MUGHAL ARCHITECTURE

 Mughal art and architecture, a characteristic Indo-Islamic-

Persian style that flourished on the Indian subcontinent during
the Mughal empire (1526–1857).
 This new style combined elements of Islamic art and
architecture, which had been introduced to India during the
Delhi Sultanate (1192–1398) and had produced great monuments
such as the Qutb Minar, with features of Persian art and
architecture. Mughal monuments are found chiefly in N India,
but there are also many remains in Pakistan. The distinctive
forms of art and architecture developed under a succession of
Mughal emperors.
 All the early Mughal Rulers except Aurangzeb were great
bui1ders. With the coming of the Mughal, Indian architecture
was greatly influenced by Persian styles. The Mughal
constructed excellent mausoleums, mosques, forts, gardens and
cities. The Mughal buildings show a uniform pattern both in
structure and character.
 The main characteristic features of Mughal architecture
are the bulbous domes, the slender minarets with cupolas
at the four corners, large halls, massive vaulted gateways
and delicate ornamentation.
 The Mughal rulers were visionaries and their own
personalities reflected in the all-round development of
various arts, crafts, music, building and architecture.
The Mughal dynasty was established with the crushing
victory of Babar at Panipat in 1526 AD.
 Babur (1526-30 A.D.), the founder of the Mughal dynasty
in India, also made a modest beginning of the
architectural style which was later developed, on a
massive scale, by his grandson Akbar (1556-1605) and
Akbar's grandson Shah Jehan (1628-58). This dynasty is
popularly called "MUGHAL', though Babur descended as a
Miranshahi-Timurid and, racially, he was a Chagatai-Turk.
Their architectural style, and other art styles, also bear
the dynastic appellation : MUGHAL.

 With its own constructional and ornamental techniques,

norms and concepts, grown from a sound historic-cultural
and geo-physical background, and a transparent
evolutionary process, Mughal Architecture was a fully
developed style and a perfect discipline, as none was
prior to it, in medieval India.
 It had a time-span of 132 years, practically from 1526 to
1658, and Agra-Fatehpur Sikri, Lahore-Kashmir- Kabul,
Delhi, Allahabad, Ajmer, Ahmadabad, Mandu and
Burhanpur are its major centers.
 Nearly 400 monuments of this style have survived,
including city-walls and gates, forts, palaces, tombs,
mosques, hammams, gardens, minarets, tanks, step-wells,
sarais, bridges, kos-minars and, of course, the Taj Mahal
which marks that zenith of an art from where it could
only decline.
Mughal architecture, an amalgam of Islamic, Persian and
Indian architecture, is the distinctive style developed by
the Mughal Empire in India & Pakistan in the 16th and
17th centuries.

Uzbek - Turkic Mughal architecture

 The Uzbek dynasty began with the emperor Babur in
1526. Babur erected a mosque at Panipat to celebrate
his victory over Ibrahim Lodi. A second mosque, known
as the Babri masjid, was built in Ayodhya and was
demolished in 1992 by Hindu extremists. A third
mosque also built by Babur during the same period was
constructed in Sambhal in Distt Moradabad
 Some of the first and most characteristic examples
that remain of early Mughal architecture were built in
the short reign (1540–1545) of emperor Sher Shah
Suri, who was not a Mughal; they include a mosque
known as the Qila i Kuhna (1541) near Delhi, and the
military architecture of the Old Fort in Delhi & Lal
Bagh (Dhaka) in Bangladesh.
Characteristic elements of Mughal architecture
 JHAROKA
A jharokha (or jharoka) is a type of overhanging
balcony used in Indian architecture, typically Mughal
architecture and Rajasthani architecture. Jharokhas
could be used both for adding to the architectural
beauty of the building itself or for a specific purpose.
One of the most important functions it served was to
allow women to see the events outside without being
seen (Purdah). Alternatively, these windows could also
be used to position archers and spies.
 CHATTRI
Chhatris are elevated, dome-shaped pavilions used as
an element in Indian architecture, or funerary sites in
India which have such structures built over them.
Chhatris are basic element of Hindu as well as Mughal
architecture. The term "chhatri" means umbrella or
canopy.The chhatris are built on the cremation sites
of wealthy or distinguished individuals. Chhatris may
consist of a simple structure of one dome raised by
four pillars to a building containing many domes and a
basement with several rooms.
Chhatris mounted atop each corner of
the Diwan-i-Khas in the Fatehpur Sikri Jharoka at Lahore fort
compound, India.
CHAJJA
Chhajja is the term for projecting eaves or cover usually
supported on large carved brackets, as used in Indian
architecture (especially Mughal).
It is an integral part of the architecture of Rajasthan,
Gujarat, Punjab and Uttar Pradesh.More than providing shade
they also act as heat sinks for the buildings in the hot
region.This is why this device is many times found on plane
walls which apparently do not require shading devices.
The tomb of Salim Chishti in Fatehpur Sikri (India) exhibiting a deep
chhajja following the perimeter of the building supported with elaborate
brackets

CHARBAGH
Charbagh (Persia) is a Persian-style garden layout.
The quadrilateral garden is divided by walkways into
four smaller parts. In Persian, "Chār" means 'four'
and "bāgh" means 'garden'.The garden of the Taj
Mahal is the most famous examples of this style. In
the Charbagh at the Taj Mahal, each of the four
parts contains sixteen flower beds.
 Unlike most such tombs, the taj mahal is not located in the
centre of the garden, but on its northern end. The garden
features Italian cypress trees (Cupressus sempervirens). The
cypress trees symbolize death. Fruit trees in the garden
symbolize life. The garden attracts many birds, which are
considered one of the features of the garden.
 JALI
A jali (or jaali) is the term for a perforated stone or
latticed screen, usually with an ornamental pattern
constructed through the use of calligraphy and geometry.
Early work was performed by carving into stone, while
the later more elegant used by the Mughals employed the
technique of inlay, using marble and semi-precious stones
This architectural decoration was used in Islamic
architecture as well as in Indian architecture.

One of the
famous intricate
jaalis from the
Sidi Saiyyed
mosque in
Ahmedabad,
India
 GULDASTA
It is the floral carving & ornamentation which was
done on the walls, in the entrance &around windows
inducing a graceful elegance.

The main characteristic features

of Mughal architecture are the
bulbous domes, the slender minarets
with cupolas at the four corners,
large halls, massive vaulted gateways
and delicate ornamentation.

Architectural Panel, Mughal

dynasty, late 17th century, India.
This panel either hung in the
doorway of a palace or lined a
nobleman’s tent.
 Reign
AKBAR-THE
1556 to 1605
GREAT
 Full name Abu'l-Fath Jalal ud- din Muhammad
Akbar
 Born 15 October 1542
 Birthplace Umarkot Fort, Sind
 Died 27 October 1605 (aged 63)
 Place of death Fatehpur Sikri, Agra
 Buried Bihishtabad Sikandra,
 Predecessor Nasiruddin Humayun
 Successor Nuruddin Salim Jahangir
 Offspring Jahangir 5 other sons and 6
daughters
 Royal House House of Tim ur’
 Dynasty Mughal
 Father Nasiruddin Humayun
 Mother Nawab Hamida Banu Begum
Sahiba
 Religious beliefs Din-i- Ilahi
 HIS LIFE AND WORKS

 Jalaluddin Muhammad Akbar (‫ جالل الدین محمد اکبر‬Jalāl ud-Dīn

Muhammad Akbar), also known as Akbar the Great (October 15,
1542 – October 17 or October 27, 1605)was the son of
Nasiruddin Humayun whom he succeeded as ruler of the Mughal
Empire from 1556 to 1605. He was the grandson of Babur who
founded the Mughal dynasty. On the eve of his death in 1605,
the Mughal empire spanned almost 1 million square kilometers
 . Akbar was an artisan, artist, armorer, blacksmith, carpenter,
emperor, general, inventor, animal trainer (reputedly keeping
thousands of hunting cheetahs during his reign and training many
himself), lacemaker, technologist and theologian.
 His most lasting contributions were to the arts. He initiated a
large collection of literature, including the Akbar-nama and the
Ain-i-Akbari, and incorporated art from around the world into
the Mughal collections.
 He also commissioned the building of widely admired
buildings, and invented the first prefabricated homes and
movable structures. Akbar began a series of religious
debates where Muslim scholars would debate religious
matters with Sikhs, Hindus, Cārvāka atheists and even
Jesuits coming from Portugal. He founded his own
religious cult, the Din-i-Ilahi or the "Divine Faith";
however, it amounted only to a form of personality cult
for Akbar, and quickly dissolved after his death leaving
his wife behinD.
 He was distinguishly famous for the nine jewels of his
court:
 ABUL FAZEL-author of akbarnama & wazir
 MIYAN TANSEN-musician
 BIRBAL-was a grand wazir.
 RAJA TODAR MAL-finance minister
 RAJA MAN SINGH-was in Akbar's army.
 ABDUR RAHIM KHAN-poet
 FAKIR AZAIO DIN- Akbar's chief advisor
 MULLAH DO PIAZA-chief advisor
 AKBAR’S TREASURED BUILDINGS
 Agra Fort
 A greater part of the fort at Agra was constructed by
Akbar starting in 1565 AD and completed it in 1574 A.D.
Situated on the bank of the river Yamuna, it is a massive
and grand structure. The special feature of this fort is the
2.5 kms. long and 21 meters high circuitous wall of solid
red sand stone. The stones are linked with iron rings so
close that not even a hair can pass through. The entrance
to the fort is through two gateways. The main entrance
known as Delhi Gate was the ceremonial entrance to the
fort. The other smaller gateway is called the Hathi Pol or
Elephant Gate because of the two huge elephants on either
side of the gate and was meant for private use.
 The Delhi Gate entrance archway is
flanked by two double storied octagonal
bastions crowned by octagonal domed
kiosks. A balcony separates the two
storey. The structure above the balcony
has arched recesses. The gateway is
decorated with beautiful panels of colored
tiles and marble inlay work.
 The fort is surrounded by a deep
moat. The fort formerly contained
numerous buildings of red sand stone but
these were later demolished in the reign of
Shah Jehan who constructed marble
pavilions instead. Some of the important
buildings inside the fort are the Jahangir
Mahal built for Jahangir and his family,
the Moti Masjid, and Mena Bazaars. The
Jehangiri Mahal is an impressive structure
and has a courtyard surrounded by double-
storied halls and rooms. The corbel
brackets, doorways and the chhajja above
them are profusely carved.
 The elaborate architecture of the
brackets seems to be an imitation of wood
work. The planning and construction of
the fort show that Rajput architectural
styles were freely adopted.

FATEHPUR SIKRI
Akbar’s greatest architectural achievement was the
construction of Fatehpur Sikri, his Capital City near
Agra. The construction pf the walled city was started in
1569 A.D. and completed in 1574 A.D. contained some of
the most beautiful buildings – both religious and secular
which testify to the Emperor’s aim of achieving social,
political and religious integration.
 Designed especially to be a ceremonial capital,Fatehpur Sikri
was the manifestation of the emperor’s architectural ideal
and in that guise resembles certain European renaissance
cities-the links between various sectors overlooking gardens,
courtyards were paved not only at the roof level but also on
pathways b/w terraces & roofs.
 The town spreads over a rectangle measuring 2.2 miles by
0.9 miles& was in part protected by a wall 4miles long. it
had 9 gateways , the best protected of which is Agra gate.
 Passing the caravanserai and the naubat khan, the visitors
reaches the royal stables & workshops, including the mint.
 The palace proper begins with diwani-i-khas, a sober
building with five arches, beyond which the daulat khana
extends.
 DAULAT KHANA
 The daulat khana stands in two blocks around a courtyard
divided into two parts-one with a cross shaped platform for
the game of pachisi, the other containing the anoop talab
pool with an exquisite pavilion of the same name with
decorated overhangs.
 The northern block of the daulat khana contains the
pavilion of jewels. It is a two storied building with balcony
supported by elaborate projections & four chattris; it was
probably the diwani-i-khas & has an interesting internal
structure.
 On the south side, enclosed by porticoes, were Akbar's
apartments which included the hammam and a baradari, a
two storied pavilion with 12 columns and some frescoes. On
the balcony of the upper floor, which included the canopy of
the throne, the emperor used to look over the daftar khan(
courtyard of the offices) to show himself to his courtesans.
Panch mahal
The panch mahal stood between the two blocks of buildings.
The panch mahal had five stories of loggias, the last of which
was made up of chattris, this typically Hindu structure was
probably completed with sliding walls, curtains or screens.
The miniature paintings of the era often showed the use of
large curtains- hung from stone rings still to be seen above the
sloping roofs.
Light wooden walls and fabric screens are also used. carpets,
drapes and awnings in rich materials furnished the rooms in
which bays in the walls acted as wardrobes & cupboards.
 The panch Mahal is a
five stored structure, each
storey smaller in size as
they go up, the last one
being only a kiosk.
 A closed passage led
from daulat khana to the
court of the haram saray
where Akbar slept. this
was a wide four sided space
where various pavilion,
apartments, bathrooms &
service rooms stood.
 The most famous section
of the haram saray was the
house of marayam zamani,
known as the golden
pavilion for its frescoes
enhanced with gold leaf,
and the nearby palace of
jodha bai.
 Jodha bai’s palace
 Preceded by a large doorway and built around a central
courtyard, the palace is composed of four wings.
 The close room on the ground floors are accessible from
covered verandahs and were probably used during the winter
months.
 The cooler arched rooms on the upper floor faced into
terraces built with chattris & were reserved for the hotter
months.
 Like all other buildings, the palace is built in sandstone with
blue enameled tile details; the decorations were probably by
Hindu masters of Gujarat. A small chapel attached has niches in
the walks for idols
 Birbal’s house
 One of the most ornate palaces was the so called birbal
house, a Hindu raja favored by Akbar.
 Akbar probably built it for his daughter but most probably
this was where one or more of his wives lived.
 There were four rooms & two entrances on the ground floor
and two rooms with cupolas and bay windows on the upper
floors.
 Additional features were overhangs & projections and the
whole house was profusely decorated with Hindu motifs.
 Jami masjid
This elegant building is the most sacred building and the principal
mosque of the town and thus situated on the highest point of the
ridge where Fatehpur Sikri is situated. In fact, the Buland
Darwaja commemorating the victory of Akbar over Deccan and
the Tomb of the famous Sufi saint Sheikh Salim Chishti are a
part of this spacious mosque complex. Built in the supervision of
the saint himself and his descendants, it was completed in 1571.
 The vast quadrangle has the mosque on the western side and
actuate cloisters with broad slanting chhajja and splendid
brackets crowned by series of square chhatris on the other
three sides along with Buland Darwaja on the south, Badshahi
Darwaja on the east and the tombs of Sheikh Salim and Islam
Khan and the ablution tank in the inner courtyard.
 The main rectangular mosque consists of a central nave with
a single dome, two colonnaded halls on its either side with two
square chambers crowned with dome. The elegant and
beautifully carved mihrabs adorn the main chamber and the two
smaller rooms.
The mosque marks the phase of transition in Islamic art as the
indigenous architectural elements were blended with the
Persian architecture.
 The pillared dalan of the façade, the iwan with three arched
openings also framed by panels and crowned by five chhatris
and the central mihrab adorned with inlaid mosaic of stones
that are bordered by glazed tiles and has golden inscriptions on
royal blue background.
 The interiors of the iwan are adorned with watercolor
paintings depicting stylized floral designs. Even the dado panels,
spandrels of arch, squinches and soffits are also painted
profusely. Unlike other monuments, where domes are supported
on squinches, here elegant corbelled pendentives support the
done.
 Tomb of Salim chisti
 The Tomb of Sheikh Salim Chishti is famed as one of the
finest examples of Mughal architecture in India. Situated near
Zenana Rauza and facing south towards Buland Darwaja, it
enshrines the burial place of the Sufi saint who lived a religious
life here. The mausoleum, constructed by Akbar as a mark of his
respect for the Sufi saint, was built during the years 1580 and
1581
 The tomb has been constructed on a platform which is about 1
m. high, a flight of five steps leading to the entrance portico.
 The main tomb building is enclosed by delicate marble screens on
all sides, and the tomb is located in the centre of the main hall,
which has a single semi-circular dome. The marble building is
beautifully carved, and has an ivory-like appearance.
 The plinth is ornamented with mosaics of black and yellow marble
arranged in geometric patterns. An ebony “chhhaparkhat”
enclosure surrounds the marble cenotaph, which is usually covered
by a green cloth. The door to the main chamber is intricately
carved with arabesque patterns and bears inscriptions from the
Koran. Brown marble borders the interior bays while the relief
panels - with the Koranic verses - have a blue background. The
carved and painted tomb chamber has a white marble floor, which
is inlaid with multicolored stones
 The serpentine brackets emerging from the pillars carved
with stylized peacock tail pattern and sloping eaves add to the
magnificence of the porch.
 The door of the main chamber is carved elaborately with
arabesque patterns and boasts of Quranic inscriptions. Brown
marble borders the interior bays while the relief panels with
Quranic verses have a blue painted background.
 The ostentatiously carved and painted tomb chamber has
white marble floor inlaid with multicolored stones. The verses
are chosen carefully to impart deep esoteric meaning.
 The tomb building consists of simple parts, square exteriors
of 24 feet side and containing a mortuary chamber of 16 feet
diameter, the whole being covered by a low dome. Around the
outside wide verandah is carried, its roof supported on pillars.
with the interspaces filled with exterior measuring 48 feet in
diameter.
 On southern face a porch is projected also on pillars & there
are carved brackets all round to sustain the extremely wide
eaves.
 The Diwani Khas, an outstanding structure was meant for
the Emperor to sit in audience with his ministers and
listen to disputes and discussions. A novel structure, it is
a large hall with a giant monolithic pillars in the centre
with a circular railed platform on top like a cup which is
supported by a circular array of beautifully carved
brackets. From the Central platform branch out four
diagonal railed galleries symbolizing Akbar’s supremacy
over his dominions. The gallery is continued on all four
sides of the hall. The audience sat in the galleries and in
the hall below giving it the effect of a two-storey
building. Sitting in the centre, Akbar heard discourses
and discussions on religions.
 Buland Darwaza
 A magnificent gateway was added later in 1571-72 to
commemorate his conquest of Gujarat.
 Built of red sand stone and marble it is said to be the “most
perfect architectural achievement in the whole of India".
 A flight of steps lead to the gateway which is about 53 meters
in height and 39 meters in width. Entrance is through a huge
arched domed recess.
 A broad rectangular strip bordering the archway has
calligraphic inscriptions on it. At the corners are slender
turrets. The beautiful perforated parapet and the row of
kiosks with cupolas add to the dignity of the monument. An
inscription on the gateway testifies to Akbar’s religious
toleration.
 It is also called gate of magnificence. This gateway is a most
imposing structure. the entire structure of this triumphal
gateway may be resolved into its two aspects, the frontal & the
highest aspect, forming the facade with its portal, & back view
consisting of a lower and plainer portion intruding itself into the
mosque façade.
 Akbar's Tomb, Sikandra
 The Mausoleum of Akbar at Sikandra near Agra was started
by Akbar and completed by his son Jahangir in 1612 A.D. who
changed the original design of his father.
 Akbar's tomb is a medley of architectural styles, displaying
more interest in experimentation than harmony of design.
 The sloping dripstones, finials surmounting all the domes,
balcony windows and pierced screens are all indigenous Hindu
elements of architecture. Based on the pillar and beam
principle, the tomb is built like a wedding cake in tiers, using the
carved columns and brackets typical of Hindu construction to
create the openings on the upper levels. But the pointed arches
surrounding the base are Islamic, as are the inlaid geometric
designs around the archways.
 Designed on the model of a Buddhist Vihara, it is set in the
centre of a square garden.
 The enclosure wall on each side has a gateway. The main
gateway has four white marble minarets in the four corners.
 The Mausoleum has five terraces, rising from the basement,
one above the other, diminishing in size as they ascend. The
red sand-stone entrance gateway is the largest and is richly
decorated with inlaid colored stone work. With its charming
proportions, it is by itself a work of art.
 India's craftsmen were masters of stone-carving and the art of
inlay, preferring graceful organic motifs from nature to the
more formal geometric and stylized floral designs of Persian
origin.
 Jahangir Palace was used by the Rajput
wives of the Mughals.
 Jahangiri Mahal is perhaps the most JAHANGIRI MAHAL
noteworthy building inside the Agra Fort
of India. The Mahal was the principal
zenana palace (palace for women belonging
to the royal household), used mainly by
the Rajput wives of Akbar.
 A splendid gateway leads to an interior
courtyard surrounded by grand halls
covered with profuse carvings on stone,
heavily fashioned brackets, piers, and
crossbeams. One can still spot remnants
of decoration in gold and blue done in the
prevalent Indo-Persian style.
 The ornate, sinuous carving and pendants
on the brackets are typical of early
Mughal style, much of which derives from
Hindu forms.
 The typically Gujarati brackets-
fabulously carved animal and floral
motifs-register a dominating effect on
the few Islamic features such as the
verandah on the eastern front with
exquisitely slender pillars facing the
riverfront. Jahangiri Mahal is the most
important building of the Akbari period in
the Agra Fort.
 Jahangiri Mahal mixes Transoxanian (Central Asian) features,
such as the verandah on the east front with its high slender
columns (a translation into stone of the timber iwan of
vernacular Transoxanian architecture), with courtyard halls
styled in the broader Gujarat-Malwa-Rajasthan tradition as it
had been passed onto the Mughals by the early 16th-century
architecture of Raja Man Singh of Gwalior.
 This exotic medley and adventurous eclecticism suggests a
daring approach in architecture.
 The typically Gujarati brackets-fabulously carved animal and
floral motifs-register a dominating effect on the few Islamic
features such as the verandah on the eastern front with
exquisitely slender pillars facing the riverfront.
 Jahangiri Mahal is the most important building of the Akbari
period in the Agra Fort.