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CHAPTER II

ISLAMIC ARCHITECTURE OF GUJARAT

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Between 14th to 16th century A.D. in North India many

edifices especially of the Islamic faith were constructed. The

edifices of Islamic monuments are Mosques and Mausoleums.

The English word ’Mosque' is derived from Masjid (mosque)

which is an Arabic word. It is derived from the Arabic root word!,Sa-Ja-Da" which means to "Prostrate/" or bowdown by prefixing

„ , /ti p n (jqeem) to the root a noun devoting a place is formed. Thusmosque means, the place of prostration i.e. the place for prayer.

In the beginning, Mosque was a place of gathering for the

believers. It was not a specific structure. The practice of

offering Namaz in the open or at any convenient place is well-

known to this day. However with the development of Islam thec,

practice of erecting Mosque had already developed.(

Mosque began with a rectangular open space or "Sahan", the

four sides being enclosed by pillared cloisters or "liwans" with

a fountain or tank in the centre for ablutions, a ceremony•i

described as "the half of faith and the key of prayer ". To meet the demand for some-|r£>cal point in the scheme the cloisters on

the Macca side (in India on the west) of the courtyard were

expanded and the elaborated into a pillared half or sanctuary,

with a wall at the back containing a recess or alcove called

a "mehrab" indicating the "qibla" or direction for prayer.

On right side of mehrab stands the "mimber" or pulpit, while

a portion of the sanctuary is screened off into a compartment

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for the king. An elevated platform from which the "muazzin"t

summons the faithful to prayer is also a necessity and usually takes the form of a high tower or minaret (Fig.-i ). In almost every city and large town, there is one Mosque known as the Jumm-e-Masjid (A1 - Masjidull, Lit, ’’the collecting Mosque'1).This designation is given to the principal or congregational Mosque

pin which the faithful- assemble for the Friday (Jum’ah) prayer.

Muslim sailors and traders use to come to Gujarat'from the time of their early conversion to Islam. Their Mosques were known in the Solanki period but after the Khilji conquest and the establishment of their political power it seems that Mosques were constructed on large scale. Initially they were constructed from the standing temples. They were pulled down and their parts were used to build the Mosques for this purpose.-

Later on as their political power stabilized they started building the Mosques- from fresh materials. Fortunately many architects, carvers were available in Gujarat. They used their talents to construct the Mosque.

/ The mosques were constructed with the knowledge of the

temples.i Usually a large platform similar to a jagati was constructed and it was divided in different parts. In one part the prayer hall was constructed, while in the other parts, the corridors or liwans, entrances xvere constructed and the open courtyard was kept in the centre.

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From the Mehrab, the area was left for Antarala and then Mandapas and chowkis were arranged in different systems. This vertical plan was repeated several times to make the Mosque.

In Gujarat they were decorated in carvings by the local artists who were traditionally trained for temple architecture and its decorations. They transformed the structure as well as the decorations of the Geometric and other floral motifs to suit the need of Islamic worship.

While erecting the structure and developing monumentality, the artist made use of different mouldings. These were left plain or were decorated.

It is seen that the following parts of the Mosques were decorated :

(1) Minars(2) Pillars(3) Windows(4) Architraves(5) Ceilings(6) Arches(7) Mehrabs(8) Mimbers(9) Back support Behind.Mehrabs

(10) Balconies(11) Merlons (Kahgra)

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The architects and sculptors used many motifs like cakra,i

| padama, srivtsa, pumakalasa, svastika and gavaksha which were ! not objectionable.in the eyes of Islamic traditions. Thus unity and continuity in the art of Gujarat was maintained in the Islamic place of worship also.

Islam was interpreted in India as not believing in icons. So the sculptures of Gods, Goddesses, Animals, Makar etc. .when- avoided in these structures, but floral, geometrical and other motifs were profusely used.

Each motifs of ancient Indian art had a meaning and it was used with this symbolism in view. It had to be analysed whether the same formula of art was used in Islamic art symbolically or merelly with ornamental objectives.

The elevation of the Mosques also follow the known standards." While constructing them, the Tharas or elevational components known to the architects were effectively blended into the construction of the Mosques. The minars were however slowly developed and became symbolic of the Mosque.

The foundation of new style may be said to have been laid already in the 14th century A.I), when Gujarat had not yet broken away from its allegiance to Delhi. In the earliest period of occupation, the muslim governors used native material along with native builders and craftsmen. Some forms of structural conversion

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may actually be noticed as improvised compositions with materials from earlier Hindu and Jain temples. The Jami Mosque at Broach though improvised in similar manner, was assembled according to the typical mosque plan with a quadrangular court having three entrance on the three sides and the sanctuary at the western end.

Moreover, an improvement of the design is recognized in/careU.^

with which older materials have been adjusted for fitting them inthe conventional mosque design for the Muslims. However,- there is

/a very little attempts to impose any Muslim idea on the new building except the minimum necessitated by Islamic conventions. This is particularly noticable in open pillared facade of the

, sanctuary. The arched facade which is almost a ritualisticconvention with Islamic religious buildings is found to be absent,

$■not only in the early improvisation| but in many of later mosques belonging to the phase of original construction. The jali decoration was found in the Tomb of Shaik-Farid (A.D. 1300) at

Patan (Fig. 2. ) and in Jami Mosque at Broach (A.D. 1321)(Fig. 3 this Mosque was constructed from Hindu,and Jain temples. It has been observed that the utilization of jali decoration is,made in majority of Mosques to the greater extent from A.D. 1321.

5iiS,1•j4

The Jami Mosque at Cambay^ erected in 1325 A.D. may be

regarded as a typical building of the early phase of Gujarat Muslim architecture. It has all the appurtenances that Islam demands - cloisters, open courtyard, the entrahce porches, the

Pil’ODA,

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covered place for prayer in the Western cloister with the mehrab

and the miraber. The pillars of the cloisters are utilized from

Hindu and Jain shrines. The entrance porches, are also used

principally from the old temples (Fig.^ ). The sanctuary at

the western end, instead of being open pillared like ‘the Mosque

at Broach, has an arched facade in the manner of conventional

Mosques. The narrow and broad course of masonary is similar

with^th#Islamic building tradition at Delhi dated 14th to 15th

century A.D.-' The arches are constructed on the trabeate principle,

and the engriled arch between the two front pillars of the central

bykls distinctly of temple extraction. With,its elegant proportionsi'! ^and dignity of form, the Cambay Mosque is j'first example of an

intelligible Mosque design in Gujarat,- the beginning of a fruitful

contact between two potent architectural traditions that ultimately

led to the growth and development of a new and distinctive style.

gThe Mosque of Hilal Khan Kazi at Dholka erected slightly

later in A.D. 1333 is of the same character as the Cambay Mosque.

It is of smaller dimensions, but two ornamental turrets, one on

either side of the central archway of the sanctuary facade, add a

notable innovation and complete the typical Mosque design of

Gujarat.- Indigenous in design as well as in workmanship, these

turrets anticipate in a way the tall slender minars of later

Gujarat Mosques (Fig. $ ).

The Tanka Mosque^ at Dholka built about A.D. 1361 is

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generally of the same order as the proceeding* But being of the

open pillared variety bears a predominantly Hindu appearance.

Incidentally it may be pointed out that these constructions

of the Tughluqs are of immense interest for the students of

architecture of this period because such examples have not

survived at Delhi. Another contemparory Mosques with some common

t.ends were built by some Tughluq kings. But Khilji buildings

marked contrast to the rich and elaborate ornamental style of

Gujarat. Whereas Tughluqs are characterized by a stark simplicity

of design bordering almost on puritanical severity the Gujarat

Mosques are much decorated. Firuz Shah, the third of Taghluq line,'Bv’

built'''Jami Mosque. And then Kali Mosque and Khirki Mosque at Delhii /tboth attributed to Jauna Shah who was noble man in the court of

Firuz Shah. Thus though Tughluq Mosques preceded Gujarat Mosques

under study^ they differed much in style except basic plans and

arches.

With Ahmed Shah I, began the great periods of Gujarat

Muslim architecture. This forceful personality ascended the

throne in A.D. 1411, and commemorated this event by founding a

new capital city, called Ahmedab§d after him. He erected Mosques,

tombs and other structures. Ahmedabad, to quote Firishta, was

turned into "The handsomest city in Hindustan and perhaps in the

whole world"

Few Mosques aj&e'^undertaken during the early part of Ahmed •/

Shah's reign are existing. The grand Jami Mosque, described by

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Fergusson as one of the most beautiful Mosques in the East,^Ahmed Shah's Mosques*'® with in the citadel seems to have been

earliest in this series are some surviving examples. It was j,

modelled on the Jami Mosque of Cambay but with indidations of a ji slight advance in the treatment of the buttresses on two sides ||of the central archway. The Mosque of Haibat Khan belong to f

1*the same type, ,but the prominent bastions, of the exterior of the !;jjback wall of the sanctuary reproduced a distinctive feature. The |

— ip 5Mosque of Sayyid Alam said to have been built in A.D. 1412, |£icontains several constructive elements,. it?

lIn A.D. 1415 Sultan Ahmad Shah attacked the holy town of j" A

i gSiddhapur on the Saraswati in North Gujarat. Where he broke the j’ 7 ' fimages in the celebrated temple of Rudramahalaya and turned the I

*i ^ ibuilding in to a Jami Mosque In A.D. 1416. The muslim j

f

governors used the local material along with builders and craftsmen iifand some parts of the original structure of the temple. The back j, VV~MI fV Jfc'Ciportion of the temple and Sikhara was kept as it'-Jis ahd| rest jparts i-fie . ' w- w jof the temple including,front was converted into a typical mosque. |

Therefore if this Jami Mosque is viewed from its back then itA* ■ iwould recognized as a temple and notv a Mosque.

14 at AhmedabSd erected in A.D. 1423 isThe Jami Mosque& - - , regarded/the touchstone of the Gujarat Muslim style ( SE- ) *

It has four cloister^ on four sides of.the open courtyard. It is in the western cloister i.e. the sanctuary proper that the most

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instructive and distinctive feature and--"found, This consists of

an immense hyoostyle hall, with 260 tall pillars closely and

carefully spaced to form a series of square bays. Tiae*number of

such bays are grouped together, each being covered by a dome. The

central ^p-ojsitioax-of nave rises in the form of a tall shaft. The

three storeyed area around the shaft in the upper section is

disposed in two balustrades galleries, one above the other, with

richly carved traceries around. The aisle on other side of the/%') Is-

nave 'is similarly disposed, except that being planned with a

lasser height and it has only one upper gallery. The extreme

wings are each one storeyed expect for the hanging gallery for

the king in the northern end. The richly carved pillars and

galleries, but latter in the form of clerestoreys deflecting and

reflecting light in the interior, much of the elegant effect of

the interior has been obtained by the differing heights of the

successive compartments.

This scheme is repeated in the facade which not only has a

pyramidal effect leading step by step from two ends to the central

nave, but exhibits also a variegated articulation in the arched

and colonnadded schemes, harmoniously combined.

The former occuping the middle, has a large central archway

forming the entrance to the nave, flanked on the sides by two

smaller ones, leading to the two aisles. The central archway

springs from the two richly moulded buttresses which once

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supported minarets that have now collapsed. The arches of thismiddle division are elegantly spaced and balanced and have themost graceful outline and the two wings at the extreme endsformed of pillars with arch shaped brackets and shaded at the

15top by slopping eaves.

Muslim architecture in Gujarat has reached its characteristic expression in the reign of Ahmad Shah, during the next two reigns the quality of style was maintained unimpaired. His successor Muhammed Shah is also known to have been a builder of a note.

At Sarkhej'about ten kms. to the South-West of Ahmedabad, Muhammad Shah built the tomb and Mosque of Shaikh Ahmad Khattu, a famous muslim Saint who died in A.D. 1446. The mosque is constructed mainly on the muslim principles in a simple manner without'much of decoration.

The brief reign of Gutb-ud-din, the next ruler is also ablank in respect of building activities. He built Qutb-ud-din

— 1 f\Mosque at Ahmedabad. The Mosque Innovations are noticed inthe arched formation of the wings in the-place of the customaryopen pillars, but the central bay has its heavy minarets of the

- 17facade. The Mosque of Alif Khan at Dholka was built of bricks, instead of stone and naturally arches constitute the principal feature of the composition in each case (Pig. 6 ). The minaretson the both the sides of the Mosque are found for the first time and are built without any decoration. From their appearances they

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seem to be minars but actually they are supports. This Mosque is damaged to a very great extent. Due to the lime-stone utilization in this building the arch was used more as structural expendient. It is true that after this, the arch is found to be increasingly employed in Gujarat. The Gujarat builders were more at home with their own traditional trebeate system and used more the pillars and lintel.

The famous ruler, Mahmud Begaraha (A.D. 1458-1511), was a passionate builder and it was during his reign that the Gujarat Muslim style reached its almost sumptuous expression. He found three new cities. Of these, Champaner about one hundred twenty five kms. to the South-east of Ahmedabad, was designed to be the capital city. Ahmedabad, the old capital and already a city of great architectural magnificence was not ignored and received further embellishments in the shape of the new and stately building. Third one was Mahmudabad, seventeen miles to the South­east of Ahmedabad. At Sarkhej he built a vast place complex with garden pavilions etc. (Fig. ).

The Mosque of this phase in such a scheme has usually no arched facade, but is of the open pillared variety. The Mosque

i Aof Sayyid Usman (a.D. 1460) at Usmanpur, a suburb of Ahmedabad, is entirely built in the pillars and lintel style is one of the first example where decorated minarets are transferred from the centre to the corners (Fig. ^ ). It is a well balancedproduction consisting of a square mortuary chamber inside a double

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aisles of pillars. This chamber is covered by a substantial dome

resting over twelve pillars skillfully arranged in the centre of a hall. This dome is surrounded by smaller domes over the outer aisle. The concentric arrangement of a number of aisles one

within the other, already noticed in a hesitating.form in earlier tomb compositions, has reached here a logical and rational expression. In its harmonious proportion it ranks as one of the most successful sculptural designs carried out in the pillared style at Ahmedabad.

Two other productions of this mode may be seen in the Mosque of Bibi Achut Kuki (A.D. 1472)"1^ at Ahmedabad. This has

rounded towers at each corner which is unique feature in Gujarat Mosque s'and of Mahmud Begarah period. The Mosque of Shah Alam (A.D. 1475) at Ahmedabad was built on the same scheme as above

(Pig. ). The Mosque was constructed in a simple way as per

Islamic demand except its decorated minerats. In the Begrah

period, the arches are found to be increasingly applied in the composition of Sculptural monuments in a manner that leads to the

production of a new mode of design.

The Mosque in the open pillared scheme is the earliest erection of Begarah period. First of this kiiM is the mosqueof Sayyid Usman at Usmanpur. Another specimen of this open pillared scheme is the small,' but exquisite Rani Sipri.at

Ahmedabad built in 1514 A.D. (Fig. jb ). In comparison, the minarets of the Mosque of Rani Sipri were highly decorated

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than the minarets of the Sayyid Usman's Mosque which have more decoration than the minarets of Shah Alam. Except the minarets at the two ends of the pillared frontage the mosque has hardly anything Islamic features. The design of all the other important details is in the indigenous Indian tradition. Fergusson described this mosque as, "the most exquistie gem at Ahmedabad. The mosque is small one only 48 feet by 19-| feet. The type of mosque with an arched screen in front of the sanctuary is evidently modelled on the grand Jami Mosque at Ahmedabad. The combined arched and pillared frontage, as seen in the archetype, soondisappears and gives place to a continuous arched decade along

_ _o ithe entire front. The Mosque of Miyan Khan Chistti at Ahmedabad was built about A.D. 1465. Its design and dimensions are similar to the Mosque of Bibi Achut Kuki at Ahmedabad built in A.D. 1472. These two represent the early Begrah period. The sanctuary in each has a three arched screen with a richly sculptured minaret shooting high up on either side of the cultural archway. The interior is divided into three compartments each of which is surmounted by a dome clerestory over which Is placed the central dome. A characteristic of Begarah architecture with increased richness is seen not only in the finer and more varied carving on the buttresses of the minarets, but also in the attractive motif of the oriel windows projected from the exterior walls, each filled in with a tracery of exquisite design and fineness.

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The motif of the oriel window supported on brackets and

shaded by a wide cave and taking the shape, more or less, of a

shallow balcony, is an adaptation of earlier indigenous pattern of

secular origin. The Mosque of Muhafiz Khan (A.D. 1492), Blbi

Harlr’s Mosque (C.A.D. 1500) and the Queen's Mosque or Rani

Rupavati's Mosque (C.A.D. 1515) all at Ahmedabad represent some

of ornate expression of the prevailing style. The Gujarati

builders are perfect masters in the art of minute carving, and

this art is found to be in its climax in the magnificient

tracery work of the Sidi Sayyad Mosque at Ahmedabad belonging

to the first quarter of the sixteenth Century A.D. The Mosque

is a simple and unassuming building and illustrate a distinct

departurelfrom .the/unusual one'of the nontext of Gujarat. There

are ten screens there in each of the two side walls and four in

the rear wall of the sanctuary* Of these, the screens at the

sides and the two in the two extreme bays of the back wall are

each cut into small square panels which are filled in with

foliate and geometric forms of varying designs. The two screens

on either sides of the central mehrab of the Sidi Sayyad mosque,

surpass everything of the kind executed before. The pattern in

each consists of "tree plant and foliage designs", interwing

with one another and evenly spread over the entire surface.

"What makes these windows so supremely beautiful", writes

Marshall, is the unerring sense for rhythm with which the'

artist has filled the spaces and the skill with which he brought

the natural forms of the trees into harmony with their

architectural setting. Mahmud Begarah captured Champaner in

A.D. 1484 from a Hindu chief and built a new capital city there.

Among the surviving monuments, the most imposing is the Jamip-zMosque v which was completed in A.D. 1508. The facade consists

of five archways, each of a pointed shape, the central one inside

the bases of the minarets being larger in diamensions. The roots

of the nave rises much higher than those of the compartments on

either side, which are of equal height throughout. The arrangements

of the domes is also different from the Ahmedabad's mosques. In

the exterior, as well as in the interior, the Champaner Mosque

exhibits a much rich effect. The entrance gate ways, leading to

the mosque enclosure with their varied and splendid carvings add1

to the dignity and beauty of the scheme. The richer treatment of

enclosing walls with its richly moulded buttresses and oriel

windows, remove the monotony of the walls and suggest the wealthy

state of Begarah architecture. The tall nave of the sanctuary

rising up in three successive tires with the splendid treatment

of the derestory galleries and of the soffit of the central dome,

poised high, provides the interior with an impressive dignity. Fergusson2^- has described the Jami Mosque at Champaner as

"architecturally the finest in Gujarat", but this estimate is not

accepted. However, rich and accomplished its single parts and

details might be falls short of the Jami Mosque of Ahmedabad in

respect of organic unity. According to Marshall "Its parts are25neither so well proportioned nor so successfully co-ordinated".

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The elevation of the prayer chamber is too cramped, the minarets flanking the main archway overpoweringly heavy, and the transition from the side wing to the central hall altogether.too abrupt.

The difficulty felt by the Gujarati architects to adopt themselves to new techniques and new ideas is also illustrated in the minarets which never came to be fused into the mosque_ scheme as a happy and harmonious elements. The Gujarati builders manipulate them in different ways, but with very little success.In the arched type of mosque they were placed on either side of the central archway, while in the open - pillared type they were relegated to the extreme coners of the facade. They looked much too overpowering and heavy, particularly because of the prominent emphasis in the facade. On the horizontal effect, thereby impairing the symmetry of the entire design. Even in the Jami Mosque at Champaner which, in spite of the defects of composition mentioned above is regarded as one of the splendid monuments of the Begarah periods, the minarets look much too incongrous with the rest of the design. The disappearance of these features from thb Jami Mosque and Rani Rupavati*s Mosque at Ahmedabad may be regarded as architectural gains leading to superbly balanced and new effect of the facade design. Some improvement was sought to be effected by reducing the height of the minarets and increasing that of the prayer chamber, find in the mosque of Muhafiz Khan at Ahmedabad where as in the mosque of Rani Sipri and Shah Khub Sayyid, both at Ahmedabad transformed them into mere ornamentally and symbolically.

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A close examination of the bases supporting the minarets

is also instructive in as much as they are found to be derived

from the earlier indigenous tradition. They project as prominent

buttresses from the facade and correspond to the lower sections

of the Hindu temple with all their characteristic mouldings along

with vertical faces and rich decorative designs. They Introduce

an intricate play of light and shade in the flat facade. In their

building aspirations the Sultans of Gujarat were fortunate in

coming in contact with a band of very highly accomplished Indian

artisans with centuries of artistic tradition behind them. The

genius of the West-Indian temple builder was easily directed to

the creation of structures - mosques and tombs. And this they

did with the same remarkable aesthetic and constructive sense

in the case of the temples. Elegance of design richness of

decoration are the key of new style-Indo-Muslim architecture.

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Components of the Mosque

As already described, the Gujarat Mosques were the products of local architect techniques and Muslim architectural requirements.' Therefore, naturally the architectural components are mostly borrow­ed and adopted from Hindu temples, and are slightly transformed to suit the Islamic philosophy in relation to basic requirement of Mosque. The architectural components are as follows

(1) Steps ;(2) Porches

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(3) Minars >

• (4) Pillars ](5) Windows(6) Architraves(7) Ceilings ;(8) Arches(9) Mehrabs

(10) Mimber

(11) Back support behind Mehrabs . )(12) Balconies ;(13) Merlon (Kangra) ;

(1) Steps

Steps are provided at porches on front and sides, because *generally prayer halls of mosques are built at higher level than

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the surrounding ground level. These steps are plain and are sometimes flanked by broad stepped walls with decorated fronts and comies. These steps are generally from sides of the porches and not from front.

(2) Porches

Porches are provided generally in front side but sometimes in sides also as at Champaner, Dholka and Ahmedabad. They are domed parts with high vaulted ceiling with cusps at coners and suspended chandelier at their exact centre.

Some of the porches are having a beautiful screens of Jali decorations on chequr plans. There are two arched gateways generally on north and south with step leading to them. At Champaner a projected balcony was added to the blind side i.e. east with reclining side (Kakshasanas of Hindu temples).

The pillasters are used as separaters for Jali units in rectangular formations and also as supporters of the ceiling formations. Each of them have typical base, shaft and capital surmounted by brackets. They reach upto the base of vaulted ceiling.

The entrance arches are stilted arches with side jambs and arch proper.

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(3) Minars

A Minar is almost a must for a mosque. It is the most

characteristic architectural part of a mosque because the Bangi

who proclaims the Azan has to climb on a high spot so that his Azan

can be heard for longer distance. The minars of this period are

tall, tower like parts with tapering shape, and surmounted by a .

small dome with finial.

Steps spralling up to the top are provided inside the minars.

The lower parts of minars are highly decorated. These decorations

are adopted from the temples architecture. As such they have

stepped base, above which mouldings, cornices, step niches, arches

and brackets are employed. The niches are filled with arabesque

decoration under arches, and flanked by small pilasters. The top

of such decorative bands are generally highly decorated with

smaller designs. The upper parts of the minars are divided into

storeys and separated by projected balconies supported by brackets

under them. Each band between two balconies is sparsely decorated.

Small arched windows are provided in the east and the west at

each storey./

(4) Pillars

Pillars are the main supports for the ceiling, roof and

domes of mosques. As such they are employed mainly in the prayer

hall. In addition to this they are used on the varandah of the

courtyard and the upper storeys above the prayer hall. Usually

they are made of

1. Base

2. Shaft

3. Brackets.

Base are generally square in plan with mild offsets

and marked by A-shaped motif in relief. Their hights are in

proportions to the total heights of the pillar. For example,

at Siddhapur and Dholka they are squat but at Champaner,

1 Patna and some of the mosques of Ahmedabad they are quite tall

An exception to this, is the base of the Rani Sipri Mosque at

Ahmedabad which is highly decorated with floral decoration, in

three bands of lotus, in half circle, quarterfoil, flower and

chaqur motif.

The shafts are generally devided into two, to three parts

according to their sections of square octagonal or circular.

Main decorations are on the middle part of the shafts.

At Dholka, Jami Mosque, the shaft is having multi offsets on

the tall pillars. The srdi Sa^Lyad Mosque has plain shaft2

without brackets which supports the arches on them. At

Champaner they support the architraves of the ceiling of the

prayer hall and arched in its front. The shaft and bracket

of Tank Mosque at Dholka has wooden 'shafts and brackets

probably of much later period.

Brackets are provided at the tops of pillars to support

architraves on them. Brackets are mostly with single stepscorbelled type and in some cases remoulded at bottom andsquare at top. Some of them at Tank Mosque are decorated.At the some mosques even Kichaka figures are also seen,

3because '.this must have been taken from Hindu temple. At > Jami Mosque, at Broach there is one tall bracket with stepped profile.A wooden bracket is encounted at Tank Mosque at -Dholka, but

this seems to be of much later addition.

(5) Windows

Windows are provided along all the three walls of the prayer

hall and on the open court yard walls on three sides. They are of two types; rectangular and square. All these windows are having jali screen. Some of them i.e. particularly the sxsjuare ones on the side of the mehrabs and sides of the prayer hall are having reclining seats i.e. Kakihasanas on their outer side which the

covered at the top of the windovr with stepped arches.

(6) Architraves :

Heavy, long architraves are used for supports to ceiling-of the prayer halls. Generally they are long shafts square in section. Architraves are .generally decorated on their bottom centre and flanks. The most common decoration on bottom is circular motif.

This is forms of.concentic circle, with floral pattern. The fanks are highly decorated .at Tank and at Hilal Khan Mosque at Dholka. These are in form of three horizontal bands of floral and geometric motifs.

(7) Ceiling

Mosque's ceiling shows following varieties.

1. Plain flat ceiling (Samtal)2. Broad invented V shaped with hanging decoration

(Ut-Kshipta)3. Large domes of two types (Kshipto-Kshipta).

The plain flat or samtal ceiling is seen on the navachokis, around its central choki on the ground floor. It is common on the first and second floor also.

The second variety is seen in the central square of the Navachoki facing the central kibla or Mehrab. This type has a frame with 15 small padams of three units. The enclosed space has one larger padama in each corner and the centre is occupied by a traditional Kalparik^a pattern.

The large dome of first variety is the traditional dardarika vitana with decorated and plain ring surmounted by padmalila.They are seen on Mandapas on the sides.

The second variety of the large dome is ribbed. It has

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16 ribs supporting the main dome. Its lower circle has a decoration of arches with enclosed designs. It is also surmounted by padam^ila.

No doubt, ceiling covers the whole prayer hall, which is mostly flat. 'But at places where domes are toping vaulted, ceilings are provided under domes. Generally they are made by rounded combelling of diminishing circles ending in the central suspend chandelier.

In other type there are flat ceilings also with decorative planned in a square.

In some cases, (as at Cambay, Jami Mosque) the square ceiling Is further marked by a sunken square with corners touching the sides of the square.

Decoration on these ceilings are planned according to their basic plan. In the case of corbelled circular ceiling decorations are in circular form of bands of floral and geometric motif. Such examples are Jami Mosque, Rani Slpri and Ahmad Shah’s Mosque at Ahmedabad and Jami Mosque at Cambay.

Cusped ceilings decorated with floural motif are encounted at Siddhapur, Jami Mosque at Broach, Tank Mosque at Dholka and Shaikh Farid at Patan.

At Jami Mosque at Broach multiple cusps are used in a square

45

formation. At Champaner, Jami Mosque a huge square "Kalpataru"

type ceiling is placed in the ceiling in front of Central Mehrab.

Square formative decorations are employed at Dholka Jami

Mosque and Hilal Khan's Mosque.

(8) Arches

Arches are provided at following places, in the front wall

of the prayer hall, along the varandah front, on entrances; on

Mehrabs and on the inner opening of windows. They are typical

stilled arches slightly pointed at top and curviliner on sides.

The central arches on the entrance of the prayer halls are

biggest. Smaller ones are provided as decorative motifs on the

lower part of ceilings of domes at entrances as at Ahmedabad in

Jami Mosque.

The finest arches are those on the mehrabs. These are

delicately designed and decorated along its carves and side

jambs in addition to its surrounding area on the wall. The inner

part of mehrab are kept sprasely decorated so that the decorative

mehrab will be visible bodly.

(9) Mehrabs

Mehrab~is the most important architectural feature of

mosque. They are in variably built in the western wall of the

prayer hall, because Macca the sacred city is toward west. It

46

is composed of an arched door frame with the decorated wall with the symbol sunk in the wall. The door frame on the arch are having highly decorated thin pilasters, supporting the additional of stepped or arched mimber. All these are copied from the door frames of Hindu temples. At Sidi Sayyid at Ahmedabad, we have simple Mehrab, almost without any decoration. But at Champaner,,Broach, Dholka, Ahmedabad etc. We have highly decorated pilasters, jamb arches etc. The inner wall of Mehrabs are having central medalians decorated with flower petals etc. In addition to this a water pot symbol suspended with chains from the medalians are alsos displayed.

(10) Mimber

Mimber was a stepped preaching platform attached to the Western wall of mosque. They are having plain as well as highly decorated steps (Dholka) with side by balustered (Fig. ft- ).(Fig. fZ. ), (Fig.fS ), (Fig. itj ). (Bibi Harir's Mosque at Ahmeda­bad, Jami Mosque at Cambay, Ahmad Shah's Mosque at Ahmedabad and Jami Mosque at Cambay). The top of this platform was specially ornamented. At Dholka it has a square canopy supported by highly decorated pillars with bracket at top (Fig. ff ). At Jami Mosque at Ahmedabad it is simple but artistic (Fig. ). Built of white marble, it has artistic arched back supports on the top back, decorated with three compartments of lattice decoration at the base, and floral petalled half circle with a lotus in the

47

centre in arch. The mimber of Sidi Sayyid at Ahmedabad, is also simple and decent, built of white marble (Fig. ).

(11) Back support behind Mehrab

These supporting buttressing devices are locally known as- "Hathani" i.e. cow-elephant. This is because they look like the

front of the elongated elephant head i.e. with scoping top and reaching up to the base of the outer wall.

Broadly speaking these devices are huge pilaster likearchitectural components. Some of them are square in sectionas at Blbi Harir's Aswav at Ahmedabad and Jami Mosque at Dholka.

k.KoJn;«iAt Hilal Saha's Mosque at Dholka they are five sides at base, and middle portion is circular near half pyramidal top. At Champaner Jami Mosque they are decorated with horizontal bands

of geometric motifs.

It seems that these buttressing part were necessary because of sinking of Mehrabs in the back walls of the prayer halls.

(12) Balconies

Balconies which are adopted from the Kakshasanas of the Hindu temples are provided on the outer sides of windows on the flanks of the prayer halls. They are also,found in the front windows of prayer.halls and front of the entrance porches.

//f " i\ i•; In addition to this the reeling supporting low balustrade- :!i like device is edopted on the periphery of the, top opening neart \j the entrance of the prayer hall as at Champaner and Ahmedabad ;]j mosques. These are highly decorated reeling parts, decorated j ‘with floural and geometric motifs. They not only add the beautyI to the window but support the small pillars of the projecting1 1

j roof of windows. ;I

j :! (13) Merolon (Kahgra) ;i ' 1

I $jj The merolons'are adopted from the fort-walls and stylized jj in almost circular archlike decorative in horizontal rows. They ■jj are on the top of the straight wall, line or cornies, against ;: the skylines. They are decorated with geometry as well asj! floural motifs (f^g. -—•).

_____.... ___ 48

ii

/

I

REFERENCES

ij

fi1

tf'itI}

{

i•I

l

49

1 Brown Percy

2 Brown Percy

3 Brown Percy

4 Havell, E.B.

5 Majumdar, R.C. and others

6 Havell, E.B.

7 Havell, E.B.

8 Majumdar, R.C. and others

9. Fergusson,

10 Brown Percy,

11 Marshall

12 Marshall

13 Fazlullah

14 Fergusson,

: Indian Architecture (Islamic Period)

P* 3.

: Ibid, p.. 3

* Ibid, p. 46

i Indian Architecture p.p. 51-52.Brown Percy, Ibid, p.p. 47-48.

: The Delhi Sultanate (The History andCulture of the Indian People) p. 170.

: 2E* cit. p. *52,Brown Percy, op. cit. p.p. 47-48.

: Ibid, p. 52, Brown Percy, Ibid, p. 47,Fergusson, History of Indian and Eastern Architecture, p. 230.

; The Delhi Sultanate (The History and Culture of the Indian People) p. 771.

: History of Indian and EasternArchitecture p. 230.

: on. cit. p. 48.

: Monuments of Muslim India, CambridgeHistory of India, p. 609,

. Brown Percy, Ibid, p. 48.i

: Ibid, p. 609, Brown Percy, Ibid, p. 48.

: Mirat-i-Sikandari, p. 14.

: on. cit.;p. 230-32, Havell,op. cit.; p. 68-72, Marshall, op. cit.; p. 610-11.Brown Percy, og_. cit. p. 48-59.

15 Majumdar, R.C. and others

50

The Delhi Sultanate, (The History and Culture of the Indian People) p. 712-13.

16 Marshall, : op_. cit. p. 611-12; Brown Percy,op. cit. p. 51.

17 Havell, E.B. op_. cit. p. 52, Brown Percy,Ibid, p. 51.

18 Fergusson, : op. cit. p.p. 238-39»Havell, E.B., Ibid, p. 75-76; Marshall, op. cit. p. 614, Brown Percy,Ibid, p. 53.

j 19. Marshall, : ojd. cit. p. 614,i

j 20i

Majumdar, R.C.and others

: The Delhi Sultanate. (The History andCulture of the Indian People) p. 718.

i 21i

Marshall, : op_. cit. p. 615, Brown Percy,op. cit. pp. 53-54.

j 22jI1i

Fergusson, 5 or. cit. p. 236-37, Havell,'E.B.f op. cit. p.p. 139-41, Marshall,Ibid, p. 616, Brown Percy, Ibid. p. 55

! 23tj/\

1

Fergusson, : Ibid, p. 242-43, Havell, E.B.,Ibid. -p. 130-136; Marshall,Ibid, p. 612, Brown Percy;Ibid, p. 55-56.

\! 24 Fergusson, ; Ibid, p. 242.

: 251i']1!!

Majumdar, R.C. and others

; The Delhi Sultanate. (The History and Culture of the Indian People) p. 721.