islamic architecture introduction

ISLAMIC ARCHITECTURE PRESENTED BY ASSISTANT PROFESSOR AISHWARYA G . K.

1

INDO ISLAMIC ARCHITECTURE

3 MAIN DIVISIONS OF INDO ISLAMIC ARCHITECTURE ARE THE

IMPERIAL OR DELHI STYLE PATHAN RULE a)ARAB , b)KHALJI , AND c)TURKISH RULE

(IMPERIAL= PERTAINING TO EMPIRE OR AN EMPEROR) STARTED CLOSE TO 12TH CENTURY CONTINUED FOR 4 CENTURIES

PROVINCIAL - PIVOTAL YEAR OF THIS MOVEMENT WAS AD 1400, WHEN CENTRAL POWER OF DELHI

HAD BEEN BROKEN BY INVASION OF TIMUR ; UP TO MIDDLE OF 16TH CENTURY ;

MUGHAL- RIPEST FORM OF INDO-ISLAMIC ARCHITECTURE ;LASTED UNTIL 18TH CENTURY

2


INTRODUCTION

EARLIEST FOOTPRINTS OF ISLAM IN THE SIND VALLEY IN INDIA ALL STRUCTURES OBLITERATED (THROUGH NATURAL CALAMITIES OR SUBSEQUENT LOOTING)

CAN BE TRACED BACK TO 7TH CENT A.D. 1192 ISLAM OVERTHREW RAJPUTS

MUSLIM SLAVE DYNASTY KING ESTABLISHED RULE IN DELHI

BUILDINGS ARE OF THE KINDS

MOSQUES TO PRAY TOMBS FOR THE DEAD

VICTORY TOWER COMPLETE NEW CITIES

1) BASIC MODULE

A CUBE VOLUME CROWNED BY A HEMISPHERICAL TRUE DOME

2) PERFECTED AND NEW TECHNOLOGICAL PRINCIPLES OF TRUE ARCH AND THE DOME (UNDERSTOOD BY HINDU BUILDERS)

3) CITY BUILDING OF TUGHLAQABAD (GHIAS UD-DIN) EG. FIRUZ SHAH KOTLA (FIRUZ SHAH), CITY LAID ON THE BANKS OF THE JAMUNA RIVER.

PRINCIPLES ADOPTED OF PLANNING OF A CITADEL - LOCATION USUALLY ON THE BANKS OF A RIVER - PERIPHERAL DEFENSIVE WALL - PRIVATE COURTYARDS ALIGNED ALONG CENTRAL AXIS; ALL CULMINATING INTO ROYAL PRIVATE PALACES - STYLE ALSO INCLUDED MILITANT STYLE WITH BUTTRESS AND CIRCULAR PYLONS

3

4

tybarchhistory.weebly.com/jami-masjid-at-gulbarga.html

http://asi.nic.in/asi_monu_whs_humayuntomb_char.asp

http://en.wikipedia.org/wiki/File:Qutb_minar_ruins.jpg


INTRODUCTION

THE CONTRAST BETWEEN HINDU ARCHITECTURE AND ISLAMIC ARCHITECTURE

5

ISLAMIC HINDU

OPEN COURTS TO LIGHT AND AIR WITH MANY DOORWAYS

PASSAGES LEADS TO DIM CELLS, GUARDED AND REMOTE, ENCLOSING A PHANTASM OF DARKNESS

NO CENTRAL SHRINE- (DEVOTEE TURNS TO DIRECTION OF MECCA WEST IN INDIA)

CENTRAL SHRINE

MOSQUE IS WHOLLY VISIBLE INTROSPECTIVE

DECORATIVE LETTERING INSCRIPTIONS RARE, MORE IMAGERY, STATUES ETC.

COLORED MARBLE ; PAINTED PLASTER ; GLAZED TILES NATURAL TEXTURE AND TINT OF STONE

FORMAL RHYTHMIC

STRUCTURAL ARTISTIC ABILITY


INTRODUCTION THE CONTRAST BETWEEN HINDU ARCHITECTURE AND ISLAMIC ARCHITECTURE

6

MOSQUE HINDU

METHOD OF BUILDING IS ARCUATE TRABEATED

CEMENTING AGENT MORTAR USED NO MORTAR THEREFORE NO ARCH

SKYLINE WAS THE DOME FLAT OR LOW POINTED ROOFS, SPIRE OR SHIKARA, GOPURAMS,( MORE PYRAMIDICAL SKYLINES.)

BUILDING TYPES WERE THE MOSQUES, TOMB, TOWN GATES, PAVILIONS ,WELLS , GARDENS , PALACES, FORTS, AND CITIES

TEMPLES, WELLS, TOWN GATES, CITIES, LARGELY FOCUSED ON TEMPLES

http://commons.wikimedia.org/wiki/File:Tomb_of_Ghiyasuddin_Tughlaq.JPG

http://www.youtube.com/watch?v=QZTvF_1AN8A

7

http://www.youtube.com/watch?feature=player_detailpage&v=QZTvF_1AN8A

http://upload.wikimedia.org/wikipedia/commons/e/e2/Panoramic_vie_of_Fahpur_Sikri_Palace.jpg

8 http://indiapicks.com/Heritage/Qutb/Qutb-E-Iron_Pillar.htm


INTRODUCTION

TYPICAL BUILDINGS AND THEIR ELEMENTS

MOSQUE OR MASJID THE PLACE OF PROSTRATION CONGREGATIONAL SPACE FOR FRIDAY PRAYER PRESENT IN ALMOST EVERY CITY .

DERIVED FROM HUMBLE DWELLING OF FOUNDER OF MEDINA IN ARABIA.

MAIN ELEMENTS OF MOSQUE ARE AS STATED BELOW: 1. OPEN COURTYARD SURROUNDED BY A PILLARED VERANDAH 2. A RECTANGULAR OPEN SPACE OR SAHN THE 4 SIDES BEING ENCLOSED BY PILLARED CLOISTERS

OR LIWANS 3. A FOUNTAIN OR TANK IN THE CENTER FOR ABLUTIONS 4. FOCAL POINT THE CLOISTERS ON THE WEST COURTYARD WERE EXPANDED AND ELABORATED

INTO PILLARED HALL OR SANCTUARY 5. WITH A WALL AT THE BACK CONTAINING A RECESS OR ALCOVE CALLED MIHRAB 6. INDICATING THE QIBLA OR DIRECTION OF PRAYER 7. ON THE RIGHT SIDE OF MIHRAB STANDS MIMBAR OR PULPIT. 8. A PORTION OF THE SANCTUARY IS SCREENED OFF INTO A COMPARTMENT FOR WOMEN 9. AN ELEVATED PLATFORM FROM WHICH THE MUZZIN SUMMONS THE FAITHFUL TO PRAYER IS

THE HIGH TOWER OR THE MINARETS

SECONDARY ELEMENTS BEING: PORTICOS AND ENTRANCE HALLS ADDED TO EXTERIOR

SCREEN MADE INTO A FAADE A DOME RAISED OVER CENTRAL SHRINE

DOME OVER THE NAVE IS OBSTRUCTED BY THE PARAPET ON THE FAADE WHICH RISES UP IN FRONT, LEADING TO LACK OF COHERENCE IN ELEVATIONAL ASPECT, EG QUTB AT DELHI

(AS PER RULE OF ISLAM) 9


INTRODUCTION

TYPICAL BUILDINGS AND THEIR ELEMENTS

THE TOMB INITIALLY THESE WERE PROHIBITED -----(ALL FORMS OF MONUMENTAL ART RESTRICTED)

THESE STRUCTURES HAVE IMPOSING COMPOSITION VAULTED HALLS

TOWERING DOMES TOMBS ARE ENCLOSED WITHIN A SPACIOUS GARDEN

ALL DONE IN GRAND STYLE IN THE CENTER A HANDFUL OF DUST LAID IN PLAIN MOUND OF EARTH IS PRESENT

MORTUARY CHAMBER BELOW THE TOMB QABRISTAN CONSISTS OF SINGLE COMPARTMENT OR TOMB CHAMBER

TOMB CHAMBER KNOWN AS HUZRAH OR ESTANAH IN THE CENTER OF THE TOMB CHAMBER IS CENOTAPH OR ZARIH

THE WHOLE STRUCTURE IS ROOFED BY A DOME

IN THE GROUND UNDERNEATH THIS BUILDING RESEMBLING A CRYPT, IS A MORTUARY CHAMBER CALLED THE MAQBARAH OR LAKHANA WITH GRAVE OR QABR IN THE MIDDLE

IN THE WESTERN WALL OF THE TOMB CHAMBER THERE IS A MIHRAB

MAUSOLEUMS(A STATELY TOMB) INCLUDE A MOSQUE AS A SEPARATE BUILDING WHEN THE TWO ARE TOGETHER INSIDE AN ENCLOSURE IT IS CALLED A RAUZA.

OCCASIONALLY IMPORTANT TOMBS ARE CALLED DARGAH

10


INTRODUCTION

IMPERIAL STYLE -RUDIMENTARY MOSQUE- QUWWAT- UL- ISLAM , ALAI DARWAZA, CITES ,

PROVINCIAL STYLE ,ASSAULT OF TIMUR, ARTISANS AND CRAFTSMEN MIGRATED TO VARIOUS REGIONAL CENTRES OF MUSLIM POWER THAT HAD SPRUNG ALL OVER INDIA

CITIES OF JAUNPUR AND PANDUA IN THE EAST

AHMEDABAD IN THE WEST MALWA IN CENTRAL INDIA BIJAPUR IN THE SOUTH

IN EACH OF THESE REGIONS IN THE EARLY PHASE MUSLIM BUILDINGS WERE QUICKLY PUT TOGETHER FROM SPOILS OF THE HINDU TEMPLES GRADUALLY CRAFTSMEN EVOLVED VIABLE AND INDIVIDUALISTIC STYLES RESPONDING TO THE CLIMATIC GEOGRAPHIC SOCIAL CIRCUMSTANCES OF

EACH REGION

EG. IN BENGAL NON AVAILABILITY OF STONE AS A BUILDING MATERIAL PLUS INCESSANT RAINS GAVE RISE TO LARGELY COVERED MOSQUES WITH CHARACTERISTIC STEEPLY PARAPET .

IN JAUNPUR STRONG INFLUENCE OF TUGHLAQ STYLE OF DELHI , THE RESULT WAS LARGE

FLAMBOYANT STONE PYLONS INTERWOVEN WITH COLONNADED LIWANS

11


INTRODUCTION

IN MANDU TUGHLAQ STYLE INFLUENCE IN EARLIER STAGES, BUILDERS EVOLVED AN EXTREMELY ROBUST AND ORIGINAL STYLE LATER , BEST SEEN IN JAMI MASJID WHICH EVEN

IN IT`S INCOMPLETE FORM IS PROBABLY ONE OF THE FINEST MOSQUES IN INDIA.

GUJARAT INFLUENCED BY JAINA AND HINDU ARTISTIC SKILLS , RESULT WAS LIWANS FOR MOSQUES WERE VIRTUALLY TEMPLE MANDAPS WITH FAADE OF POINTED ARCHES .

IN SOUTH INDIA THE IMMIGRANTS WERE WELL VERSED WITH PERSIAN TECHNOLOGY , RESULT

WAS LARGE FULLY COVERED MOSQUE CULMINATING INTO THE WORLD`S LARGEST SINGLE DOME OF IT`S TIME IN BIJAPUR

NORTH INDIA SAYYIDS & LODIS

CITIES OF AGRA AND DELHI ISLAMIC STRUCTURAL TECHNIQUES DOMINATED AND GOT ESTABLISHED DURING THIS PHASE

CONSTRUCTION OF MASSIVE BOAT KEEL SHAPED DOMES OVER NUMEROUS TOMBS

LODI CRAFTSMEN`S MAJOR CONTRIBUTION WAS THE ADOPTION OF THE OCTAGONAL TOMB

13


INTRODUCTION

MUGHAL STYLE : MUGHALS/MONGOLS LED BY BABAR DEFEATED LODIS (IN LEGENDARY BATTLE OF PANIPAT)

RULED FOR MERE 4 YEARS ESTABLISHED THE FOUNDATIONS OF MUGHAL EMPIRE

SHER SHAH (USURPED THE THRONE & FORCED BABUR`S SON HUMAYUN TO RELINQUISH DELHI & FLEE

TO PERSIA) 5 YEARS OF RULE

NEW SYSTEM OF ADMINISTRATION CONTRIBUTION TO ARCHITECTURE WAS HANDSOME

EG 1) QILA MASJID AT DELHI( A BALANCED PERFECTION ACHIEVED IN IT`S FAADE, BECOMING THE PROTOTYPE FOR MUGHAL)

EG 2) SASARAM IN BIHAR IS THE CLIMAX TO A SERIES OF OCTAGONAL TOMBS.

HUMAYUN SHORT LIVED RULE , AFTER MANAGING TO OUST THE AFGHANS AKBAR- SON OF HUMAYUN ( BECAME RULER AT AGE OF 11)

HERE ARCHITECTURE INFLUENCED BY PERSIAN IDEAS, BLENDED WITH BUDDHIST TRADITION EG. HUMAYUN`S TOMB

NEW CAPITAL FATHEPUR SIKRI AKBAR`S TOMB AT SIKANDRA

JAHAGNGIR THE SON OF AKBAR CONTRIBUTED TO LANDSCAPE ARCHITECTURE ,LAYING OUT OF

GARDENS(PARTICULARLY IN VALLEY OF KASHMIR)

15


INTRODUCTION

AKBAR `S ARCHITECTURE DOMINATED WITH SANDSTONE AS MATERIAL JAHANGIR REPLACED WHITE MARBLE (MAKRANA - VERY EXPENSIVE)

SHAH JAHAN SON OF JAHANGIR,

A PASSIONATE BUILDER , HIS CONTRIBUTION BEING THE TAJ MAHAL AT AGRA

GROWING WEALTH OF EMPIRE, RESULTED IN LAYING OUT OF CITY OF SHAHJAHANABAD AT DELHI THE SERAGLIO (AN INCLOSURE- PLACE OF SEPARATION) DELHI FORT IS STUDDED WITH EXQUISITE

MARBLE PAVILIONS LUXURIOUSLY EMBELLISHED AND SURROUNDED BY GARDENS AND WATER CHANNELS.

FOR THE FAITHFUL THERE IS THE FAMOUS JAMI MASJID OPPOSITE RED FORT

THE MOSQUE , THE TAJ MAHAL AND PALACES BECAME THE SWAN SONG OF ISLAMIC ARCHITECTURE.

16

18

THANK YOU

islamic architecture introduction

Documents