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

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