base of the dome is the Whispering
Gallery, where even minute sounds can be heard clearly
37 metres away.
A particular attraction in this monument is the central
chamber, where every sound is echoed seven times.
The base of the monumental dome is carved with
beautiful petals that cover the drum.
Horizontal courses of brick have been used in the
construction of the dome which has a flat section at its
crown. It has been cemented with lime and has a total of
six openings at the base.
It is in the eighth storey is a broad gallery around the
dome which hangs out at around 11 feet. It can be
reached by means of staircase in the four towers.
41

GOL GUMBAZ
The cornice and parapet of the building is the most
distinct characteristic of the facade. The cornice rests on
highly carved stone corbels that project to about 3 m
from the wall.
The cornice supports the parapet, which has a row of
arched openings and leaf-shaped walls.
On the exterior side of the structure there are three
great blind arches.
The central arch is the widest of all and is decorated
with wooden panels (chajia ) and has a small rectangular
entrance and three rows of windows with arches.

42

MIHTAR MAHALL
Constructed in 1620 during the reign of Ibrahim Adil
Shah II, This building was famous for the character of
Rauza.
The exterior of this building is a wonderful
conception; its facade consists of two slender buttresses
rising up into elegant turrets,
Window has a projected balcony on brackets and
shaded by an expansive eave.
Pointed arches, with the arrangements of flat
panelling, elaborations to the buttresses, as well as
string-courses and mouldings.
All these are decorated wonderfully, exceptionally
well rendered, and each contributing to the artistic
appearance of the whole.
43

GOL GUMBAZ
Though modestly sized, Mehtar Mahal dated to 1620
is one of the most elegant structures in the fort Mehtar
mosque is a three-storey building.
It has two slender minarets that are covered with
delicately carved birds and rows of swans.
The carvings are in Hindu architectural style, in the
form of brackets supporting the balconies and stone
trellis work.
The building has a flat roof and minarets have rounded
top.

44