Indo-Islamic architecture

Part-1 Coping and Plinths

Plate -1 | Plate 2 | Plate 3 | Plate 4 | Plate 5 | Plate 6 | Plate 7 | Plate 8 | Plate 9 | Plate 10

Plate 11 : Coping from the Tomb of Khan Dara Khan and Idgah of Shumsuddin Delhi.

Coping from the Tomb of Khan Dara Khan, Delhi.

Khan Dara Khan was a nobleman in the service of Jahangir in the beginning of the 17th century. The tomb from which these mouldings are taken is near that of Nizamuddin referred on Plate 7

Idgah of Shumsuddin at Delhi.

An Idgah is an uncovered place of prayer; this was probably erected by Shumsuddin, the King of Delhi. A.D. 1210-1216

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Part-1 Coping and Plinths

Plate -1 | Plate 2 | Plate 3 | Plate 4 | Plate 5 | Plate 6 | Plate 7 | Plate 8 | Plate 9 | Plate 10 | Plate 12 | Plate-13

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Part-1 Coping and Plinths

Plate -1 | Plate 2 | Plate 3 | Plate 4 | Plate 5 | Plate 6 | Plate 7 | Plate 8 | Plate 9

Plate 10 : Coping from Mansur ka Madrasa , Tomb of Mirza Jahangir and Tomb of Shah Nizamuddin at Delhi

Coping from Mansur ka Madrasa at Delhi. This moulding is from a Muhammedan Madrasa or College at Delhi, founded by Abu’l Mansur Ali Khan, better known as Safdar Jang, Vazir of Oudh, A.D. 1739-1753. See Plate 12 , fig. 2.

The tomb was built in about 1754 by Shuja’u’d-Daula, Safdar Jang’s son. The tomb is the last example of the pattern which began with Humayun’s tomb. Enclosed within a large garden, divided into squares on the charbagh pattern, with tanks and fountains along the central pathway, with a gate on the east and pavilions on the other three sides, the tomb proper stands out in the centre of the enclosure. It is a square double-storeyed structure built on a raised terrace and surmounted by a bulbous dome of marble. Red and buff sandstone has been used in its facing, a large proportion of which was stripped off from’ Abdu’r-Ral,lim Khan-i-Khanan’s tomb.

The marble panels on its corner-towers are pleasing but rather florid. In fact, its exaggerated ornamentation and lack of proportions, evidenced particularly by its vertical elevation, rob it of the character of a great building, although it has been rightly described as ‘the last flicker in the lamp of Mughal architecture at Delhi.

मनसुर का मदरसा, दिल्ली में सफदरजंग मकबरा के नाम से जाना जाता है. यह मकबरा मुग़ल काल का आखिरी मकबरा है.  यह मकबरा संगमरमर और बलुआ पत्थर से बना है. इसे अवध के नवाब शुजाउद्दौला खां ने अपने पिता सफदरजंग यानी मुकीम अबुल मंसूर खान की याद में बनवाया था. 

मनसुर का मदरसा, नवाब के नाम पर मशहूर है. उस समय मदरसे आम थे और पुराने साइनबोर्ड भी इस बात की पुष्टि करते हैं. यह मकबरा, मिर्ज़ा मुक़ीम अबुल मंसूर खान (सफदरजंग) की क़ब्र है. 

सफदरजंग, अवध के स्वतंत्र शासक थे. वह मुग़ल सम्राट मुहम्मद शाह के वायसराय थे. मुहम्मद शाह की मृत्यु के बाद, वह दिल्ली आ गए थे

Coping From the Tomb of Mirza Jahangir, Delhi.

Mirza Jahangir, the son of Akbar II, was buried here in 1832; the tomb itself is probably a century older

Coping From the Tomb of Shah Nizamuddin, Delhi Figs. 3 and 4. From the Tomb of Shah Nizam-ud-din, near Delhi. From the group of buildings referred to above; see remarks on Plate 7.

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Part-1 Coping and Plinths

Plate -1 | Plate 2 | Plate 3 | Plate 4 | Plate 5 | Plate 6 | Plate 7 | Plate 8 | Plate 9 | Plate 11

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The materials used and displayed on the Sites, including text, photographs, graphics, illustrations and artwork, video, music and sound, and names, logos, IS Codes, are copyrighted items of respective owners. FDAPF is not responsible and liable for information shared above.

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Part-1 Coping and Plinths

Plate -1 | Plate 2 | Plate 3 | Plate 4 | Plate 5 | Plate 6 | Plate 7 | Plate 8

Plate 9 : Coping of Tomb of Nizamuddin , Delhi and Kashi Vishwanath Temple, Varanasi

Coping of Tomb of Nizamuddin ( Nizamuddin Dargah ) , Delhi

The Kashi Vishwanath Temple, Varanasi

Around 1750, the Maharaja of Jaipur commissioned a survey of the land around the site, with the objective of purchasing land to rebuild the Kashi Vishwanath temple afterwards Temple rebuilt during the Maratha rule, under the patronage of the Maratha monarch Maharani Ahilyabai Holkar.

Architecture:

1. Maratha Influence: The temple reflects the architectural style of the Maratha period, characterized by its simplicity and elegance. The Maratha architecture often featured stone construction with minimal ornamental decorations.
2. Shikhara (Spire): The temple’s shikhara (spire) is one of its distinctive features. It is relatively simple in design, in line with Maratha architectural preferences, but it conveys a sense of grandeur.
3. Inner Sanctum: The sanctum sanctorum of the temple houses the main lingam, the sacred symbol of Lord Shiva. Devotees offer their prayers and perform rituals in this inner chamber.
4. Stone Work: The temple is constructed using stone, and the exterior and interior walls may have carvings and inscriptions related to Lord Shiva and Hindu mythology.
5. Open Courtyard: The temple is situated within a spacious courtyard, where devotees gather for worship and ceremonies. It often gets crowded with pilgrims, creating a vibrant and spiritual atmosphere.
6. Ghats: The temple is situated near the ghats (steps leading to the river) of the sacred Ganges River, offering a serene and picturesque location for devotees to take ritual baths and perform religious activities.

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Part-1 Coping and Plinths

Plate -1 | Plate 2 | Plate 3 | Plate 4 | Plate 5 | Plate 6 | Plate 7 | Plate 8

FAIR USE DECLARATION

This information is provided by the Front Desk Architects and Planners Forum (FDAPF) under Fair Use guidelines for educational and research purposes. To the best of our knowledge, it is in the public domain, and our goal is to make it more accessible for student of Architecture and Planning .

The materials used and displayed on the Sites, including text, photographs, graphics, illustrations and artwork, video, music and sound, and names, logos, IS Codes, are copyrighted items of respective owners. FDAPF is not responsible and liable for information shared above.

If you are the intellectual property owner and have concerns, please contact us, and we will address the matter promptly. Users are advised to verify legal use in their jurisdiction before accessing this material. For more details, visit our website.