across place and time - exploring deccan architecture
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ACROSS PLACE E X P L O R I N G D E C C A N
A N I K E T
M I A
P D 0 0 0
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“After the establishment of independent Bahmani dynasty of Deccan in 1347, the De
evolved a distinct style , based largly in its early stage on existing Tughluq style of Del
later influenced by the building art of Persia .With the transfer of the capital froGulbarga to Bidar in 1424, the Deccan style enters its second phase during which it fu
imbibed Persian influence. Most of palace building have succumbed to ravagtime but their remains are sufficient to indicate their magnificence and grandeur on
hand and strong Persian influence on the other. “
- Z.A.Desai,
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A B S T R A C T
Rich in historical background and cultural heritage, India, down the ages, have
presented wonders of art and architecture. The palaces and tombs at Bidar,
Bijapur and Golconda invigorate us with exotic visions of the Middle East, afantastic Arabian Nights atmosphere. Nor should this impression be dismissed a
fanciful, Deccan was always had distant Islamic culture, far from itsMiddle Eastern sources. The relationship between cultures of Persian countrie
and India is best manifested in art and architecture; although, this relationship
has suffered various vicissitudes.
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I N T R O D U C T I O N
The plateau region in the centre of peninsular India, known as the Deccan, is one
the country’s most
mysterious and unknown regionsin terms of artis
heritage. Few scholars, Indian or foreign, have worked extensively in the Deccan
which remains little visited and surprisingly unexplored. (Zebrowski mark, 2008)
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HI S T O R I C A L F R A M EW O R K
The profound impact of Middle Eastern culture is
also hardly surprising considering the origins and religious
affliations of Deccan rulers.
The Qutb Shahis of Golconda were descended
of Qara Turkman who were driven out of Iran in the 15th
century; the Adil Shahis of Bijapur claimed blood links
with the Ottoman dynasty established in Istanbul; the
Nizam Shahis of Ahmadnagar, although descended fromHindus converted to Islam, embraced Shiism in the early
15th century.
After the conquest of Iran by the Shia Safavid
dynasty in 1501, Persian influence became paramount. As
a result, a distinct Islamic culture developed there which
displayed more direct contact with the Middle East than
with North India.
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P E R S I A N A R C H I T E C T U R E
Iran is a nation that is considered extraordinary by the standards of the Middle
East. It formed the crossroad of civilization among the Middle East, Far East,
Europe, and North Africa, and for this reason, many evidences indicated great
extent of architectural exchange and relation between Iran and other countries
After the arrival of Islam, major Persian historical periods were : Seljuk (1077 –
1307) Illkhanid (1256-1353 AD), Timurid (1370-1506 AD), Safavid (1501-1732 AD
(Pirnia, 2001).
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GoharSuleymaniye Mosque, Istanbul , 1558
(Ottomon Empire)
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THE BIBI KHAN
(140
Domes Persian architecture
throughout most of t
the exterior and inte
usually decorated wi
of blue, white,
employ axial symmetTHE BIBI KHANUM MOSQUE, Samarkand, Uzbekistan (1404)
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Iranian domes are distinguished for their height, proportion of elements, beauty of form, and roundnThe outer surfaces of the domes are mostly mosaic faced, and create a magical view.
Proportion of Dome Panorama of Dome
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Large scale geometrical ornamental patterns on its facades are
made of dark and light blue glazed bricks (REASON). Themosaic panel over the iwan's entrance arch is decorated by
geometricalstylized ornaments.
TA hollow dome whichhas two layers, one which is
in the interior and roofs the
room below, the other or the
external surface which
proclaims the monument
from a far
Geometric Pattern
Entrance
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I N D I A N A R C H I T E C T U R E
All the Muslim traditions in the Indian subcontinent display both the greatest
complexity and the greatest independence. Its complexity is evidenced by five
sultanate : Delhi sultanate (1190-1545) in the north, with satellites
sultanate being the kingdoms of Jaupur and Malwa. The Gujarat sultanat
(1391-1583) in the west, the Bengal sultanate (1339-1576) in the east,
Deccani sultanate(1347-1687) in the south, and finally, the Mughal
sultanate (1526-1858). (Pirnia, 2001).
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Tomb of Muammad Shāh Lōdī , Delhi , 1444, Qutub Minar, Delhi, 1199
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D E C C A N I S U L T A N A T E
The first notable Indian style in the south was the Bahmani dynasty. First at
Gulbarga (1347AD), and afterwards at Bidar (1426AD) . The Deccani style was a
peculiar harmonization between the Hindustani and Mussulmanimodes. Since it had indirect influence of Central Asia, architects somehow
attempt to make difference in architectural style were essentiallyenumerated and was marked by a grandeur of conception and boldness in
construction (Koch, E., 1991)
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Fort, BidaKhush Mahal , Warangal, Early 14th
Century
Plaster Detail, Mosque associated with Ali BaridShah , Bidar, 1577
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P E R S I A & I N D I A
“In the Mughal era, bilateral relations between Iran and India reached the
highest level in all aspects of life: so much so that it is called the “Golden Era” o
the development of socio-cultural and political ties and close relations between
the two countries” (Pourjafar & Taghvaee, 2004)
In the 16th century, Iran witnessed the rise of the Safavid Empire, while
India was contending with the corresponding rise of the Mughal dynastyThe Mughal period in India (1526-1707) was a contemporary of the Safavid
dynasty in Iran (1524-1729), while the Timurid period (1370-1524) camebefore both.
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I M P A C T O N D E C C A N I S U L T A N A T E
The earliest mosque in the Gulbarga is one of the first in India to reflect
contemporary Timurid interest in the multi-bay prayer halls of the Jami -Masjid of Isfahan. Bidar (the sub style of Deccani Sultante) architectural
distinction is neither tomb nor mosque, but the great Madrassa of Mahmud
Gavan
Symmetrical four-iwan plan, with colored tiles and cruciform chambers and
satellite domes on reticular pendatives, which are related to the contemporary
Timurid work (Maryam khazaee, 1996)
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J A M I
G
Built inside
a unique mosque wit
smaller ones as emb
The Mosqu
the Arabic style comm
Western church arch
features of architectu
churches brought to
religious sites in East
merchants and slave
1985) Jami Mosque, Gulbarga
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On a rectangular base, this mos
two bays deep and a tr
erhall which runs around threng.
Plan of Jami Mosque, Gulbarga
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Minaret, typically associabsent. The outer walls, which u
instead open arcades to allowthat would generally be filtered in
Only the west wall is solid. It coul
was never designed as a mosque,
assembly.
Quibla Wall, Gul
Small Domes in Jami Mosque,
Gulbarga
Small Domes in Masjid of Isfahan
The floor plan of Gulbarga mosque measures 216
feet by 177 feet (66 by 54 meters) with wide vaulted
cloisters defining the perimeter. The corners are markedby domes. The west bay is spacious and covered in the center
with a high dome, which is surrounded by twelve smallerdomes. This high central dome is given even greater
prominence by not only being slightly bigger but also because
it is placed on an arcade, forming a square cloister that rises
above the smaller domes.
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The peculiar form of wide arch with low imposts initiated at the Jami Masjid was subsequen
Gulbarga in the stupendous archway over the entrance to the shrine of Timurid madrasa at Ka
The height and pierced-stone window screens reflect local taste, but the basic plan and the schemrevetments have numerous close parallels in Timurid architecture.
Details of the vaults, which include moqarnas in the transition zone, also suggest the presence of a Pe
craftsman.
Timurid madrasa at Kargerd in Khorasan, Iran Jami Mosque, Gul
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The interior of the mosque was the result of experimentation with the span of arches, which tur
appealing and were utilized in many other Deccan buildings. The arches here have a very wide spa
short imposts. These unconventional 'stretched' arches later became a characteristic of De
Widen Arch
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M A H M U
M A D R A
The most sp
of an imported decois the tilework on the
Gawan at Bidar. Archi
carved stone at Bidar
exuberance unmelsewhere. Designs bavegetal motifs becom
always in partnership
calligraphic, ara
geometric pattesustained impact of Is
conventions. (TarachanMAHMUD GAWAN MADRASA, Bidar, 1472
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The m
this structure is
cell , a most un
madrass, the el
marking the en
imposing mina
this a high poin
Persian art and
diff t l
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Calligraphy in Urdu on wall
With use of different color of tile each timemade it more challenging. It is believed that calligraphy
written in Urdu is done by craftperson from Iran because it
seems more aesthetically better than other. Remaining
work could be done by local having no knowledge how to
work. Love of color was conspicuous feature, and
increased use was made of tiles and paintings fordecorative themes.
Details of the facade include
work containing a parapet design shcusped pattern. The calligraphic desig
exhibit art of the highest order and in
painter and calligrapher seem to have
the design for the craftsmen.
Geometri
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A R C H I T E C T U R E
A F T E R
By late 15th century , co
Indian Muslims who were in
Generations and Muslims whoCentral Asia. Due to this conflicts ,
as Golconda, Bidar became succes
- Nazim Shahi (Ahmednagar)- Adil Shahi (Bijapur)
- Qutub Shahi (Golconda)
- Baridi (Bidar)
- Imad Shahi (Ellichpur)
By 16th Century , Deccani Sultanate
development in style of architectu
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J A M A
One of the
of Decannis newly bu
Jami Mosque, BiJapu
These cros
more pointed thwasn’t invented duri
reached structurathe architects. Efficie
masonry because of
weight of dome whic
these arches.Jama Mosque, Bijapur
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Mehrab wall usually is a nich
is not only a wall , but is a composition
it’s a guild . It is argubly the largest and
of mehrab that can be seen in islamic w
The Gold part is high and drak bluleaf design and geometric patterns rela
central asia
Mehrab Wa
Perhaps the gold used to paint the Mihrab
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from gold that had been looted from the Hindus.
Bijapur Sultans the funds to hire artisans fr
to work on this construction project. They also empl
from all over the world, including Central Asians, Ara
again, Italians
Perspective of Arches, Jama Mosque, B
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I B R A H I
Tomb and
same but balance ea
in way that the are si
same is visually simu
It is surrou
verandah roofed with
shallow vaults. The o
arched openings of d
They are capped with
sculpted brackets an
parapetTomb of Ibrahim Rouza, Bijapur
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Passages of the Koran
carved into the side
of the tomb, in the
last rays of light.
Virtually
the building is cove
and interesting des
Elements
with calligraphy geo
floral design. Parts
deign , whole pictu
magnificent spectac
designs were influe
in turkey.
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T
G
The Qutub Shahi Tom
lcondan IndoPersian
showing Mughal, Hin
Persian influence.
Tomb of Muhammad Qutb Shah, Golconda, 1626
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These tombs have
and are build upon
platform. The dom
decorated with col
were furnished witcanopies
Tomb of Muhammad Quli Qutb Shah, Golconda, 1611 Tomb of Jamshid Qutb Shah, Golconda,
1550 Mecca Mosque, B
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Tomb of Ali Barid Shah, Bidar, 1577 Char Minar,Ala al-Din Bahmani
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Plaster Detail, Mosque associated with Damro Mosque, Ahmadnagar
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The Bahmani rulers replaced Tughluq tradition by Dhakani tradition in the field
of art, architecture and cultureThe Bahmani rulers revolutionized the Deccan
architecture which bears a testimony to the new influences which were at wor
in the field.
Bidar period also opened a new chapter in the Deccan architecture, for while th
Tughluq influence almost entirely disappears, its place is taken by the influence
of the Iranians and Transoxanians who flocked to the Deccan more than ever,
making their mark in art, architecture, religion, to the great chagrin of the
northern colonists who were now calling themselves Dakhnis. ( Ahmad, Khwaja
Muhammad and D. Wilber , 1988)
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C O N C L U S I O N
The fortresses built during the period were a mixture of the work of Hindu,
Tughlaq and Bahmani sovereigns. Mahur, Bidar, Narnulla and Golkonda are som
of the architectural examples of the Sultans. The Golgumbaz in Bijapur shows th
skill of the architecture of Bahmani kingdoms.
The monuments of Gulbarga namely – Great Jami Masjid, Takht Mahal,
mausoleum of Hadrat Gesu Daraz, the mask built by Qalandar Khan, Firoz’s tom
the Bidar Fort, Gumbad Darwaza, tombs of Hadrat Samsu’d Din, Ala-ud-din
Hasan, Bahman Shah, Muhammad Shah I, Muhammad Shah II and so on remai
as perpetual monuments of the magnificence of Bahmani dynasty.
BIBLIOGRAPHY
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BIBLIOGRAPHY
1. MICHELL GEORGE and ZEBROWSKI MARK, THE NEW CAMBRIDGE HISTORY OF INDIA : Architecture and Art of the Deccan Sultanates, Cambridg
2. Maryam khazaee, Architecural Transfer Between Two Non- Cuncurrent Styles: Investigation The Routs Of Timurid Architectural Influence (137
(1526-1707ad) , University of Malaysia, Australian Journal of Basic and Applied Sciences, 7(6), 1996
3. Pourjafar, M.R., & A.A. Taghvaee, Indo-Iranian Socio-Cultural Relations at Past, Present and Future (with Special Re e ence to Architec ue of M
2004
4. Koch, E., 1991. Mughal Architecture: An Outline of Its History and Development, 1526-1858
5. Pirnia, M.K., 2001. Architectural styles in iran tehran: soroosh denesh.
6. Pereira, J., 1994. Islamic Sacred Architecture: A Stylistic History: Books & books
7. Tarachand , Influence of Islam on Indian Culture, 1993
8. Sherwani, H.K. (1985) The Bahmanis of Deccan, Munshiram Manoharlal Publications, New Delhi, pp.181-182.
9. Ahmad, Khwaja Muhammad and D. Wilber (1988) The Timurid Architecture of Iran and Turan, vols.2, Princeton, N.J.
10. Desai Z.A, (Indo-Islamic Architecture