Across Place and Time - Exploring Deccan Architecture

8/17/2019 Across Place and Time - Exploring Deccan Architecture

1/39

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


2/39

“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,


3/39

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.


4/39

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)


5/39

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.


6/39

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).


7/39

GoharSuleymaniye Mosque, Istanbul , 1558

(Ottomon Empire)


8/39

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)


9/39

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


10/39

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


11/39

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).


12/39

Tomb of Muammad Shāh Lōdī , Delhi , 1444, Qutub Minar, Delhi, 1199


13/39

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)


14/39

Fort, BidaKhush Mahal , Warangal, Early 14th

Century

Plaster Detail, Mosque associated with Ali BaridShah , Bidar, 1577


15/39

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.


16/39

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)


17/39

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


18/39

On a rectangular base, this mos

two bays deep and a tr

erhall which runs around threng.

Plan of Jami Mosque, Gulbarga


19/39

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.


20/39

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


21/39

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


22/39

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


23/39

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


24/39

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


25/39


26/39


27/39

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


28/39

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


29/39

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


30/39

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


31/39

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


32/39

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.


33/39

T

G

The Qutub Shahi Tom

lcondan IndoPersian

showing Mughal, Hin

Persian influence.

Tomb of Muhammad Qutb Shah, Golconda, 1626


34/39

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


35/39

Tomb of Ali Barid Shah, Bidar, 1577 Char Minar,Ala al-Din Bahmani


36/39

Plaster Detail, Mosque associated with Damro Mosque, Ahmadnagar


37/39

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)


38/39

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


39/39

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

Across Place and Time - Exploring Deccan Architecture

Documents

Transcript of Across Place and Time - Exploring Deccan Architecture