Indo-Islamic Architecture

In India, the mediaeval period saw significant advancements in the art of architecture. With the arrival of Muslims in India, several new architectural characteristics and methods were introduced. This period’s development of Muslim architectural style is known as Indo-Islamic Architecture, or Indian architecture inspired by Islamic art. Neither purely Islamic nor strictly Hindu, the Indo-Islamic style was a hybrid of the two. It was, in reality, a fusion of Islamic and Indian architectural components. The Mughal Architecture and the Architecture of the Delhi Sultanate or the Imperial Style are the two primary genres of mediaeval architecture. The Sultans of Delhi encouraged the development of the Imperial Style. Mughal architecture was a mix of styles.

Indo-Islamic Architecture

Islam spread across India in the seventh and eighth centuries CE. During these migrations and conquests, Muslims acquired several characteristics of indigenous cultures and traditions and incorporated them into their building techniques.

Typologies of Structures

• Over time, architectural structures such as mosques for daily prayers, Jama Masjids, tombs, dargahs, minars, hammams, properly set out gardens, madrasas, sarais or caravanserais, and Kos minars were created

• Indo-Islamic architecture was significantly inspired by Indian architectural and ornamental sensibility

• A great deal relied on the availability of materials, the constraints of resources and abilities, and the patrons’ aesthetic sensibilities

•Although religion and religiosity were very important to the inhabitants of mediaeval India, as well as other parts of the world, they freely copied architectural motifs

Categories of Style

It is categorised into:

• Imperial Style: Emperors and Empresses favoured the imperial style. It separates an emperor/empress from a King/Queen, who is simply referred to as Majesty. Holders of imperial style have occasionally been noticed following religious leaders addressed in public ceremonies as “His Holiness.” The imperial style was sometimes employed by princes and princesses. Mohammad Reza Pahlavi, Iran’s final Shah, used the Imperial style as well. Delhi Sultanate. Provincial Style: Mandu, Gujarat, Bengal, and Jaunpur

• Mughal Style: The Mughal style of architecture is a unique Indo-Islamic architectural style that originated in northern and central India during the 16th and 18th centuries under the patronage of Mughal monarchs. Mughal style of architecture is an astonishingly harmonious and colourful synthesis of Persian, Turkish, and Indian styles. Delhi, Agra, and Lahore. One of the crowning achievements of Akbar’s Mughal style of architecture is his father Humayun’s tomb in Delhi.

Architectural Influence

• Gujarat has regional characteristics derived from temple traditions, such as toranas, lintels in mihrabs, bell and chain motif sculptures, and tree-themed carved panels. Among provincial styles, Bengal and Jaunpur architecture are considered different
• The white marble dargah of Shaikh Ahmad Khattu of Sarkhej, built in the fourteenth century, is an excellent example of regional style. It had a significant effect on the design and ornamentation of Mughal tombs

Decorative Forms

These techniques included incision or stucco design on plaster

• The designs were either unadorned or heavily embellished
• Decorative patterns were painted on or carved into stone. These themes comprised a variety of flowers from both the subcontinent and other parts of the world, most notably Iran.                                                            
• The arches were basic and squat, although sometimes elevated and pointed                                            
• The lotus blossom fringe was employed to great effect in the arches’ inner curves                              
• Arches were created with trefoil or multiple foliations beginning in the seventeenth century. Medallions or bosses were used to embellish the spandrels of the arches
• Additionally, the walls were adorned with cypress, chinar, and other plants, as well as flower vases. Numerous intricate floral theme patterns were also discovered on fabrics and carpets                                
• Interior walls and canopies were adorned with lapis lazuli                                                                        
• Tessellation (mosaic patterns) and pietra dura methods were used to decorate the surfaces, notably the dado panels on the walls
• In the fourteenth, fifteenth and sixteenth centuries, tiles were also used to surface the walls and the domes
• Arabesque, calligraphy, and a liberal use of jalis were among the other embellishments. The three-dimensional aspect of the high relief carving
• The central dome, as well as lesser domes, chatris, and little minarets, were used to create the roof
• A metal or stone tower topped the centre dome, which had an inverted lotus blossom design.

Materials for Construction

• All structures have extraordinarily thick walls composed mostly of rubble masonry. Following that, these walls were cased with chunam or limestone plaster or dressed stone. Construction materials included quartzite, sandstone, buff, and marble                                                                                                  
• To complete the walls, polychrome tiles were employed to great effect. Since the early seventeenth century, bricks have been utilized in buildings, providing more flexibility to the constructions. There was a greater dependence on indigenous materials.

Conclusion

The confluence of Turks and Indians, who had distinct religious beliefs and established notions about art, architecture, and literature, resulted in the creation of a new composite civilization. The Indo–Islamic culture is the name given to this civilization.