ACROSS PLACE AND TIME

E X P L O R I N G

D E C C A N

A N I K E T

A R C H I T E C T U R E

A H U J A

M I A D
P D 0 0 0 5 1 5

After the establishment of independent Bahmani dynasty of Deccan in 1347, the Deccan
evolved a distinct style , based largly in its early stage on existing Tughluq style of Delhi and
later influenced by the building art of Persia .With the transfer of the capital from
Gulbarga to Bidar in 1424, the Deccan style enters its second phase during which it further
imbibed Persian influence. Most of palace building have succumbed to ravages of
time but their remains are sufficient to indicate their magnificence and grandeur on one
hand and strong

Persian influence on the other.

- Z.A.Desai, Pg 31

ABSTRACT
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, a
fantastic Arabian Nights atmosphere. Nor should this impression be dismissed as
fanciful, Deccan was always had distant Islamic culture, far from its
Middle Eastern sources. The relationship between cultures of Persian countries
and India is best manifested in art and architecture; although, this relationship
has suffered various vicissitudes.

INTRODUCTION
The plateau region in the centre of peninsular India, known as the Deccan, is one of
the countrys most mysterious and unknown regions in terms of artistic
heritage. Few scholars, Indian or foreign, have worked extensively in the Deccan,
which remains little visited and surprisingly unexplored. (Zebrowski mark, 2008)

H I S TO R I C A L F R A M E W 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 from
Hindus 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.

PERSIAN ARCHITECTURE
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).

Suleymaniye Mosque, Istanbul , 1558

(Ottomon Empire)

Goharshad Mosque, Iran, 1418

(Persian Empire)

THE BIBI KHANUM MOSQUE,

(1404) , Samarkand,
Uzbekistan

Domes are characteristic of

Persian architecture and are used
throughout most of the Islamic world,
the exterior and interiors of which are
usually decorated with varying shades

of blue, white, and gold and

THE BIBI KHANUM MOSQUE, Samarkand, Uzbekistan (1404)

employ axial symmetry in their design

Proportion of Dome

Panorama of Dome

Iranian domes are distinguished for their height, proportion of elements, beauty of form, and roundness of the dome stem.
The outer surfaces of the domes are mostly mosaic faced, and create a magical view.

Geometric Pattern

Entrance

Large scale geometrical ornamental patterns on its facades are

made of dark and light blue glazed bricks (REASON). The
mosaic panel over the iwan's entrance arch is decorated by

geometrical stylized ornaments.

A hollow dome which

has 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

The symmetry and

geometrical
patterns are Persianinspired, and the detailed
ornamentation and
calligraphy

INDIAN ARCHITECTURE
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
(1391-1583) in the west, the Bengal

sultanate

sultanate (1339-1576) in the east,

Deccani sultanate(1347-1687) in the south, and finally, the Mughal
sultanate (1526-1858). (Pirnia, 2001).

Tomb of Muhammad Shh Ld, Delhi , 1444,

Qutub Minar, Delhi, 1199

Gol Gumbad, Bijapur, 1656

D E C C A N I S U LTA N AT 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 Mussulmani
modes. Since it had indirect influence of Central Asia, architects somehow
attempt to make difference in architectural style were essentially
enumerated and was marked by a grandeur of conception and boldness in
construction (Koch, E., 1991)

Plaster Detail, Mosque associated with Ali Barid

Shah , Bidar, 1577

Khush Mahal , Warangal, Early 14th Century

Fort, Bidar, 14th to 17th century

PERSIA & INDIA

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 of
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 dynasty.
The Mughal period in India (1526-1707) was a contemporary of the Safavid
dynasty in Iran (1524-1729), while the Timurid period (1370-1524) came
before both.

I M PA C T O N D E C C A N I S U LTA N AT 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)

JAMI MOSQUE,
GULBARGA
Built inside the Gulbarga Fort is
a unique mosque with a huge dome and
smaller ones as embellishments.
The Mosque is influenced by
the Arabic style common in Iran and also
Western church architecture. Some
features of architecture of these
churches brought to Deccan by Muslim
religious sites in Eastern Europe and by
merchants and slaves. (Sherwani, H.K.
Jami Mosque, Gulbarga

1985)

On a rectangular base, this mosque has arcades

two bays deep and a triple-aisled pray

erhall which runs around three sides of the buildi
ng.
Plan of Jami Mosque, Gulbarga

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 marked

Quibla Wall, Gulbarga

by domes. The west bay is spacious and covered in the center

with a high dome, which is surrounded by twelve smaller
domes. 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.

Minaret, typically associated with mosques, is

absent. The outer walls, which usually are solid, are

instead open arcades to allow in much needed light
that would generally be filtered in from a courtyard.
Only the west wall is solid. It could be possible that it
was never designed as a mosque, initially it was royal

assembly.

Timurid madrasa at Kargerd in Khorasan, Iran

Jami Mosque, Gulbarga

The peculiar form of wide

arch with low imposts initiated at the Jami Masjid was subsequently imitated at
Gulbarga in the stupendous archway over the entrance to the shrine of Timurid madrasa at Kargerd in Khorasan.
The height and pierced-stone window screens reflect local taste, but the basic plan and the scheme of the tile
revetments have numerous close parallels in Timurid architecture.
Details of the vaults, which include moqarnas in the transition zone, also suggest the presence of a Persian

craftsman.

Widen Arch

The interior of the mosque was the result of experimentation with the span of arches, which turned out rather
appealing and were utilized in many other Deccan buildings. The arches here have a very
short imposts. These unconventional

wide span and are support on

'stretched' arches later became a characteristic of Deccani architecture.

MAHMUD GAWAN
MADRASA, Bidar
The most spectacular instance

of an imported decorative scheme

is the tilework on the madrasa of Mahmud
Gawan at Bidar. Architectural ornament in
carved stone at Bidar attains a degree of

exuberance unmatched
elsewhere. Designs based on animal and
vegetal motifs become popular, though
always in partnership with

calligraphic, arabesque and

geometric patterns, reflecting the
MAHMUD GAWAN MADRASA, Bidar, 1472

sustained impact of Islamic artistic

conventions. (Tarachand, 1993)

The most striking feature of

this structure is its three stories of
cell , a most unusual happening in a
madrass, the elevated domes
marking the entrance and the
imposing minarets combine to make
this a high point of the influence of
Persian art and architecture

With use of different color of tile each time

made 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 for
decorative themes.

Calligraphy in Urdu on wall

Details of the facade include a band

of tile-

work containing a parapet design showing kanguras of a

cusped pattern. The calligraphic designs in this building
exhibit art of the highest order and in tile decoration the
painter and calligrapher seem to have worked out jointly
the design for the craftsmen.

Geometric Pattern on Circular Piller

ARCHITECTURE CONFLICTS
AFTER DIVISION
By late 15th century , conflict between

Indian Muslims who were in Indian since many

Generations and Muslims who migrated from
Central Asia. Due to this conflicts , Provincial cities such
as Golconda, Bidar became successor state for Deccan
- Nazim Shahi (Ahmednagar)
- Adil Shahi (Bijapur)
- Qutub Shahi (Golconda)
- Baridi (Bidar)
- Imad Shahi (Ellichpur)
By 16th Century , Deccani Sultanate saw a new face of
development in style of architecture. (Pereira, J., 1994)

JAMA MOSQUR,
BIJAPUR
One of the bonafide gems
of Decannis newly build Architecture is
Jami Mosque, BiJapur.
These crossing Archs were

more pointed than usual. This style

wasnt invented during this era, but it
reached structural perfection by
the architects. Efficient in terms of
masonry because of distribution of
weight of dome which is taken down by
these arches.
Jama Mosque, Bijapur

Mehrab Wall added 60 years of construction

Mehrab wall usually is a niche, direction for prayer. It

is not only a wall , but is a composition in relief stone work and
its a guild . It is argubly the largest and elaborate composition
of mehrab that can be seen in islamic world. (Michell George)
The Gold part is high and drak blue lower. callygraphic
leaf design and geometric patterns relates somehow back to
central asia

Perhaps the gold used to paint the Mihrab was melted down
from gold that had been looted from the Hindus.
Bijapur Sultans the funds to hire artisans from as far away as Italy
to work on this construction project. They also employed mercenaries
from all over the world, including Central Asians, Arabs, Portuguese and,
again, Italians

Perspective of Arches, Jama Mosque, Bijapur

IBRAHIM ROUZA,
BIJAPUR
Tomb and mosque are not
same but balance each other. Balance
in way that the are similar but not the
same is visually simulating.

Tomb of Ibrahim Rouza, Bijapur

It is surrounded by a spacious
verandah roofed with domes and
shallow vaults. The outer walls have
arched openings of different widths.
They are capped with the usual eaves on
sculpted brackets and crenellated
parapet

Virtually every inch of stone on

the building is covered with inscriptions
and interesting designs.

Passages of the Koran

carved into the side
of the tomb, in the
last rays of light.

Elements are carved and relief

with calligraphy geometric pattern and
floral design. Parts of wall have painted
deign , whole picture is polychrome
magnificent spectacle. These calligraphy
designs were influence from textile design
in turkey.

TOMBS OF
GOLCONDA
The Qutub Shahi Tombs exemplify the Go
lcondan Indo-Persian architectural style,
showing Mughal, Hindu , Moorish and
Persian influence.
Tomb of Muhammad Qutb Shah, Golconda, 1626

These tombs have onion shaped domes

and are build upon spacious, square
platform. The domes were once
decorated with colorful tiles, and toms
were furnished with rich carpets and
canopies

Tomb of Muhammad Quli Qutb Shah, Golconda, 1611

Tomb of Jamshid Qutb Shah, Golconda,

1550

Mecca Mosque, Bijapur, late 17th Century

Tomb of Ali Barid Shah, Bidar, 1577

Ala al-Din Bahmani

Char Minar, Hyderabad, 1591

Damro Mosque, Ahmadnagar

Plaster Detail, Mosque associated with Ali Barid Shah , Bidar, 1577

The Bahmani rulers replaced Tughluq tradition by Dhakani tradition in the fields
of art, architecture and cultureThe Bahmani rulers revolutionized the Deccan
architecture which bears a testimony to the new influences which were at work
in the field.
Bidar period also opened a new chapter in the Deccan architecture, for while the
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)

CONCLUSION
The fortresses built during the period were a mixture of the work of Hindu,
Tughlaq and Bahmani sovereigns. Mahur, Bidar, Narnulla and Golkonda are some
of the architectural examples of the Sultans. The Golgumbaz in Bijapur shows the
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, Firozs tomb,
the Bidar Fort, Gumbad Darwaza, tombs of Hadrat Samsud Din, Ala-ud-din
Hasan, Bahman Shah, Muhammad Shah I, Muhammad Shah II and so on remain
as perpetual monuments of the magnificence of Bahmani dynasty.

BIBLIOGRAPHY
1. MICHELL GEORGE and ZEBROWSKI MARK, THE NEW CAMBRIDGE HISTORY OF INDIA : Architecture and Art of the Deccan Sultanates, Cambridge University Press, 2008
2. Maryam khazaee, Architecural Transfer Between Two Non- Cuncurrent Styles: Investigation The Routs Of Timurid Architectural Influence (1370-1524ad) In Mughal Buildings
(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 Mughals'o Gurkanids' Period),
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