PROVINCIAL STYLE _PUNJAB

IN PROVINCIAL STYLES THE FOLLOWING CHARACTERISTICS WERE DEVELOPED

A. When there was indigenous style prevailing in that areas, where the local aartisans produced finest temples, there too developed elegant mosques and tombs. B. When there was no local art tradition there the style was less distinctive, foreign craftsmen found their way to the court bringing the architectural tradition of the local land. C. Unusual climatic conditions necessitated special treatment of roofs in certain regions and one kind of building material common in this region also affected the characteristic of the building art. The first contacts of Islam were made through the principal centres , Multan and Lahore. Multan : Multan was first to come to contact , with the Arab invasion of Sind in the eigth century. It continued contact with Southern Persia by Sea, river and road. So this region cane to be more Iranian than Indian. Lahore : Islamic influence is from Afganisthan. In tenth century Mohammed of ghazni invaded Lahore from Hindu rule. Lahore became the capital of Ghaznavide kingdom and had royal residences in the twelfth century. The palaces of Lahore were fully destroyed by Ala- ud -din Ghor. But in the remote quarters of the city there are examples of wooden architecture resembling the buildings of Saljuqs of twelfth century.The immense projecting bosses and a particular kind of pattern of carving is Saljuqian origin.The wood employed is Ber and is now not used due to its rarity. Thus Multan and Lahore received their Muslim attributes from, two different origins Multan was of Arab Persian influence Lahore- Ghaznavide-Saljuqian origin

CHARACTERISTICS OF ARCHITECTURE OF PUNJAB

Buildings were constructed mainly with bricks, which were readily available in the plains of five rivers. The bricks were flat and thin and put occasionally in upright courses for additional strength. This brick work was reinforced by means of wooden beams inserted inside walls so that the buildings were timber framed no arches as beam and bracket system prevailed. These brick and timber walls were sloped for stability, the battering surfaces, survival of ancient mud and brick traditions. There were wooden doorways in the facade with windows above, and also overhanging balconies forming a very artistic wooden faade. To relieve this timber and brick construction, parts of the building were decorated with plaster and were also panellings of glazed tiles in brilliant colours.

DERIVATIONS
Derivation of decoration in wooden the manipulation of wood , especially as the doorways have carved designs resembling heavy tassels and knotted fringes , recalling pleated fabrics made out of felt drawn up by cord on either side o f the opening. These decorations and sloped lines of building recall the appearance, shape and fittings of a tent. These tell us the fact that these nomadic dwellers of Punjab were once living in tents.

There were a group of five tombs constructed in Multan were those of saints. All were built in brick and glazed tiles were a common feature in decoration. Among them the important one is the tomb of the saint Shah- Rukn- I -Alam

WOODEN DOORS IN LAHORE

TOMB OF SHAH RUKH NI ALAM

RUKN I ALAM S TOMB

The plan of the tomb is octagonal one, Its is the initial octagonal tomb in the country. It was constructed by the order of Ghyias ud din Tughlaq between the years 1320 and 1324. There was striking feature of the sloped walls of the tomb which to be followed by tugla q builders, apart from sloping walls, there were circular bastions / tapering turrets at the corners, which was to be followed by Firuz Tuglaq later. Thus the sloping walls and turrets found in the tombs of the imperial style in Delhi were influenced by this mausoleum. Its octagonal base measures 90 feet in diameter and total height including the finial is 115 feet. The height of the first storey being 50 feet and second is 25 feet while the dome is 50 feet wide inside. Although, brick in foundation appearance enhanced by bands of timbering sunk into the walls at appropriate intervals. The brick work is covered with brilliantly glazed tiles. The slope of the structure and inclined buttresses at the corners were nothing but the elements of stability for a brick structure. The great height and as the building is on a terrace is an attempt to dominate the country side and introduce a focal point of the dry landscape. The tile bring colour to the dust tit of desert setting. The thick walls of 13 feet kept the heat of the sun out and providing a cool and somber interior for the saintss repose. In style this mausoleum represents three patterns of culture- Arabian, Iranian and Indian taking the best from the building traditions of each to produce a monument of marked architectural character.

PROVINCIAL STYLE BENGAL

The conquest of Bengal by the muslim rulers took place in 1202 but but only a century later a building of distinctive character to be called a style was produced. The majority of Buildings grouped around the malda district of the province of Bengal.Here near the junction of the two rivers the ganges and MAhananda the life of the city was concentrated. Now these areas are covered by vegetation or covered by silt and the swamp. In this place ruins of palaces,fortresses,palaces,citadels ,causeways and embankments ,triumphal archways,mosques and tombs.

Three great cities have been traced amidst these destructions. Earliest was of Lakhnauti the seat of Hindu dynasties and later the two capitals of Mohameddan invaders-Gaur and Pandua. The Islamic art of Bengal is divided into three phases, first two preliminary stages , third ultimate development to a specific style. 1) The period extending from first conquest of country where the capital was at Gaur until it was moved to Pandua.Ad 1200-1340 2)from the date when it was established from at Pandua until the building of Eklaki tomb.1340-1430 3)during the period of retransfer of the capital to Gaur until the country was acquired by Moghuls 1442-1576

ADINA MOSQUE AT PANDUA

PLAN OF ADINA MOSQUE

MIHRAB OF ADINA MOSQUE

NAVE OF ADINA MOSQUE

PIERS OF THE NAVE

The important example of the Bengal style is from the second stage .During this stage monuments which were original in design and construction evolved confirming to their own individual ideals. This coincided with the transfer of the capital from Laknauti to 17 miles north to Pandua. Here during the rule of Sikander shah, (1358-89) building of a congregational mosque was began in 1364. The mosque was large enough to serve several thousands of worshippers. The mosque was Adina MAsjid .From the quadrangle overlooking the archways many of them which has fallen, it looked like an ancient forum rather than a mosque. Western side has huge vaulting which simulates a imperial approach. The courtyard measures 400 feet long and 130feet deep is enclosed with pillared aisles , five bay deep on the sanctuary side and three bay deep on the other sides consisting of 260 pillars all.The entire

composition is en closed by a wall of 507 feet x 285 feet wide nearly equalling the great mosque of Damascus. The interior of the courtyard has arches to the number of 88 surmounted by a parapet 20 feet high from the ground, above that domes of the roof one above each bay is seen amounting to 306. At the south east corner three archways form the main entrance. There is no entrance on eastern side to balance the sanctuary on trhe west. There are three other entrances on the western walls toward its northern end. Two of these lead to the upperstorey of BAdshahKi takht. (Kings throne) , it is a private chapel reserved for the king and the royal house hold. Design and construction of the this portion has several notable features. Lower storey of Badshah ki takht consists of very short ponderous piers rather than pillars abnormally thick , squar above and below and surmount by massive bracket capitals. On the other hand the pillars forming the upper storey are more usual proportions with graceful fluted shafts and expanding lotus capitals . These pillars located above and below have been removed from Hindua structures of exceptional in character.With in the chapel royal there were mihrabs 32 mihrabs one opposite to the centre of each bay was found, all exquisitely designed and sculpted.

CENTRAL NAVE OF

THE SANCTUARY

The most impressive portion is the central nave of the sanctuary, which is now roofless still retains its stately appearance. Nave is a well proportioned hall aligned east west and transversely to the five aisles which extends from each of its sides. It measures 70 feet in length and 34 feet across while the height from the paved floor to the ridge of the pointed roof is 50 feet . The faade which is entirely disappeared was a rectangular screen of 50 feet across and 60 feet in height upto th emerlons forming the parapet. With this frontal screen was the entrance to the sanctuary, a pointed archway 50 feet high and 33 feet in width keeping with the dimensions of the hall to which it gave the access. The scheme of the arch was completed by minor arch ways on wither side of the rectangular screen above the parapet and containing staircases by which muezzin would ascend to an upperplatfoirm to call for the prayer.

INTERIOR OF THE NAVE

Alon g each side of the nave were the five tall pointed arches which leads to the aisles on either sides. Though it is roofless now , at one time it was covered by a superb pointed arch vault. The whole structure is being composed of stupendous mass of brick work several feet thick and would have collapsed due to its massive weight . On the western three outstanding elements , a central mihrab, another supplement to its side and a mimbar or pulpit is seen. In the space above those on each side carved in a relief is a large rosette or full blown lotus standing out crisp from the plain surfaces of the wall, while high up is an interlaced ornamental device boldy produced so as to be seen clearly from the ground. The central Mihrab is in the form of trefoil arched alcove contained within a rectangular frame work above which raise several tiers of mouldings delicately inscribed with arabesques and calligraphic texts. The mihrab shows clearly the aaesthetic conditions which existed during that period.Mihrab is a copy of a niche in that region, which usually enshrined deities of Buddhist or Hindu.nThe suraj muk or sun face at the apex and the hamsa or sacred goose at the spring of the arch have been converted into patterns of foliage .Th recess has been decorated with Islamic motif of hanging lamp of light. While the adina mosque is vast , it has large mass , largeness and space value while the scale through out has been consistently maintained.

MATERIAL
The upper structure of the arches and domes were of brich but the substructure of the faade was composed of finely prepared basalt masonry taken from hindu temples of Laknauti and places of its immediate neigh bour hood.The whole doorway of the entrance to Badshah ki takt is being placed taken from readymade spoils.

TYPE OF ARCH AND DOMES

The drop arch which has its centerbelow the radii is being used through out in this mosques during the time parallel to the Gothic decorated period. Small domes were raised over each bats supported by pendentives of interesting kind.The pendentives were bricks of oversailing courses, the bricks in alternate course ,set diagonally so that their corners project, the process of transition from square to circular already employed in some of the building s of Delhi.

THIRD AND MOST MATURED PHASE OF ARCHITECTURE.

The two factors , soil and climate had its influence on the development of architecture in this region.In this region, the changing course of riverbeds, silting up of water courses and floods were common so the buildings were of mainly transient type made up of wood and timber so that they can be readily replaced in times of emergency. The other factor is the climate of Bengal, due to the heavy rains in this region, a surface shaped to a curve was sufficient to drain away rain water. Such a curve was achieved by means of bent bamboo , covered with thatch . This curved roof form became a feature in almost all buildings of whatever material , or atleast atleast a curved cornice which represented it. th In the 15 century an example which may be termed as the regional Islamic style came into view.This is a mausoleum at PAndua known as Eklakhi tomb, that of Jalaludin Mohamed shah ( 1414 -31) . Beside being a structure of remarkable character in itself it serves as a prototype of the subsequent Islamic Architecture of Bengal. A simple structure which has square substructure measuring 75 feet side and it height is 25 feet upto the triple cornice and whole being surmounted by a hemispherical tomb of 46 feet in diameter. Octagonal turrets project from each corner and a string course carried horizontally across the middle of the faade simulates an appearance of two stories. This effect is further enhance d by the series of ornamental panels . There is an opening one on each side formed of a stone dorrway torn bodily from ythe hindu temple , but with a pointed arch inserted above the lintel so that the whole resembles the arch and beam combination of Firuzian buildings at Delhi. Tomb chamber is an octagonal hall with no windows , light being admitted only from the doorwayand is 47 feet wide. In this building is seen an early example of curved cornice inherited form bent bamboo forming the eave of the thatched cottage, and the faade itself is divided up into a series of projecting and recessed chases suggestive of frame work of wood and wattle hut. Over the period of successive hundred years muslim rulers of Bengal built similar structures to that of Eklaki tomb , but elaborated , modified or enlarged according to their functional requirements.

VIEW AND PLAN OF EKLAKI TOMB

VIEW AND PLAN OF DAKHIL DARWAZA

DAKHIL DARWAZA AT GAUR.

Finer structures in brick work belong to the period of Bengal. One among that is Dakhil Darwaza , with its immense proportions is a testimony to the skill of the local builders in Bengal.It is a triumphal arch , or saluting gateway aligned to face the ciradel of Gaur, produced to the order of BArbak Shah( 1459-74) and its date would be 1465. Measuring 75 feet across its front and 113 feet from front to back , it is 60 feet in height with an arched passage carried through its centre which is 13 feet wide, 24 feet high and having guard rooms opening on each side. Dakhil Darwaza comprised of a great mass of masonry , but its bulk was broken up by projections and recesses. Thrown out from each corner is the rounded bastion , between which and the central opening is a pylon like buttress one on each side of the frontage and guarding the portal. The two pylons in front are connected with each other by an arch way, thus providing a deep a deep and wide portico containing an arched opening. The circular bastions at the corners are built to taper and is surmounted by cupolas.Most of the structure is fallen although it was previously resolved into a picturesque grouping of pyramidal roofs, domes and similar features forming an attractive skyline. The alteration of the faade with buttresses and bastions produces striking contrasts of light and shade and these surfaces are enriched by ornamentation in terracotta consisting of motifs such as flaming suns, rosettes, hanging lamps, decorative niches and other patterns judiciously distributed. The surface treatment is the influence of the country where the ingenious surface treatment is obtained by a system of vertical and upright lines and mouldings thus presenting a pattern of rectangles.

MOSQUES OF BENGAL
After the Eklaki tomb , the following were the characteristics of the mosques in Bengal. The traditional courtyard was discarded and closed or covered hall was adopted, a change necessitated by the continuous rains of Bengal. They are rectangular in plan usually oblong , their exteriors somewhat low faade with a curved cornice above an d a range of pointed arches below, sometimes as many as ten to twelve of openings extending along the front of the building with two or three openings on the shorter side. At each corner a turret projects.generally octagonal , terminating in a finial. The walls are spaced into rectangular panels often enclosing ornamental niches. Patterns were carved around doorways and in the spandrels giving the whole a rich and variegated texture. The interior has pointed arches across the bays supported by either brick or stone piers , the latter taken from existing Hindu structures. Each of these bays was roofed by cupolas or by small hemispherical domes and the circular bas e is supported on a pendentive of bricks at an angle resembling a simple form of stalactite vaulting.(muqarnas) On the inner surface of the western wall is a series of mihrabs are sunk , the largest being the most important and opposite to the central bayand all elaborately decorated with carving. Chota Sona Masjid occupied a rectangle of 85 feet x 52.5vfeet and its 15 cupolas supported by 8 stone colums on on the Bengali pointed arches. This mosque and Bara sona masjid were roofed by the Bengali roof like cupola which was guilted and hence got its name.

VIEW OF CHOTA SONA MASJID

VIEW OF QADAM RASUL MOSQUE

QADAM RASUL MOSQUE

A substantial structure with three arches supported by excessivel short pillars charctyersistic of Bengal style. The treatment of Qadam rasul mosque predicts the decline. The wall surfaces are divided into monotonous panels. The curved cornice has lost its original charm and they became flaccid and formless.

PROVINCIAL STYLE MOSQUES OF JAUNPUR

Jaunpur stands on the bank of the Gumti river, thirty four miles north west of Banares , was one of the strategic capitals of Feroz shah tuglaq. When Timur invaded Delhi,It became independent and Secondly it came under the rule of Shamsuddin Ibrahim who proved himself to be one of the enlightened sovereigns of his age. Jaunpur boasted of many fine buildings palaces , mosques and tombs. Prominent among these structures were the Atala Masjid, which Ibrahim caused to erect in 1408 on the foundations prepared by Ferozshah Tuglaq.

ATALA MASJID

PLAN OF ATALA MASJID

VIEW OF THE SANCTUARY,ATALA

It was built in the site of the Hindu temple of Atala devi.It consists of a square courtyard of 177 feet isides with three sides cloisters and the fourth side the sanctuary. Cloisters five aisles deep and 42 across and they are two storeyed in height.The periphery two aisles face the street for accommodation of merchants and visitors , the entire mosque covering an 256 feet side. In the middle of each of these sides in north,south and west are entrance porches, the one in north and south are surmounted by domes. In the west is the sanctuary, facing the centre of the sanctuary rises a pylon with sloping sides , its height being 75 and width at the base 55 feet. With in the pylon is the great arched recess , through which one enters the nave and is 11 feet in depth and contains arched niches which illuminates the nave. This arched pylon is a distinctive structure . becomes the main theme of the composition and is repeated in smaller scale on either side of the central pylon.Hence a whole effect of rhythm is created due to the repetition .

The Nave The nave is a 35 feet x 3o feet rectangular hall which open on to the side transepts or pillared aisle on either side . The nave internally is divided into three storeys in height , the lower storey forming the mihrab,in west and and the arches of the transepts. The middle storey is eightsided with arches on each side, of which four from the squinch arches. Through these arches , light is admitted to the interior through stone screens . The

upper most storey is sixteen sided supported by means of brackets, each containing an arch and formin the drum of the dome.The dome is made up of circular layer of brick courses and covered by cement outside to give the circular shape. The transept s on either sides have central octagonal bays in which smaller domes are placed. The extreme ends of the transepts become double storeyed to accommodate the zenana or royal compartment in the upper part which is covered by stone screens. The following elements were taken directly from architecture of the tuglaqs and made into a further refined form. 1. 2. 3. The shape of the recessed arch with its fringe decoration and the sloping sides of the support. The illogical system of beam and brackets below the arch , supporting them . The plain square shafts and the tapering turrets on the quoins ( corners) of the western wall exterior .

This shows that the builders were taken from Delhi by theSharqi rulers. But the manner in which the elements of the scheme are adapted to form a distinctive original composition , shows the Ingenuity of the craftsmen involved.

SLOPING

TURRETS IN THE REAR.

In this mosque the plain exterior at the back of the qibla wall or western wall is relieved by three projections corresponding to three domes of the interior . Each corner of these projections is treated with turrets. Larger turrets are found at each corner of the building itself. Though from the rear point of view the dome hidden behind the massive walls of the pylon and the blank surfaces at the back of the pylon did not produce a pleasing composition however.

JAMIMASJID , JAUNPUR

PLAN OF JAMI MASJID,JAUNPUR

VIEW OF SANCTUARY FAADE AND REAR WALL,JAMI MASJID , JAUNPUR

Its was produced by Hushan Shah, the last of the sharqi dynasty , in 1458 AD, after which Jaunpur came under the rule of Delhi. In its disposition, the Jami MAsjid was similar to the Atala MAsjid, but on a larger scale with certain differences.

The whole mosque was raised on a plinth of 16 or 20 feet in height , like that of the tuglaq mosques and approached by a steep flight of steps. The courtyard is 210 feet in side and has cloisters of two aisled deep and two storeys in height.unlike the five aisle depth of Atala. The courtyard i s a square of 210 feet in sides, and approached by entrances with domes on north, south and west. Th esancturay in the west is entered by a massive pylon which is 85 feet in height and 77 feet wide at the base.on each side of the pylon are the arcaded wings of side aisles and marked absence of smaller pylons like that of Atala.

THE NAVE AND THE TRANSEPT HALLS

The interior of the nave dome is 38 feet in diameter and has the same disposition in three storeys as that of Atala , only that the octagonal sides have open arcades to light the interior. The pillared halls in the sides that are placed transversely to the nave is double storeyed and covered by stone screens in the upper compart ment to house the zenana. In the centre of these transverse halls , an unique placement of a vaulted hall , each of which is 50 feet long, 40 feet wide and 45 feet in high is found.It spacious interior is unobstructed by any supports and lighted by the arches that open to the courtyard. These transept halls presenta avery interesting study.Such a space which is uninterrupted by any support is rare in Indian Architecture. The vault system is in intact state unlike the nave of the Adina mosque at Bengal which is collapsed. It is due to the construction principle adopted , its is still intact. To achieve this purpose the builders threw across the 40 feet width four arches in the form of ribs, two transverse arches at wide intervals in the middle and two at the ends . On these they laid the infilling or severies formed of flat stones sitting on the back sides of the ribs.Result is a solid stone shell , built of large blocks and materially homogenous .To take the lateral thrus t of these vaults the exterior wall is made to an abnormal thickness of 10 feet . In the whole , the scheme was an innovation and the experiment was undoubtedly succeeded.

PROVINCIAL STYLE GUJARAT

The two reasons why the Indo-Islamic architecture in this part of the country if pre-eminent one is 1) The continuous patraonage and building ambition of the rulers . 2) Profound artistic traditions of the inhabitants. For centuries the craftsmen were employed to build the brahmanical and Jaina temples which adorn this region, so that architecture became part of their consciousness. They began to produce the buildings under muslim overlords with the same kind of aesthetic and constructive sense a s the y built before. Inspite of their restraint they expressed themselves more abundantly. Thus the provincial style emerged in Gujarat is the most indigenously India. So the position of the artisans here were somewhat different from else where in the sense , they were more resourceful, more fertile and vitally artistic . Islamic style of Gujarat span over a period of 250 years , from the 14 century , when Khalji sultans of Delhi appointed their governors in Gujarat till the decline of the independant Ahmed Shahi sultans in the last half of th 16 century and in when it was absorbed by mughuls.
th

THE STYLE MAY BE DIVIDED INTO 3 PERIODS.

1) The period when it had charm and considerable dignity but still in experiment and transitional stage., It is a period of preparation-Ex- Jami MAsjid ,Cambay. 2) This period is marked by increased assurance and directional authority prevailed in first half of fifteenth century. Ex Jami Masjid at Ahmedabad. 3) Thi s period occupies the latter half of fifteenth century, and also in sixteenth century , preserving some of the freshness of previous manifestations at the same time attaining perfect architectural achievement. Begarha period as ruled by the king BehargaEx Jami Masjid at Champanir .

JAMI MASJID AT CAMBAY.

SANCTUARY FAADE OF JAMI MASJID , CAMBAY By the appearance of the mosque one can say that the local builders /craftsmen who built this mosque were directed by a group of artisans from Delhi. This is shown from the fact , that the sanctuary is not an open pillared hall as that of the mosque at Broach, but rather a screen of arches as that of Qutb Mosque at Delhi. Moreover from the shape and disposition of the arches and the alternative broad and narrow course of masonry, proclaim that thecreators were not only trained in Delhi tradition testifying their indigenous nature in craftsmen ship. The bays of the sanctuary pillars are spanned by means of engrailed arches similar to that of the arches found in the sanctuary screen of Arhai- Din-ka Jhompra. This engrailed arch of temple extraction , later was to became a regular feature between the pillars within the central openings of sanctuary facades of later mosques.

Ahmedabad was built on the banks of Sharmathi river by Ahmed shah I where his citadel wa s found. From the citadel to wards the city he create a grand processional route, connecting the citadel and the Mosqus of Jami Masjid Ahmedabad on its northern side.Across this route he created a stately triumphal arch known as Tin Darwaza or triple gateway, to constitute the main entrance to the outer courtyard of the citadel. From that he could view the pomp of his court.

VIEW OF TEEN DARWAZA, AHMEDABAD

TEEN DARWAZA
It contains three openings resembling the triple arch ways of Septimus seveus and of Constantine of rd th the 3 and 4 centuries.Teen darwaza is 37 feet in height compared to Septimus Severus which is 68 feet .whereas the other dimensions exceed the Roman production. It is 80 feet wide and 45 feet deep in Teen Darwaza. All the three of them are of the same height , if the composition with the arches at the sides were much narrower than the central one , the composition would have been a pleasing one. The graceful shape of the arches ,the parapet relieved by the oriel windows on brackets and rich carving of the buttresses projecting in front of each pier. The whole contribution is the shape of the pointed arches which are seen at their best when compared to the whole of India.

JAMI MASJID AHEMEDABAD

Jami masjid in Ahmedabad was finished in 1423 AD and can be considered as water mark in mosque design of western India. It approaches from the previous stage of hesitation to a complete and prefect realization of the ideal. Due to the architectural genius, the work has developed from a mere orderly pile of moulded masonry to become a thing of spirit. The architectural effect of the mosque is concentrated in the sanctuary,especially in its faade. The courtyard measures 255 feet by 220 feet.

VIEW OF SANCTUARY FAADE ,JAMI MASJID,AHMEDABAD

FAADE OF THE SANCTUARY

In the faade design the craftsmen have designed a screen of arches of three in number.In the interior of this faade lies the bays of slender pillared columns. This faade of arches is placed in juxtaposition in arrangement with the collanade at the back. The faade of arches with their solidness contrast with the airy collande at the back. The result is the combination of solid and void , interplay of light and shade among its frontal columns . The three arches are well balanced in its proportion , the large central archway accentuated and supported by means of richly moulded buttresses of the minarets whose upperparts have now disappeared. An engrailed arch spans the front two columns with the central archway fancifully and lightly.

INTERIOR
Interior of the mosque take the form of hypostyle hall, 210 feet long and 95 feet deep and consists of some 300 slender pillars and their intercolumnation is less than 5 feet. The nave is composed of two pillared galleries one above the other, the whole structure being supported by the tall columns of the hall below.These galleries enclose a wide central shaft of rotunda except that it is not circular in plan the lower storey being a square and the upperstorey an octagon. The galleries are found on all three sides of then rotunda except on the front side. At each stage of the gallery there is an overlooking balcony facing the front. Around the exterior of these pillared verandahs or loggias facing the terrace at each level, and in the inner walls of these loggias are perforated screens through which light enters the galleries illuminating them. ,the arrangement is like no direct light enters the galleries and only diffused light fills the whole of galleries. There for the central compartment of naveor rotunda rises to three storeys. There is a hanging gallery or zenana in the northern transept.

SOURCES OF THE GALLERIES OF NAVE

1) From Hindu temple architecture with innovation of rotunda in the cenytre, and certain alterations made to the mandapa. 2) From the stepped wells or wavs which is found in and around this region 3) Certain temples have greater height to admit light inside the building a s seen in ceratin examples of earlier temple architecture.

JAMIMASJID AT CHAMPANIR
Champanir is situated 78 miles south east from Ahmedabad.The most striking example is Jami masjid. It is not excessively large ,it occupies the three quarter of the area of the Jami Masjid,a rectangle of 270 x 180, half the space occupied by the sanctuary, the courtyard is surrounded by cloisters of one aisle deep. Besides the entrance portalone in the north,south and west, the western wallat the back of the qibla is adorned with beautifully moulded buttresses. The sanctuary faade is of enclosed kind with five archways , the one large arch way in the centre is flanked by two minarets on either side , the minarets are ornamented with mouldings on the lower storey and unadorned in the upper storeys. The sanctuary faade is treated economically only to be relieved by an oriel window one above the central opening and one on each side of the minaret. The oriel windows give charm to the buildings of Gujarat whether Hindu, Jain or Islamic.

When compared to the Jami masjid of Ahmedabad , the one at Champanir could not effect any pronounced improvement except for a fewer refinements. It is found that the slender pillars of Champanir are more sophisticated as may be seen in the vertical recessed chases of the shafts.

THE NAVE The dominating feature of the whole is the upperstructure of the nave which mounts upto three storeys. It is similar to Jami masjid Ahmedabad, but more of the temple influence in the composition. The central portion of the nave has a rotunda to be covered by a dome above which is three storeyed in height. The first floor floor has pillared galleries. The opening enclosing the rotunda in this floor is in the form of a latin cross with extremely small arms. The first floor gallery is in line with the terrace of the rest of the sanctuary and used for circumambulation. The second floor entirely is confirmed by the limits of the latin cross .In this floor the balcony enclosing the rotunda takes the form of an octagon. The gallery of the second floor is communicating the oriel window above the arch way. Above the second floor the dome directly rises above. Around each of the balconies are stone seats and as they are seaparated from the space below provide retreat for peaceful meditation.

SANCTUARY FAADE, JAMI MASJID,CHAMPANIR

REAR WALL OF THE QIBLA,JAMI MASJID,CHAMPANIR

CUT SECTION, SANCTUARY NAVE , JAMI MASJID,CHAMPANIR

PROVINCIAL STYLE : MALWA .THE CITIES OF DHAR AND MANDU

The provincial style of Malwa is concentrated on the two cities of Dhar and MAndu. Among this Dhar was the ancient capital of this region while MAlwas was the capital found by the newly established muslim kings. The artistic impulse during the rulke of Hindu kings was not much pronounced as that of the other parts of the country . There fore the Muslim rulers had to lookfurther for their source than their own possessions to carry out the buildings. For Architectural inspiration the Ghuri dynasty who ruled Malwa had to look at Delhi , from here they could obtain the craftsmen to build their buildings. Some of the architectural elements brought from Delhi were The battering walls and pointed arches with spear headed fringes of the early tuglaqs The arch-lintel combination of Firuz The boat keel shaped dome and pyramidal roof of the lodis

Thoug borrowed from Delhi they had their own innovation in construction Some of the innovations are attractive method of the combination of arch with the pillar and beam construction, forming it out of temple materials. Other characteristic of the Malwa buildings are 1. 2. 3. The appearance of stately flights of steps to the entrances due to high plints This lofty terraces provised an excellent introductory approach. Use of color as a part of decorative scheme. Though orginal poly chromatic decorations have nowDisappeared. Originally they have used red sandstone and marbel for colur s,Som e of the interiors were inlaid with precious stones. Borders and panels were decorated with brilliant glaze in blue and yellow,showing the evidence of glazed earthernware.This showed its connection with Multan.

The three phases in which the Malwa architecture passed into are Phase 1: Temples were dismantled and converted into mosques Phase 2: Monuments wer e of original in character having a sober and massive elegance showing that muslim rule have been firmly established an dmay be termed as classical phase. Phase 3 : Less austere and more fanciful type of buildings expressed in pavilions, Kisoks, pillared courts , balconied turrets and colonnaded terraces providing a setting to the romantic conditions which brought the Khalji dynasty to close. The Ghuri rulers shifted their capital from Dhar to Mandu, for security so tha there was natural defence and little need was necessary for protection . The situation of Mandu with the natural barbican shape spur from the vindyan range was ideal for such purpose.It was two thousand miles above the sea and there was the fortress of the city. This produced a natural scenic landscape on an elevated plateau of great beauty together with plains of narmada 100 feet below.

JAMI MASJID ,MANDU

The largest and most impressive of these group of buildings in Mandu is the Jami Masjid. It was began by Hushang shah and completed by MAhamud in 1440AD.

PLAN,JAMI MASJID,MANDU SANCTUARY FAADE ,JAMI MASJID,MANDU

ENTRANCE ,JAMI MASJID,MANDU

ENTRANCE
It occupies a square of 288 feet with an additional portal of 100 ffet long, with a domed entrance hall and a wide flight of steps. There are subsidiary entrances on the northern side one for the priest and one for the private doorway of zenana, both are elegant structures breaking the monotony of otherwise plain walls. As the building is raised on ahigh plinth , the front side has series of arcaded chambers which are used as serai.The entrance hall in the west with its dome together with domes at the back above the sanctuary, all make a balanced composition and give the qualities of measured accentuation. The courtyard is 162 feet square , having cloisters all around, with eleven arches along each side fronting the cloisters. The cloisters on the north and south is three aisles deep and the east is two aisles deep and the one in the west which takes the form of the sanctuary is five aisles deep. The sanctuary is distinguished by three large domes and further several small domes are symmetrically placed all over one above each bay, totaling to 158 in all.The Sanctuary does not possess any screen in the front.

INTERIOR
The effect produced by the repeating of arcades ( in the form of tudor arches)one with in another gives a stately appearance and also keeping with its sacred purpose for which it is built. This arcades are simple except for occasional display of ornamentation .But variety introcduced into the scheme by means of sculptured mihrabs which are placed at regular intervals and also a elegantly carved minbar whose eaves are supported by s shaped brackets.

Except for these elaborations and few colured decorations , the Jami masjis at MAndu , relies for its architectural effect on the value of the plain surfaces , judiciously disposed in relation to one another , and on the graceful lines, curves and planes with which it is fully endowed.

HUSHANG SHAHS TOMB

PLAN AND VIEW OF HUSHANG SHAHS TOMB, MANDU

The remaining monument of the central group at MAndu is the tomg of Hushag shah. It was conceived and part built by Hushung Shah and completed by his successor Mahmud in about 1440.This tomb stands on a square enclosure near to the western wall of the Jami masjid enabling the ruler to rest in repose under the shadow of the mosque that he had constructed. There is an domed portico in the northern side and a cloister in the western side for prayers. tomb stands on a plinth and is a square structure surmounted by a large dome iin the centre and a cupola in each of the corner. Its plinth is 100 feet in sides and the building is 86 feet square side with walls over 30 feet high . It is built entirely of marbl e relieved with occasional passages of colours. There are triple openings on two of its sides . Th central opening in the south forms its main entrance and the rest of two walls a re plain uninterrupted surfaces. The tomb has a horizontal eaves running allaroound supported by means of brackets, which releieves other wise plain walls. Due to the lack of variety this building gives an austere and contemplative appearance

Two other buildings belonging to the classical phase of style belong to the residential quarters and they are Hindola Mahal and Jahaz Mahal. One of this is the Hindola Mahal an example of Malwa mode in its dtern and stable aspect and the other is the JAhaz mahal, illustrating the fanciful mode and these two contrasting buildings represent the two oppostite and extreme poles of the same architectural movement.

HINDOLA MAHAL

VIEW OF HINDOLA MAHAL

It is one of the Hushangs projects in built about 1425 AD. ,while its use was an assembly or durbar hall.Its extremely thick walls slope like those of castle keep , while the whole character recalls the fort in miniature with out any obvious reason,So pronounced that its sloping buttresses are steeply sloping in 77 degrees and creating an illusion that the mahal is swaying and hence the name Hindola Mahal or swaying Palace. Taking the main hall first , this is an oblong building 110 feet by 60 feet and 35 fee t high upto its cornice, having in its longer sides six tall deeply sunk arches containing a doorway below and a window above, the middle one forming the main entrance. The interior is 881/2 feet long x 241l2 feet wide and 32 feet high with a series of five boldly projecting arches across the width thus acting as ribs to support the roof. Though these arches are present the entire roof is supported by wooden beams which are now vanished. The other portion of this Mahal is the traverse building corresponding to the cross bar of the letter T in plan , practically of the same dimensions of the main hall, but differeing in elevation that its is in two stories.It is less formal style the doorway and openings are of the usual kind and the openings were in the form of oriel windows with artistic design. The ground floor is in the form of cruciform gallery one of the arms open into the main hall. Upper storey , overlooks the main hall through a small opening .This traverse portion probably would have been the private apartments for the royal household, overlooking the audience hall. Thus the entire structure of the Hindola mahal is the combination of Audience hall and Royal apartments.One explaination to the bulky main walls that there was an intention to locate th zenana in the first floor , and the project later abandoned in the course of construction. The whole monument with arches , buttresses and oriel windows looks curious than beautiful.

JAHAZ MAHAL

VIEW OF JAHAZ MAHAL The JAhaz Mahal is the final building represented in the classical style and was built by Mahmud in the last half of the fifteenth century , when the style was beginning to progress toward s lightly elegant and fanciful style that charcterised its third and final phase. This palace is a long double storied building with alength of 360 feet and width less than 50 feet situated on the banks between the two tanks the KAphur or Camphor talao and Manjo Talao., both its position and shape must have suggested the name Ship Palace. This structure does not have the sloping buttresses or ponderous wealls , instead it is lively , decorated with friezes of colored glazed tiles. The body of the building consists of a arcaded front shaded by a broad eave above which is a kind of trifoiurmof recesses arches , wide parapet with a repeat pattern of tiles. On the roof are open pavilions, airy kiosks and overhanging balconies which relected in the waters presenting a picture of no ordinary beauty .

The interior arrangements consisted of pillared compartments, cool corridors and sumptuous bathing halls all one time fitted for the accommodation for the royal ladies. Every part of the design carefully worked out composition and construction of no mean order. This applies to the shape and grouping of pyramidal roofs and cupolas while projecting eaves and cornices produce the effect of light and shade. The third phase of the Malwa stle was the logical development of the example described above.

THE DECCAN GULBARGA, BIDAR AND GOLCONDA

The regional style of the Deccan started when this territory was first occupied by the Delji sultans in the last years of the thirteenth century and continued until it was incorporated into the Moghul empire in the seventeenth century, a period of more than three hundred and fifty years. In the other regional styles there was a fusion of the local indigenous style of the temple and building styles of Islam. Unlike this , the rulers of the Deccan have seemed to have ignored the local style of the country it occupied . In spite of the Dravisian and Chalukyan styles of temples the rulers have seem to have taken no clue from these structures. Rather there was a fusion of two different styles of Architecture in the Islamic Architecture of Deccan. One was the Architectureal style got from the sultans of Delhi and the next was from distant Persia. The Delhi contribution was brought when Sultan Mohamad Tuglaq forced migration in 1340 of the inhabitants of the capital of Jamuna to the new found city of Daulatabad.So the craftsmen also moved , and laid the foundations of the Architectural style of Deccan. The other Architectural current from distant Persia came from different sources .As the Islamic people immigrants were Persians,Mongols and Turks it was natural for them to look at their home country for inspiration and knowledge in buildings. Also the Persians came through Arab ships to the western India which gave access to the Bahmani kingdom , so even in early days there was strong influence of Persian at the Deccan capital.The first ruler was a Persian adventurer from the court of Delhi who proceeded t o establish the BAahmani dynasty at Gulbaraga in 1347.

THE EVOLUTION OF THE STYLE OF ARCHITECTURE

Instead of merging into Indo Islamic style they began to transfer the building bodily to the Deccan in Iranian and they were purely international in nature. This was due to the rulers who insisted belong to the native land of Persia wanted to construct in the tsyle of their homeland. But there are a series of monuments which shows that Deccani style gradually achieved its final formation.Those are the royal tombs at Bidar,Gulbarga and Golconda.Earliest type of the tomb of Alaud din BAhman there was a crude imitation of the sty;le of Tuglaqs- familiar sloping walls and other characteristic styles. Later in the tombs of BAhmani kings in the fifteenth century at Bidar, Persian elements were seen in the proportions and shape of the dome and the first signs of constricted base abov e the octagonal drum, but even more pronounced in Qutb shahs at Golconda in sixteenth and 17th century where the bulbuous tartar dome is fully developed and the whole composition indicates the amalgamation of various architectural forms from these two independent styles from separate sources.

PERIODS OF STYLES IN DECCAN

The first period in 1347 when Gulbatga waa founded and the BAhmani kings ruled from this capital The second period when the capital was transferred from Gulbarga to Bidar in 1425 , rules by Bahman and Barid shah kings. The third period when the Qutb Shahi kings ruled from the capital Goconda from 1512 unti 1687 when it was conquered by Moghuls.

JAMI MASJID AT GULBARGA

PLAN AND VIEW OF JAMIMASJID , GULBRAGA

It is a rare example of Indain mosque with no courtyard. The structure is entirely covered and forms a class of itself. Some of the originality in design and construction is due to the fact that it was produced under the direction of the hereditary Architect named Rafiq who was from Kazvin a town in northern Persia. The unsual confirmation is due to his own genius. In its form it is an amalgamated form of bot h Persian and Indian. Its is in a plan of 216 feet x 176 feet. The open courtyard of the entire steructure is filled in by rows of aisles , forming 68 bays each roofed by cupolas, thus converting th whole into a vast single pillared hall, so the originality of the conception is understood. Exxternally the main dome of the sanctuary is presented with additional height and stateliness by mounting it on a lofty and substantial clear storey . The elegant dome is repeated with the same spherical volume in smaller size at four corners at each angle. Internally the dome on the clear storey is supported by means of squinches and some of the squinches being foliated order. This implies a sound experience and ripe technical knowledge. In the interior of the mosque in the treatment of the cloisters instead of pillared aisles, there is extremely wide span arch ways on low imposts altogether not a pleasing effect is produced.

EXTERIOR
The exterior of the mosque has a grave and restrained massiveness. There is mass in its expansive plain surfaces and in the archways of its enclosing walls. But the dome due to it refined contours and excellent proportions gives an airy nature. In the middle of the norther n side is the main entrance breaking otherwise symmetrical structure. Passing through these entrance gateway one is encountered to a perspectiveof square bays traversing in both th directions. There is something unusual about these wide arch ways that they are

bold and daring and the entire composition is original. Yet this is more of intellectual greatness than srtistic beauty. The clearstorey supporting the dome and the wide span arches with low imposts began to be reproduced in many of its subsequent structures and provided a key note for the later monuments.

MADRASSA OF MOHAMED GAWAN

PLAN AND VIEW OF MADRASSA The building at Bidar so exotic in character is the MAdrassa or college founded in 1472 by Mohamed GAwan , the minister of Mohamed Shah III. This scholarly Persian built this madrass in the country of hus exile , a building in th esame manner of the building in which he received his training in his native land. HE not only inported the workmen but also materials so that this building became a piece of Persia in India, without any appreciable modifications to suit the environment of Deccan. Here was an Islamia college , complete with lecture halls, library , mosque and ample accommodation for professors and students in architectural style resembling those in Perasian cities. It covers a rectangular space of 205feet x 180 gfeet with a conventional courtyard from which opens halls and chambers on all the four sides .Exteriorly in the middle of the three sides are semi octagonal projections topped by tartar domes while the fourth side is the main facade contains the entrance and has two minars in three stages one at each corner. Most of the exterior elevation is three stories of arched window openings and there is a wide parapet over all. The building more than its architectural style relies upon Persian tradition for its surface decoration . The surface is prepared to overlay brilliantly glazed tiles in conventional arabesques and decorative inscriptions. The foundations were treated with lead to prevent moisture from harming the tiles. Thus in this building decoration being subordinate to the construction , rather it dominates it.The architectural character becomes a framework provided by the builders for the display of its applied art.

TOMBS OF GOLCONDA
The third and final stle of the Deccan is the KINGDOM OF

GOLCONDA.

The architecture is

concentrated near the ruined deserted city of Golcondaand also in Hyderabad. For the style of this region one must look into the tombs of the Qutb Shahi kings.Together they make around seven in number. Qutb shahi tombs are same as that of the bahmani tombs at Bidar but with the addition of architectural elements and decorations that are florid order,not as an essential part but for its own sake forming the style of its character.

There were richly moulded and fanciful pinnacles and flimsy battlements with other purpose less embellishments. The dome at this time has become expanded into full blown bulbuous creation with calyx formation at its base. Some of the Golconda tombs are in two stories the lower portion being extended by means of arcaded verandah and there were cornices projected on brackets. In the interior owing to its size and especially the increased height of the dome it was necessary to cover the mortuary chamber by ,means of a curved ceiling leaving the interior dome with the great void, but not same as the structural system of the double dome adopted by the moghuls.One of the most characteristic of the royal tombs is that of Abdullah qutb shah , it is a two storied monument , its upper portion surrounded by a hanging balcony with perforated panels,merlons and numerous finials.

CHARMINAR

VIEW OF CHARMINAR Its is a triumphal archw ay produced during the Qutb shahi period.at the existing capital city of Hyderabad. In position and appearance seemd to have been in sam in purpose as that of Teen Darwaza. Its square plan measure 100 feet in sides and four minars at the corners is 186 feet in height. Its ground tsorey consisting of four spreading arch ways one on each side and each of 36 feet in span over which rises a series of diminishing stories beginning with arcaded triforium and having smaller arcade and a perforated balustrade above. There is certain aesthetic excellance in the conception of this grand way. It has strength without being aggressive is dignifies yet spirited. The minars which lightly iin leaping stages provides a soaring trend so essential to such a structure . And through out the entire building there is a superfluous application of detail and elaboration of its parts but not so effective . None of the building s produced after this attained the superioer appearance of this , the leading example of the style

BIJAPUR
Though the qutb shahis of Golconda and Adil shahis of Bijapur were ruling during the same period, the Bijapur went on to produce the most aesthetically and constructionally competent manifestation of architecture in the whole of the Deccan., while the buildings of Golconda failed to achieve such an effect and produced building s which were excessive in detail. The difference is due to the fact that the Qutb Shahis of Golconda, were distributing their patronage to several intellectual pursuits whereas the Adil Shahis concentrated their energy to architecture and its allied arts.Each successor excelled than the previous ruler in number,size or splendour of the building projects. The result is that there are few cities in India which where there is a fine display of buildings than in 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 wit h 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 finis hon top of the turrets and also on top o fthe 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. Amon g the decorative elemnent 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 in stome or moulded in stucco.

JAMI MASJID AT BIJAPUR

SANCTUARY FAADE

, SANCTUARY FAADE

PLAN

AISLE INTERIOR

It displays the connection of the style with the previous Bahmani dynasty.It was never completed and lacks the front minars on either side of the eastern exterior. An entrance gateway was provided by th the moghul emperor Aurangazeb in the 17 century even then the building looks in complete.The merlons of the parapet around the courtyard detracts it from the general effect. Its plan is a rectangle of 450 feet x 225 feet . The wall surrounding such an expansive exterior is treated with two rows of arcades one above the other, the lower being ornamental and upper forming the loggia, running the whole length of the back and sides of the exterior. The courtyard within the mosque which is a square of 155 feet side , is contained on three sides by superb range of arches seven on each side , those on the western side , with the central arch emphasized by foliations forming the faade of the sanctuary.Over thius faade arches projecst a wide and deep cornice supported by brackets , and above the middle of the sanctuary rises the square arcaded clearstorey supporting the great dome. Thus with the clearstorey one can connect with the mosque of Gulbarga. But the shape of the doem produces a more greater appeal to the aesthetic senses. The doem itself is not stilted but hemispherical in shape and the clearstorey with arcaded fenestration amd more pronounced system of merlons over the parapets. Interior of the sanctuaryhas a large hall of 208x 107 feet divided into five aisles by means of arches on substantial masonry piers.The nave in the center is a square compartment of 76 feet diameter and contained twelve arches three on each sides .These artches intersect above forming the octagon to support the dome. Around the central space are bays of the aisles The surface treatments is architectonic order more for accentuating line or space than for actual embellishment.The mihrab consists of a mural design in relief and brilliant colour. Thus this mosque is essentially a conception of simplicity and dignity and complete in itself and independent of any overlay or applied art..

IBRAHIM RAUZA

VIEW OF TOMB

PLAN

VIEW OF THE MOSQUE

VIEW OF THE MOSQUE AND TOMB

It is a mausoleum situated in the outer walls of the city in the west.It was built to the order of the Ibrahim adil Shah the rulers last resting place, the rauza consists of two main buildings the tomband the mosque with certain accessories , all standing within a square enclosure, the whole forming an attractive garden retreat.Its dimensions by no means is simple . Th entire enclosure is 450 feet square but the tomb building is also a square of 115 feet side.Every part whether structural, ornamental or utilitarian is meticulously placed and placed in its exact position. Within the enclosure is ona oblong terrace 360 ffet long and 150 feet wide at the eastern end is the tomb and the western end is the mosque. The open space inbetween is an ornamental fountain.In order to produce a symmetrical composition these two buildings have been made to balance in style and volume., but th e tomb is a more splendid conception. It has the usual tomb features with the central chamber containing with an arcaded verandah and surmounted by a dome on the top., all parts so arranged to produce a harmonious effect. The important among them is the disposition of the arches of the faade. The two of the arches in each faade fare narrower than the others providing a subtle variety in the voids . This alteration in spacing is carried out through the rest of the composition upto the parapets and the finials on them.Tall minar shaped turrets rise from each angle os the building . The accomplishment is the elaborately bracketed and battlemented upperstorey carrying the bulbous dome.

INTERIOR
Passing inside the building, with in the arcaded there are double row of pillars forming a double arcade around the central chamber.Interior wall of the tomb chamber is spaced into an arcade of shallow arches and enclosed by a system of borders and panels and piers at the corners. The space in between filled with arabesques or traceried inscriptions. All these were distinctive to the Bijapur style and the artisansof this school had a gift of originality. In the interior chamber which is a square of 18 feet is roofed by a coffered ceiling , leaving a great void in the center . The whole of this ceiling is hanging on massive brackets supported ony at the ends. The middle ribs are simply butt jointed and held in place by mortar and therefore remains a mysterious hanging ceiling.This shows the the Bijapur masons were masters of their craft.

TOMB OF GOL GUMBAZ OR ROUND DOME

This is the mausoleum of Mohamad Adil Shah and is one of the largest and remarkable single buildings in India. This is the only building which is completed of the entire architectural scheme which was formed with several otherl buildings. In spite of the cast size the Gol Gumbaz is based upon simplest architectural forms. Externally the body of the building is a great cube with a turret or tower at each angle surmounted by a large hemispherical dome. The satisfying appearance of the composition has been obtained by the exceelant proportions existing between the elements , the ratio between the square mass below and the dome above. To these subsidiary elements are added which contribute to the architectural effect. Chief among them are the projecting cornice supported by closely spaced brackets. And above this are the row of small arches , its formality relieved by skillful spacing and above this a parapet of merlons with finials breaking between them forming the skyline. On top of this the lotus shaped petals on which the dome rests. The plane lower surface of the ciube is relieved by three shallow arches and one in the centres is paneled to reduce oit to human scale to the size of the normal doorway.All thes e elements take their correct position in the composition thus forming a pleasing effect. But the turrets in the corner is not in harmony with the entire composition.

INTERIOR
The interior is one of the largest single cells ( unobstructed interior space ) ever constructed . The noticeable feature is the system of arches , which from the sides and culminating at the top to support the dome above. No double dome was employed in the interior, to save the thickness of the masonry. The conversion of the square below in to an octagon is achieved by system of arches which remains with in the square below wheres in the upper portion they intersect as alternate arches forming the support of the dome to a octagon.over this the cornice of the dome rested. The interior surface of the dome is set back outside some twelve feet from the cornice so that a proportion of the load is transmitted to the square walls and reaminder being carried inwardly by the intersecting arches. The dome itself is a plain plastered vault with six small openings at the drum and one flat at its crown. It is constructed with horzonta;l layers of brick with substantial layer of mortar beween each course.The whole being a thickness of 10 feet. It iis possible that the masons derived their inspirations from Ottoman examples. The whole dome due to the overasiling layer of bricks required no timber support except at the crown. The system of intersecting arches supporting is unknown anywhere except Bijapur except of the cupola of cordoba in spain, A Moorish example built earlier.

THE DIMENSIONS
The total width of the sides is equal t o the height of the building which is over 200 feet and outside diameter of the dome is 144 feet.The interior of the hallmeasures 135 feet across and is 178 feet in height . Th whole interior if the spaces covered by the projecvtions are omitted the interior area of hall amounts to 18000 sq.feet.It was created to create awe and amazement within the spectator due to its immense size and this ideal is fulfilled.