INTRODUCTION 

Shiite faith was responsible for the construction of imambaras and 

Karbalas, the most outstanding religious monuments of lucknow.

Use of sandstone ,”lakhauri” bricks , lime mortar or the mortar, Mix of pulse(urad ki daal), gum,”gud”,”singhade ka aata”,and  Red lime(laal chuna) for building construction.

Ornamentations:-

1. Use of stucco and plaster
2. Carvings in relief with floral and geometrical motifs,and colourfully Painted.
3. Delicate execution of  ornamental details and mouldings with, Consisting mainly of foliated  and incised designs.
4. Stucco ornamentation partly  composed of mother of pearls and  Shells deposited in lake beds with shine finer than that of marble.
5. Fish most extensively used as ornamental motif.
6. Most domes crowned by gilded copper,gold plated or Terracotta-coloured finials.
7. Lower portion of domes were in foliated form of awadh crown and some of the finials were superimposed by a chhatri (canopy).
8. Terracotta balustrades
9. Flying buttresses on top of square buildings.
10. Gateways erected as entrances to monumental  complexes and Pleasure gardens  consisting of recessed arches  rising from same bas And covered with arabesque details.
11. Massive vaulted roofs 
12. Hidden cells or labyrinths(bhul bhulaiya)
13. Subterranean chambers
14. Baolis(step-wells)
15. Landscaping around monuments hence “the city of parks”

Two types of buildings:-

• Religious that is the imambaras and karbalas.
• Secular buildings that is  the palaces , kothis,and “baradaris” With gardens. 

Palaces or “kothis”:- built on the outskirts of the city for the nawabs  For their own use.

Baradari:- a pavillion with twelve openings

Karbalas:-a religious structure raised in the memory of the sacred  Site of martyrdom of hazrat imam husain and his followers in iraq.

Imambaras:- 

1. “Imam”(avatar or god) and “bara” (house or ghar) hence  house of god.
2. Religious edifices used for holding assemblies or “majlies” to mourn The tragic matyrdom of the maternal grandson of the prophet, Hazrat imam husain ,at karbala in iraq.
3. Patterned on mughal mosque While mosques built by nawabs had no more than two aisles, the  Imambaras could have three, with each aisle divided into three  Chambers, the central one being larger than the two on either side.

Monument approached by two lofty gateways :-

• South:- main entrance remarkable for its - 

1. Rectangular plan,
2. Tri-arched façade of tripolia style 
3. Bold cusped arches , 
4. Double set of fishes in thick lime plaster,facing each other on the      spandrels.
5. Raised parapets are composed miniature domed arches
6. Square turrets at the corner
7. Turrets crowned by chhatris or cupolas
8. In between miniature turrets crowned by guldastas
9. Side walls have arched galleries on both sides with a series of fluted domes,flanked by octagonal bastions at the corners.
10. These bastions are crowned by domed chhatris

• North:-constructed for reasons of symmetry and housed the “naubat Khana”.

SITE PICS - 

INTRODUCTION 

1. Stupas are basically hemispherical domes.
2. Initially the were very ir-regular.
3. But ashoka thought to make huge stone dome covered by bricks and well decorated.
4. Though he also placed pillars all over india indicating dharm . 

Great Stupa, Sanchi

1. It was made of hemispherical dome and bricks were layed on it.
2. A fencing was also given which was called vedika.
3. 4 gateways were also given on 4 cardinal points of fencing.
4. Idea of gateway was taken from bamboo gate ways of aryan village.

CARVINGS ON THE GREAT STUPA 

1. Vijaynagar is also called “city of victory” from its name vijaya meaning “victory” and nagara meaning “city". Presently known as Hampi. 
2. Vijaynagar empire (1350-1565) was founded by Harihar and Bukka also called the Sangama brothers. It is situated on the bank of Tungabhadra river. 
3. Its power peaked under Krishnadevaraya (1509-29), when it controlled nearly the whole of the peninsula south of the Krishna and Tungabhadra rivers. 
4. A number of temples, monuments, palaces and other structures were built during this period.

ARCHITECTURE 

1. Vijaynagar style of art is a combination of the Cholas, Pandyas, Chalukya-Hoysala and the Indo-Islamic art of the Bijapur region.
2. Its stylistic hallmark is the ornate pillared Kalyanamantapa (marriage hall), Vasanthamantapa (open pillared halls) and the Rayagopura (tower).
3. Another element of the Vijayanagara style is the carving of large monolithic sculptures.
4. Vijayanagar architects concentrated on building enormous halls however many additions were made to existing temples in an effort to enlarge them rather than construct them. 

DEVELOPMENT OF TEMPLE COMPLEX

1. Concentric series of rectangular enclosure walls with the gopuras (towered gateways) in the middle of each side and main temple in the center.
2. Gopurams became taller with enhanced richness in the sculptural details.
3. Absence of mortar in their construction.
4. Distinct scheme of decoration in terms of architectural space.
5. Another major feature is the carved pillars - with the rearing simhas (lions), yalis (lions with elephant trunks.
6. The spacious mandapams became even larger .

1. Decorative friezes were utilized on the plinth moulding, caves, gopuras, pillars etc.
2. Separate shrines were also made like the Amman shrine ,usually north west to the temple to keep an image of the consort if deity.
3. The construction of several mandapas, the Kalyana mandapa being the most conspicuous among them, was a notable feature of the period.
4. It was usually north west to the main temple.
5. The pillars had been adorned with characters of Indian mythology.

1. The temple, in general, stands on a jagrati (terraces) which in a number of cases had karnaprasadas (subsidiary shrines at corners). 
2. Sometimes a smaller shrine faces the main temple, the former containing the vahana ( vehicle) or avatara (incarnation), or the devi of the diety enshrined in the latter.
3. The garbhgraha is its pivot from where the temple expands horizontally. On the talacchanda(ground plan) and vertically on the urdhvacchanda( elevation).
4. The general plan has a mandapa infront of the garbhgraha, the ardha -mandapa( entrance portico) and the mukhacatuski (porch) facing the whole. 

subsidiary shrines at corners

1. Abode of mystery.
2. In no time a phantom of darkness with dim cells surrounds it.
3. The focal point is a sacred chamber deep within the labyrinth of its endless corridors.
4. Complex and determined.
5. The walls are pulsed with imagination.
6. Inscription art is rare. Economography and carved motif composition.
7. The natural markings and textures of the stone have a vivid and colorful effect depending on the shape.
8. Orientation EV
9. against. Theory - Trotter
10. Dry masonry
11. The horizon
12. Architecture is almost entirely confined to temples.

1. Clarity of mosque
2. Courts open to light and air with many doorways inviting publicity
3. No need of a central shrine
4. Wholly visible and intelligible
5. Representation of natural forms is prohibited
6. Decorative lettering in sculptured texts
7. Broke up the wall surfaces in patterns of diffrent colored marble painted plaster, glazed tiles
8. Orientation towards Mecca
9. Mortar masonry
10. Skyline- Dome

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BUILDING TYPES OF ISLAMIC ARCHITECTURE

ARCHES

MINARETS SQUINCH ARABESQUE

1. Malwa – a region towards the west center of the country.
2. The provincial style of Indo-Islamic architecture in Malwa speaks of 2 cities- Dhar and Mandu.

1. Alp khan gauri laid the foundation of the most grand and dramatic forts of islamic arch.
2. Was made the capital for security reasons
3. An area of 31sq.Km. Within fortress walls over 25miles in circumference .      

1. Jami Masjid (1440 A.D.)
2. Tomb of Hushang Shah (1440 A.D.)
3. Ashrafi Mahal
4. Royal Palace Complex
5. Chanderi Kushk Mahal (1445 A.D.)

1. Begun by Hoshang Shah, son of Dilawar Khan Ghuri & finished by his successor Sultan Mahmud I about 1440A.D.
2. 2 subsidiary entrances on the northern side also for the use of priest & zenana.
3. Entrance hall bears Coloured borders and panels in glazed tiles.
4. The pillared halls on north & south sides are 3 aisles deep, that on east is 2 aisles deep while that on west has 5 aisles.
5. Covers a sq. of 288’ side and on its eastern front, it is prolonged another 100’ by a projecting domed entrance hall & a wide flight of steps.
6. Courtyard (162’ sq.) is surrounded by domed arcades, 11 openings in each side.

1. The domed turrets and piers are those of Firuzian style but the arches retain the ogee profile.
2. Sanctuary has 3 large domes and the entire formation of the roof is covered with cylindrical cupolas, one being placed over each bay of the interior
3. Sculptured mihrabs at regular intervals in the qibla wall,& an elegantly designed member in the central bay.
4. The domes of the Jami masjid’s prayer hall, echoing that of the entrance pavilion, are in turn echoed by Hoshang Shah’s tomb beyond the qibla.

TOMB OF HUSHANG SHAH

1. Built by Hushang shah Ghuri in 1440.
2. Completed by his successor Mahmud Khalji.
3. Whole building is a square structure on a broad plinth, surmounted by a large central dome with a cupola at each corner.
4. Situated on the west wall of Jami Masjid.
5. Stands in the centre of a square enclosure.
6. Domed portico on north side of enclosure.
7. Pillared cloister along the west side, for devotions and accommodations.
8. Triple openings on two of its sides.
9. Central archway on the south providing the doorway.

INTRODUCTION

      The Rumi Darwaza, the main gateway of the BARA IMAMBARA complex is standing horizontally on the old Hardeo Road. Rumi Darwaza is one of the most impressive gateways not only in Lucknow or India but also the whole world. The gateway lays Northwest of Bada Imambara. It is interesting to note that Nawab Asaf-ud-Daula, like the Bada Imambara, also commissioned Rumi Darwaza. 

     

 It was constructed in the year 1784 by Nawab Asaf-ud-daula. The Rumi Darwaza is an example of the fine architectural style of Awadh. The Rumi Darwaza of Lucknow is also known by the name of Turkish Gateway since it is supposed to be identical in design to a similar gateway in ancient Constantinople. The word "Rumi" is derived from the modern day Rome that used to be Istanbul, the capital city of Eastern Roman Empire. The Rumi Darwaza is one of the finest gateways that has been built in Lucknow and is highly inspired by a similar gateway in Istanbul.

Jahangir'tomb

1. There is huge 1,500ft.(457.3m.)Square garden within which the tomb is set.
2. The ground covers 55 acres & are laid out in the classical charbagh pattern with bisecting perpendicular paths.
3. It is divided into 16 equal squares with a fountain & a pool to mark each intersection.
4. The entire structure constructed by brick with applied colour surfaces. 
5. At each corner of which are planted 100 ft high minarets.  
6. The central octagonal chamber is separated from the outer surrounding arcades by walls 19 m thick.

1. The tomb sits at the center of a plinth, about 21feet (7m) high.
2. The top of its central dome reaches 140 feet from the ground.
3. The dome is double-layered; the outer layer supports the white marble exterior facing, while the inner one defines the cavernous interior volume. The rest of the tomb is clad in red sandstone, with white marble ornamentation .

Built with red sandstone and marble, it has a dome and became the prototype for Mughal mausoleums. In true Persian style, there is an iwan in the centre of each side. The shape of the mausoleum is square, a sign of the influence of Jain architecture on the Mughals. Also called a cenotaph, the actual tomb is in a basement under a chamber. This concept was brought down from central Asia by Mughals, who are Mongol descendants. 

  Humayun's Tomb. Similar to the Taj Mahal in purpose, however as mentioned earlier this tomb was built by the wife for her husband, the king. It inspired several major architectural innovations, culminating in the construction of the Taj Mahal. Notice the people standing in the center of the picture at the base of the tomb.

PLAN

INTRODUCTION

PLANNING

1. Highly advanced system of town planning
2. Built up directly as urban centers planned as integrated units
3. Citadel with fortified walls enclosing big buildings used for some public , royal or religious purpose rested on high mud – brick platforms
4. Lower city laid out on grid-iron pattern
5. Main streets 10m wide in E-W and N-S directions intersecting each other at right angle.
6. Main streets divided the area into regular rectangular or sq. Blocks containing dwelling houses, shops and factories, with access to smaller streets and lanes.
7. Houses always opened on these alleys and side streets.

BUILDING MATERIALS AND CONSTRUCTION 

1. Kiln-burnt bricks for construction of defense works, important Buildings and walls of houses.
2. Sun-dried mud bricks to raise platforms and to fill in floor areas and courtyards.
3. Bricks were cemented together with mud mortar.
4. Laid in English bond – a course of stretchers alternating with a course of headers.
5. Mud plaster for inner walls .

DRAINAGE AND WATER SUPPLY

1. Houses had their own private bathrooms
2. Bathroom floors paved with burnt bricks , sloped into one corner
3. House drain carried the soiled water to the street conduit, 30-60cm. Deep covered with bricks or stone
4. At regular intervals – traps for inspection and manholes
5. Street channels opened into bigger corbel-vaulted sewers that emptied into the river

THE GREAT BATH

1. Chief building In the mohen-jo-daro is citadel .
2. A complex of verandahs and rooms ranged around the sides of a rect. Pool 12x7m with a depth of 2.44m laid in n-s axis
3. Flight of steps on the shorter side leads to 30cm high platform
4. The floor and walls of the pool made of neatly fitted bricks coated with bitumen to make them waterproof
5. Floor sloped towards the drain hole