DOCUMENTATION OF THE SHEIKHCHILLI TOMB

DOCUMENTATION REPORT

SHEIKH CHILLI TOMB

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ACKNOWLEDGEMENT IT WOULD BE DISCREET TO INSTIGATE THIS REPORT WITHOUT A SINCERE TRIBUTE TO ALL THOSE WHO HAVE PLAYED AN INDISPENSABLE ROLE IN THE ACCOMPLISHMENT OF OUR DOCUMENTATION BY PROVIDING WHEREVER THEIR GUIDANCE WAS REQUIRED. WE OWE OUR SINCERE GRATITUDE TOWARDS OUR RESPECTED GUIDES, DR. SANDEEP DUA AND AR. RENU MEHTA WITHOUT WHOSE INVALUABLE GUIDANCE AND GENEROUS HELP THE COMPLETION OF OUR DOCUMENTATION WOULD NOT HAVE BEEN POSSIBLE. IT IS THEIR SUPPORT AND FIRM FAITH IN US, THAT HAS GIVEN US THE CONFIDENCE AND STRENGTH TO FACE ALL THE TWIST AND TURNS OF THE JOURNEY AND HELP US EMERGE A BETTER AND MORE KNOWLEDGABLE PERSON. WE WISH TO EXPRESS OUR HEARTY APPRECIATION TOWARDS THE MR. KULDEEP SINGH AND ARCH. SAMEER DIWAN FOR THEIR UNGRUDGING HELP, CONTINUAL COOPERATION AND VALUABLE ADVISE WITHOUT WHICH IT WAS IMPOSSIBLE TO COMPLETE THIS PROJECT. LAST BUT NOT THE LEAST, WE WOULD LIKE TO THANK OUR PARENTS AND FRIENDS FOR THEIR CONSTANT SUPPORT AND STRONGEST MOTIVATION, WHICH HAVE BEEN A SOURCE OF INSPIRATION FOR US AT EVERY STEP OF OUR LIFE. SITES/STRUCTURES AND ASSESSMENT OF THEIR RELATED ISSUES

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PREFACE THE STUDY, WHICH HAS BEEN CONDUCTED AND COMPLETED WITHIN A RECORD TIME OF THREE MONTHS, IS AN EXCELLENT EXAMPLE OF COOPERATION AMONG A NUMBER OF PEOPLE . IT WAS AMBITIOUS TO UNDERTAKE THIS DOCUMENTATION STUDY AS IT ENCOMPASSES TWO DIFFERENT METHODOLOGY OF HISTORICAL CONSTRUCTION I.E SHEIKH CHILI’STOMB. FOR ALL THOSE WHO PARTICIPATED IN THE STUDY, THE ULTIMATE MOTIVATION WAS THE DESIRE TO STUDY ANCIENT CONSTRUCTION METHODS AND MATERIALS. WE FACED SEVERAL LIMITATIONS WHILE TAKING MEASUREMENTS AND CONDUCTING DETAILED STUDY. THUS, THIS IS A VISUAL INSPECTION LIMITED IN SCOPE BY (BUT NOT RESTRICTED TO) THE FOLLOWING CONDITIONS: · STRUCTURAL COMPONENTS CONCEALED BEHIND FINISHED SURFACES COULD NOT BE INSPECTED. · ONLY A REPRESENTATIVE SAMPLING OF VISIBLE STRUCTURAL COMPONENTS WERE INSPECTED. · FURNITURE AND/OR STORAGE RESTRICTED ACCESS TO SOME STRUCTURAL COMPONENTS. THE PROJECT EMPHASIZES ON LEARNING METHODOLOGY TO STUDY THE HISTORIC PLACES BY PRACTICING A SYSTEMATIC APPROACH TO PREPARE INVENTORY AND DOING DOCUMENTATION OF A HISTORIC SITE & STRUCTURE TO UNDERSTAND THE SPATIAL FORM, ARCHITECTURE AND TRADITIONAL CONSTRUCTION TECHNIQUES EMPLOYED IN THE HISTORIC STRUCTURE. THE OBJECTIVE OF THE PROJECT IS TO EXPLORE THE METHODOLOGY FOR PRACTICING AND INTERVENING IN THE HISTORIC SITE/STRUCTURE. IT WILL DEVELOP AN UNDERSTANDING OF THE SIGNIFICANCE OF HISTORIC

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CONTENTS SHEIKH CHILLI’S TOMB

1. INTRODUCTION i. ABOUT THE LOCATION ii. SITE AREA AT GLANCE iii. CLIMATE AND TEMPERATURE iv. APPROACH 2. SITE PLANNING i. SITE PLAN ii. CIRCULATION iii. SITE ANALYSIS iv. MASS SPACE RELATIONSHIP 3. BUILDING ANALYSIS • HISTORY • ARCHITECTURE 4. PHASES OF CONSTRUCTION 5. SARAI COMPLEX 6. MADRASSA COMPLEX 7. ARCHITECTURAL FEATURES 8. PATHAR MASJID 9. MAIN TOMB I. DESIGN CONCEPT II. DESIGN III. PLANNING PARAMETERS IV. INTERIORS V. FACADES 10. CHATARI 11. STRUCTURE SYSTEM 12. PRINCIPLES 13. MASS SPACE RELATIONSHIP 14. TEXTURE 15. PATH SPACE RELATIONSHIP 16. ELEMENTS SYMMETRY, REPETETION,RHYTHM, BALANCE, LIGHT VARIETY,

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ABOUT THE LOCATION KURUKSHETRA IS A CITY IN THE STATE OF HARYANA, INDIA. IT IS ALSO KNOWN AS DHARMAKSHETRA ("HOLY PLACE"). IT IS ALSO KNOWN AS THE "LAND OF BHAGWAD GITA ". KURUKSHETRA LIES AT DISTANCE OF 160 KM FROM NEW DELHI AND ABOUT 80 KM FROM CHANDIGARH - CITY WITH THE NEAREST AIRPORT. ACCORDING TO THE PURNAS, KURUKSHETRA IS A REGION NAMED AFTER KING KURU, THE ANCESTOR OF KAURAVAS AND PANDAVAS, AS DEPICTED IN EPIC MAHABHARAT. THE IMPORTANCE OF THE PLACE IS ATTRIBUTED TO THE FACT THAT THE KURUKSHETRA WAR OF THE MAHABHARAT WAS FOUGHT ON THIS LAND AND THE BHAGVAD GITA WAS PREACHED HERE DURING THE WAR WHEN LORD KRISHNA FOUND ARJUNA IN A TERRIBLE DILEMMA.[1] THE POPULATION OF KURUKSHETRA WAS 964,655 IN 2016.

BEFORE THE ESTABLISHMENT OF A REFUGEE CAMP NAMED KURUKSHETRA IN 1947, THANESAR WAS THE NAME OF THE TEHSIL HEADQUARTERS AND THE TOWN. THANESAR OR STHANESWAR IS A HISTORICAL TOWN LOCATED ADJACENT TO WHAT IS NOW THE NEWLY CREATED KURUKSHETRA CITY. THANESAR DERIVES ITS NAME FROM THE WORD "STHANESHWAR", WHICH MEANS "PLACE OF GOD". THE STHANESHWAR MAHADEV TEMPLE, WHOSE PRESIDING DEITY IS LORD SHIVA, IS BELIEVED TO BE THE OLDEST TEMPLE IN THE VICINITY. LOCAL HEARSAY IDENTIFIES THE LEGENDARY "KURUKSHETRA" WITH A PLACE NEAR THANESAR.

SITE AREA AT A GLANCE THE SITE IS LOCATED ON 29° 58′ 33.6″ N, 76° 49′ 40.8″ E. SHEIKH CHILLI'S TOMB IS COMPLEX OF STRUCTURES LOCATED IN THANESAR,NEAR KURUKS HETRA, HARYANA. IT INCLUDES TWO TOMBS, A MADARASSA, MUGHAL GARDEN, MUGHAL SARAI AND PATHAR MASJID.

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CLIMATE: NORMAL ANNUAL RAINFALL NORMAL MONSOON RAINFALL TEMPERATURE MEAN MAXIMUM (MAY & JUNE) MEAN MINIMUM (JANUARY) NORMAL RAINY DAYS

: 227MM : 131 MM :

33.5°C

:

13.7°C

:

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APPROACH HOW TO REACH SHEIKH CHILLI TOMB: SHEIKH CHILLI TOMB IS SITUATED IN THE KALYAN NAGAR AND IS ON THE NOTHERN SIDE OF THE BRAHMA SAROVAR. • THERE ARE SEVERAL WAYS OF REACHING THE GARDEN. ADDRESS: KALYAN NAGAR, THANESAR, HARYANA 136118 NEAREST BUS STATION: THANESAR OLD BUS STAND DISTANCE FROM THANESAR RAILWAY STATION: 1.8 KM DISTANCE FROM KURUKSHETRA: 7 KM PUBLIC TRANSPORT LIKE AUTO AND TAXIS ARE CONVENIENTLY AVAILABLE.

FIG.6. APPROACH TO SHEIKH CHILLI TOMB

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1. GARDEN COMPLEX 2. SARAI COMPLEX 3. MADRASSA 4. MAIN TOMB 5. WEST SIDE TOMB 6. PARKING 7. PATHAR MASJID

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GARDEN COMPLEX

MAIN TOMB

MADRASSA

WEST SIDE TOMB

MAIN ENTRANCE JHAROKHA

PATHAR MASJID 8

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SHEIKH CHILLI TOMB q HISTORY: THE SHEIKH CHILLI TOMB WAS BUILT BY MUGHAL EMPEROR SHAHJAHAN AS A TRIBUTE TO THE GREAT IRANIAN SUFI SAINT. HE HAD COME TO THANESAR TO MEET HAZRAT KUTUB JALALUDDIN IN THE 16TH CENTURY WHERE HE PASSED AWAY. THE TOMB WAS INITIALLY BUILT BY SHAHJAHAN FOR HAZRAT KUTUB JALALUDDIN. OUT OF HIS GREAT RESPECT AND REGARD FOR THE SAINT, THE EMPEROR MADE THIS TOMB AS HIS RESTING PLACE. PARAMETERS - MAUSOLEUM • FUNCTION • CONSTRUCTION -1854 DATE • ARCHITECTURAL - PERSIAN STYLE - 127M X 238M • DIMENSIONS - 35M • ELEVATION - 27854 SQ METERS • AREA -RED SAND STONE • MATERIAL -BRICK -WHITE MARBLE LIME MORTAR AS BINDER ARCHITECTURE – THE ARCHITECTURAL PLAN SHOWS CONSIDERABLE PERSIAN INFLUENCE. DUE TO ITS UNIQUE AND HIGLY SOPHISTICATED ARCHITECTURAL VALUE IS RANKED SECOND ONLY TO THE TAJ MAHAL IS NORTHERN INDIA. THE MONUMENT WAS PROTECTED AND DECLARED AS OF NATIONAL IMPORTANCE UNDER SECTION 4 OF THE ANCIENT MONUMENT AND ARCHAEOLOGICAL SITES AND REMAINS ACT 1958; VIDE NO. 8516, DATED 27-03-1919.

BUILT OF BUFF SANDSTONE AND CROWNED BY A PEAR-SHAPED DOME OF WHITE MARBLE ERECTED ON A HIGH CIRCULAR DRUM, THE TOMB IS BUILT ON A FALSE TERRACE AND IS OCTAGONAL SHAPED. THE MAUSOLEUM WITH ENTRANCE TO ITS SOUTH IS ENCIRCLED BY A WHITE MARBLE COURTYARD AND SURROUNDED BY TWELVE CUPOLAS. THE TOMB STRUCTURE HAS SEVERAL MARBLE ARCHES AND ITS WINDOWS ARE ORNAMENTED WITH TRACERY SCREENS OR JAALIS IN WHITE MARBLE. WHILE THE CENTRAL CHAMBER HAS THE SAINT’S CENOTAPH, HIS GRAVE IS LOCATED IN THE LOWER CHAMBER.

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A NARROW GALLERY LEADS FROM THE CHAMBER TO THE MADRASA WHICH IS EMBELLISHED WITH NINE ARCHED OPENINGS ON EACH SIDE OF A CENTRAL COURTYARD. A STEPPED, STONE TANK ADORNS THE COURTYARD. THE MADRASA IS HOME TO A COUPLE OF SMALL MUSEUMS THAT CONTAIN ANTIQUITIES RECOVERED DURING EXCAVATIONS UNDERTAKEN IN THE THANESAR REGION.

THE RED SANDSTONE MOSQUE ADJACENT TO THE TOMB, CLOSE TO THE WESTERN ENTRANCE OF THE MADRASA, IS A STRIKING SPECIMEN OF MUSLIM ARCHITECTURE AND MARBLE CARVING. THE FLUTED MINARETS ATTACHED TO ITS BACK WALL ARE NOTEWORTHY. THE CEILING OF THE MOSQUE IS HELD ALOFT BY PILLARS THAT ARE BEJEWELLED WITH FLORAL MOTIFS SCULPTED IN LOW RELIEF.

TO THE NORTH OF THE TOMB IS A HUGE GARDEN COMPLEX WHICH WE ENTER THROUGH AN ELABORATE TWO-STOREYED STRUCTURE. THIS IS THE HARSHAVARDHANA PARK WITH IT LUSH AND WELL-MANICURED LAWNS. PATTERNED IN CHARACTERISTIC CHARBAGH STYLE ASSOCIATED WITH MUGHAL ARCHITECTURE, ITS CENTRE IS ADORNED WITH A SQUARE WATER TANK. THE TANK, IN ITS HEYDAYS, WAS SUPPLIED WITH WATER BY TERRACOTTA PIPES CONCEALED IN THE WALL THE COMPLEX, WHICH ALSO HOUSES A TOMB FOR SHEIKH CHEHLI’S WIFE, SUFFERED DAMAGES FROM THE VAGARIES OF WEATHER AND WAS RENOVATED IN 1854.

PARADOXICALLY, THE TOMB SET IN TRANQUIL ENVIRONS IN THE MIDDLE OF THE TOWN, IT IS EVIDENT, SEES FEW VISITORS. HOWEVER, THE WELLPRESERVED, WELL-MAINTAINED TOMB AND ITS SPRAWLING ENVIRONS DOTTED WITH RUINS, ARE A VISUAL DELIGHT FOR THOSE WITH AN INTEREST IN HISTORY AND ARCHITECTURE. 12

PHASES OF CONSTRUCTION § BEFORE 7TH CENTURY (PHASE-1)

A CARAVANSERAI WAS A ROADSIDE INN WHERE TRAVELERS (CARAVANERS) COULD REST AND RECOVER FROM THE DAY'S JOURNEY. CARAVANSERAIS SUPPORTED THE FLOW OF COMMERCE, INFORMATION AND PEOPLE ACROSS THE NETWORK OF TRADE ROUTES COVERING ASIA, NORTH AFRICA AND SOUTHEAST EUROPE, ESPECIALLY ALONG THE SILK ROAD. THESE WERE FOUND FREQUENTLY ALONG THE ACHAEMENID EMPIRE'S ROYAL ROAD, A 2,500-KILOMETRE-LONG (1,600 MI) ANCIENT HIGHWAY THAT STRETCHED FROM SARDIS TO SUSA ACCORDING TO HERODOTUS: "NOW THE TRUE ACCOUNT OF THE ROAD IN QUESTION IS THE FOLLOWING: ROYAL STATIONS EXIST ALONG ITS WHOLE LENGTH, AND EXCELLENT CARAVANSERAIS; AND THROUGHOUT, IT TRAVERSES AN INHABITED TRACT, AND IS FREE FROM DANGER." MAJOR URBAN CARAVANSERAIS WERE ALSO BUILT ALONG THE GRAND TRUNK ROAD IN THE INDIAN SUBCONTINENT, ESPECIALLY IN THE REGION OF MUGHAL DELHI & THIS IS ESTIMATED THAT THE “SHER SHAH SURI MARG” MUST HAVE PASSED THROUGH THIS REGION. § DURING 1650 A.D. (PHASE-2)

§ AFTER DEATH 17TH CENTUARY(PHASE-3)

SUFI SAINT BASIL BALLU, ALSO KNOWN AS BALLU BHAI, OR ABD-URRAZAK; POPULARLY KNOWN

BY THE NAME OF SHEIKH CHILLI, WAS A QADIRIYYA SUFI MASTER OF MUGHAL PRINCE DARA SHIKOH (A.D. 1650). HE HAS HIS MADRASSA ALONG WITH THE SARAIS WHICH WERE BUILT DURING THE SHER SHAH SURI’S REGIME WHERE HE USED TO TEACH HIS PUPILS

AFTER THE DEMISE OF THE SUFI SAINT A TOMB HAS BEEN CONSTRUCTED IN THE MEMORY OF THE SAINT. THE TOMB WAS CONSTRUCTED BETWEEN THE MADRASSA AND THE SARAIS.

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SARAI INTRODUCTION ETYMOLOGY SARAI MEANS PALACE OR BUILDING WITH ENCLOSED COURTS. A NUMBER OF PLACE-NAMES BASED ON THE WORD SARAI HAVE GROWN UP: MUGHAL SERAI, SARAI ALAMGIR AND THE DELHI SARAI ROHILLA RAILWA STATION FOR EXAMPLE, AND A GREAT MANY OTHER PLACES ARE ALSO BASED ON THE ORIGINAL MEANING OF "PALACE".

IN THIS CONTEXT, THAT WE HAVE MENTIONED ABOUT, SARAI IS A ROADSIDE INN WHERE TRAVELERS COULD REST AND RECOVER FROM THE DAY'S JOURNEY. SARAIS SUPPORTED THE FLOW OF COMMERCE, INFORMATION AND PEOPLE ACROSS THE NETWORK OF TRADE ROUTES. MAJOR SARAIS WERE ALSO BUILT ALONG THE GRAND TRUNK ROAD IN THE INDIAN SUBCONTINENT, ESPECIALLY IN THE REGION OF MUGHAL DELHI. ARCHITECTURE MOST TYPICALLY A CARAVANSERAI WAS A BUILDING WITH A SQUARE OR RECTANGULAR WALLED EXTERIOR, WITH A SINGLE PORTAL WIDE ENOUGH TO PERMIT LARGE OR HEAVILY LADEN BEASTS SUCH AS CAMELS TO ENTER. THE COURTYARD WAS ALMOST ALWAYS OPEN TO THE SKY, AND THE INSIDE WALLS OF THE ENCLOSURE WERE OUTFITTED WITH A NUMBER OF IDENTICAL ANIMAL STALLS, BAYS, NICHES OR CHAMBERS TO ACCOMMODATE MERCHANTS AND THEIR SERVANTS, ANIMALS, AND MERCHANDISE. CARAVANSERAIS PROVIDED WATER FOR HUMAN AND ANIMAL CONSUMPTION, WASHING AND RITUAL PURIFICATION. SOMETIMES THEY HAD ELABORATE BATHS. THEY ALSO KEPT FODDER FOR ANIMALS AND HAD SHOPS FOR TRAVELLERS WHERE THEY COULD ACQUIRE NEW SUPPLIES. IN ADDITION, SOME SHOPS BOUGHT GOODS FROM THE TRAVELLING MERCHANTS. SARAI-HISTORY DURING MUGHAL RAJ IN INDIA, VARIOUS MUGHAL PEOPLE USED TO TRAVEL FROM EAST/SOUTH-EAST INDIA TOWARDS NORTH INDIA VIA THE GRAND TRUNK ROAD BUILT BY MUGHAL RULER SHER SHAH SURI. SINCE THAT ROAD WAS FROM DECCA (NOW DHAKA) TO PESHAWAR, ITS ROUTE WAS VIA CALCUTTA-MIRZAPUR-CAWNPORE-DELHI-KARNAL-AMBALAAMRITSAR-LAHORE.

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ROAD NETWORK BY MUGHALS TO THE MUGHAL EMPIRE BUILDERS, R O A D C O M M U N I C AT I O N S W E R E CRITICAL. HUGE ARMIES MIGHT HAVE TO BE MOVED TO COUNTER AN INVASION OR REBELLION AT ANY GIVEN MOMENT, VAST QUANTITIES OF GOODS HAD TO BE CONTINUOSLY MOVED BY MERCHANTS AND THE ROYALS WERE THEMSELVES FOND OF TRAVEL. TO FACILITATE ALL THIS, A VAST ROAD NETWORK CAME UP W H I C H WA S R E B U I LT A N D EXPANDED BY SHER SHAH SURI. GRAND TRUNK ROAD THE GRAND TRUNK ROAD IS ONE OF ASIA'S OLDEST AND LONGEST MAJOR ROADS. THE ROUTE SPANNING THE GRAND TRUNK (GT) ROAD EXISTED DURING THE REIGN OF CHANDRAGUPTA MAURYA. THE PREDECESSOR OF THE MODERN ROAD WAS REBUILT BY SHER SHAH SURI IN THE 16TH CENTURY. DURING HIS REIGN, CARAVANSERAIS WERE BUILT AND TREES WERE PLANTED ALONG THE ENTIRE STRETCH TO PROVIDE SHADE TO TRAVELERS. IT IS VERY INTERESTING TO SEE HOW THE AFGHANS & MUGHALS BUILT ‘KOS M I N A R S ’ AT E A C H ‘ K O S ’ ( A N C I E N T M E A S U R I N G U N I T W I T H 1 K O S APPROXIMATELY EQUAL TO 1.8 KM). THEY ALSO BUILT FORTS AND MOST IMPORTANT, SARAIS AT REGULAR DISTANCES. PRESENCE OF SARAI

AND OLD BRIDGE IN THANESAR DEPICTS THAT SHER SHAH SURI MARG (NOW, KNOWN AS G.T ROAD) MUST HAVE PASSED NEAR TO THE SHEIKH CHILLI’S TOMB. SARAI IS PROBABLY DATED BACK TO THE REIGN OF SHER SHAH SURI.

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SPACE UTILIZATION OF SARAI DOUBLE STOREY ENTRANCE

CORNER ROOMS

NORTH SIDE ROOMS

MAIN SARAI GARDEN

THE PARK NOW POPULAR AS THE HARSHVARDHAN PARK IS ENTERED THROUGH AN ELABORATE DOUBLE STOREY GATEWAY, LOCATED IN THE CENTER OF THE EASTERN WALL FROM WHICH ONE OF THE PATHS LEADS TO ALL ITS FOUR SIDES, HOSTING ON THE EXTERIOR, A SERIES OF DOUBLE ROOMED CHAMBERS, ON THREE SIDES I.E., THE EAST, NORTH AND WEST RESPECTIVELY WITH PROVISION OF NICHES AND ALCOVES ON ITS WALLS.

NORTH SIDE ROOMS THE WESTERN WING OF THIS SARAI HOWEVER HAD DOUBLE STOREYED CHAMBERS WHICH COULD BE REACHED THROUGH A FLIGHT OF STEPS PROVIDED AT THE CENTER AND TOWARDS THE EXTREME SOUTH-WESTERN CORNER. EXACTLY OPPOSITE TO THE MAIN ENTRANCE GATEWAY WAS ANOTHER MAJESTIC STRUCTURE, CONSTRUCTED JUST LIKE THE MAIN ENTRANCE GATEWAY. HOWEVER THIS STRUCTURE DIDN'T CARRY ANY ENTRANCE FROM THE GROUND FLOOR, BUT HAD AN OPENING TOWARDS THE WEST ON THE UPPER STOREY. THIS OPENING ON THE UPPER FLOOR GAVE A DIRECT ACCESSIBILITY FROM THE RAJA HARSHA-KA- TILA LOCATED WEST OF THE SARAI AND THE CHAMBER IS CONSTRUCTED IN SUCH A WAY THAT PROBABLY THIS WAS THE PLACE FROM WHERE AN AUTHORITY USED TO ADDRESS THE GATHERING BELOW WITHIN THE SARAI. MAIN ENTRANCE TO SARAI MAIN SARAI GARDEN WEST OF THE TOMB ARE THE RUINS OF HARSH-KA- TILA. EXCAVATIONS CONDUCTED AT THIS SITE REVEALED A CONTINUOUS HABITATION AT THE SITE FROM ABOUT THE FIRST CENTURY A.D. TO THE LATE MUGHAL PERIOD. THE FINDINGS OF A FEW SHERDS OF PAINTED GREY WARE ALONG WITH ASSOCIATED PLAIN GREY, BLACK-SLIPPED AND RED WARES IN PRE-KUSHANA LEVELS ALSO SUGGEST THE INHABITATION OF THE SITE IN THE FIRST MILLENNIUM B.C.

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MADRASSA : CONCEPT THIS BEAUTIFUL TOMB AND THE MADARASA (SCHOOL) ARE ASSOCIATED WITH THE SUFI SAINT ABDU'R-RAHIM ALIAS AABD-UL-RAZAK, POPULARLY KNOWN AS SHEIKH CHILLI. THE MADRASSA HAS NINE-ARCHED OPENINGS ON EACH SIDE OF A CENTRAL COURTYARD THAT HAS IN THE CENTRE A STONE MASONTY TANK. THE CENTRAL COURTYARD IS WELL LANDSCAPED AND MAINTAINED AND IT ALSO RESEMBLES TO SOME EXTENT WITH THE CHAR BAGH CONCEPT OF MUGHAL ARCHITECTURE JOHN DAWKINS, THE THEN COLLECTOR OF THANESHAR, WAS INSTRUMENTAL IN GETTING THE TOMB REPAIRED IN 1854 AD. THE ANTIQUITIES RECOVERED FROM THE EXCAVATIONS AT HARSH KA TILLA AND BHAGWANPURA (BOTH FAILING IN THE DISTRICT OF KURUKSHETRA) ARE DISPLAYED IN TWO SMALL MUSEUMS OF THE MADARASA BUILDING.

THE MAIN ENTRANCE OF MADRASSA IS THROUGH THE OGIVIAL ARCHED GATEWAY WHICH HAS BEAUTIFULLY CARVED JHAROKHA THE GATEWAY LEADS TO THE STAIRCASE WHICH FURTHER LEADS TO THE MAIN MADRASSA COMPLEX THE FOUNTAIN IN THE CENTRE OF THE COURTYARD ENHANCES THE BEAUTY AND PROVIDES THE AXIAL SYMMETRY\ THROUGH THE NORTH OF THE MADRASSA IS THE NARROW PASSAGE WHICH LEADS TO THE BURIAL CHAMBER OF SHEIKH CHILLI

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MADRASSA : CIRCULATION AS WAS IN THE CASE OF SARAI, SIMILARLY HERE ALSO, THE MAIN CIRCULATION RUNS AROUND THE CENTRAL COURTYARD. AN EXTERIOR PATH LINKING ALL THE ROOMS OF THE MADRASSA RUNS AROUND THE CENTRAL GARDEN. SECONDARY PATHWAYS FROM EACH SIDE LEADS TOWARDS THE CENTRE, HEREBY AGAIN FORMING THE LOOP AROUND THE FOUNTAIN. SOUTH SIDE OF MADRASSA CONSISTED OF MUSEUM AND LIBRARY. WEST SIDE CONSISTED SOME STORE ROOMS AND A MUSEUM. EAST SIDE CONSISTED ALL THE OFFICES OF A.S.I. NORTH SIDE CONSISTED A NARROW GALLERY CONNECTING MADRASSA TO THE CHAMBER CONTAINING GRAVE OF SHEIKH CHILLI.

THE CIRCULATION OF THE MADRASSA IS AROUND THE COURTYARD WHICH IS BUILT ON THE CONCEPT OF CHAR BAGH CHARBAGH OR CHAHAR BAGH IS A PERSIAN AND ISLAMIC QUADRILATERAL GARDEN LAYOUT BASED ON THE FOUR GARDENS OF PARADISE THE QUADRILATERAL GARDEN IS DIVIDED BY WALKWAYS OR FLOWING WATER INTO FOUR SMALLER PARTS. THE QUADRILATERAL CHARBAGH CONCEPT IS BASED ON THE FOUR GARDENS OF PARADISE MENTIONED IN CHAPTER (SURAH) 55, AR-RAHMAN "THE BENEFICIENT", IN THE QUR'AN: "AND FOR HIM, WHO FEARS TO STAND BEFORE HIS LORD, ARE TWO GARDENS." (CHAPTER 55: VERSE 46) "AND BESIDE THEM ARE TWO OTHER GARDENS." (CHAPTER 55: VERSE 62) ONE OF THE HALLMARKS OF CHARBAGH GARDEN IS THE FOUR-PART GARDEN LAID OUT WITH AXIAL PATHS THAT INTERSECT AT THE GARDEN'S CENTRE. THIS HIGHLY STRUCTURED GEOMETRICAL SCHEME, CALLED THE CHAHAR BAGH, BECAME A POWERFUL METHOD FOR THE ORGANIZATION AND DOMESTICATION OF THE LANDSCAPE, ITSELF A SYMBOL OF POLITICAL TERRITORY

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ARCHITECTURAL FEATURES

DOME – A MASONRY ROOF BUILT ON A CIRCULAR PLAN, USUALLY HEMISPHERICAL IN SHAPE, ERECTED OVER A SQUARE, OCTAGONAL OR CIRCULAR SPACE IN A BUILDING ON FOUR ACHES OR VAULTS, ON THE ACTUATE SYSTEM. THE DOMES OF SHIEKH CHILLI TOMB ARE SHOWN HERE. IT’S FINISHED WITH WHITE MARBLE ON BOTH THE INSIDE AND OUTSIDE AND HAS CONCRETE IN THE MIDDLE. DRUM – BASE OR NECK OF THE DOME ON WHICH IT RESTS; IT GIVES ELEVATION TO THE DOME AND PLAYS AN IMPORTANT PART IN ITS TOTAL EFFECT. THE DRUM OF THE SHIEKH CHILLI TOMB IS SHOWN HERE. BULBOUS – A DOME RISING LIKE A BULB, SUPPORTED ON A TALL CYLINDRICAL DRUM OR BASE. FINIAL – CROWNING MEMBER OF DOME; PINNACLE. PADMAKOSHA – SHEATH OF 8,12,16,24 OR 32 LOTUS PETALS USED TO CROWN THE DOME. THE PADMAKOSHA OF SHIEKH CHILLI TOMB ARE SHOWN HERE.

FINIAL

PADMAKOSHA BULBOUS DOME GULDASTAS PARAPET IWAN

PLINTH GULDASTAS OR DECORATIVE SPIRES –ON THE TOP YOU HAVE A CUPOLA WITH A FINIAL. THE CUPOLA IS PLACED ON A HUGE ORNAMENTAL LOTUS MOTIF. PLINTH OR PLATFORM – PROJECTING STEPPED OR MOULDED BASE OF A BUILDING; PLATFORM OVER WHICH THE BUILDING STANDS. PARAPET – THE PORTION OF WALL ABOVE THE ROOF. IF A FORT, THEY ARE BUILT FOR DEFENSIVE REASON.

DOUBLE DOME – A DOME WHICH IS HOLLOW INSIDE; IT 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. IWAN – CENTRAL ARCHED ENTRANCE OR PORTAL IN THE CENTRE OF THE FACADE OF A BUILDING. HERE YOU SEE THE IWAN OF THE SHIEKH CHILLI TOMB.

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SPANDREL SOFFIT CUSP LATTICE WINDOW DADO JAALI ARCH – AN ARCHITECTURAL DEVICE TO SPAN AN OPENING WITH SMALL WEDGE SHAPED STONES, CAPABLE OF SUPPORTING A SUPERIMPOSED LOAD. SPANDREL (SPANDRIL) – ORNAMENTAL TRIANGULAR SPACE ENCLOSED BY THE CURVE OF AN ARCH, AND THE SQUARE ENCLOSING. YOU SEE THE MOST FAMOUS SPANDREL OF ALL – THAT OF THE SHEIKH CHILLI TOMB. CUSP – CUSPS DIVIDE THE ARCH INTO A SERIES OF FOILS AND ARE ORNAMENTAL. SOFFIT – UNDERSIDE OF ANY ARCHITECTURAL MEMBER. HERE YOU SEE THE SOFFIT OF A DOME. JAALI – LATTICED OR PERFORATED SCREEN OF STONE. CHHATRI – A PILLARED PAVILION ROOFED BY A DOME WITH 4, 6, 8 OR MORE PILLARS AND AN EMPHATIC CHHAJJA, ON THE SUPERSTRUCTURE, MAINLY FOR BREAKING THE SKY LINE EFFECTIVELY. CUPOLA – A SPHERICAL ROOF PLACED LIKE AN INVERTED CUP OVER A CIRCULAR, SQUARE OR MULTI ANGULAR APARTMENT. CHHAPARKHAT – AN OBLONG CHHATRI, RESTING ON FOUR OR EIGHT PILLARS OVER THE CENTRAL ARCHED ENTRANCE; IT IS DISTINGUISHED FROM CHHATRI FOR ITS BEING OBLONG AND ALWAYS SUPERIMPOSING THE MAIN ENTRANCE. DADO – LOWER PORTION OF THE WALL FROM BASE TO APPROXIMATELY WAIST HEIGHT RESERVED FOR DECORATION. PURNA-KALASA – FULL VASE; ONE OF THE MOST POPULAR MOTIF OF TRADITIONAL INDIAN ARCHITECTURAL ORNAMENTATION. IN INDO-MUSLIM ARCHITECTURE, IT IS USED AS AN ARCHITECTURAL COMPONENT AS A KALASH-FINIAL AND ALSO AS AN ORNAMENTAL MOTIF, LIKE THE VASE-AND-FOLIAGE, FOR DADO DECORATION, THE BEST OF WHICH COMES FROM THE MORTUARY HALL OF THE SHIEKH CHILLI TOMB.

CHHAPARKHAT

PURNA-KALASA

WEST SIDE TOMB

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BRACKET – A PROJECTING MEMBER FROM A WALL OR COLUMN TO SUPPORT WEIGHT; IT IS TRIANGULAR OR SERPENTINE AND IS RICHLY ORNAMENTED WITH SCROLLS OR VOLUTES. JHAROKHA – A JALIED, STONE WINDOW PROJECTING FROM THE WALL FACE OF A BUILDING, IN AN UPPER STOREY, OVERLOOKING A STREET, MARKET, COURT OR ANY OTHER OPEN SPACE. CLOISTER – A COVERED PASSAGE, USUALLY AROUND AN OPEN COURT WITH ARCADES ON THE SIDES OF THE COURT AND WALLED ON THE OPPOSITE SIDE. TURRETS – SMALL TOWERS WITHOUT STAIRWAYS ATTACHED TO THE ANGLES OF A BUILDING. BALUSTER – A PILLAR OR COLUMN SUPPORTING A HAND RAIL OR COPING, A SERIES OF SUCH BEING CALLED A BALUSTRADE; THE INTERMEDIARY SPACE IS USUALLY FILLED WITH JALIS. FLUTING – SHALLOW CONCAVE GROOVES RUNNING VERTICALLY ON THE SHAFT OF A COLUMN, PILASTER OR OTHER SURFACE. BASTION – A ROUNDED PROJECTING PART OF A FORTIFICATION. KEY STONE – CENTRAL STONE OF AN ARCH VOUSSOIRS – WEDGE SHAPED BLOCKS OF STONE OR BRICK FORMING AN TRUE ARCH. ARCADE – A PATHWAY WITH A RANGE OF ARCHES. JHAROKHA CENOTAPH – TOMBSTONE WITHOUT ACTUAL GRAVE; A REPLICA OF THE REAL GRAVE.

BRACKET

ARCADE

BASTION

TURRET

FLUTING

CENOTAPH

CANOPY – AN ORNAMENTAL ROOF LIKE STRUCTURE. LATTICE WINDOW – A WINDOW DIVIDED INTO SMALL PANELS ARRANGED DIAGONALLY. CUPOLA

CANOPY CHHATRI

CHHATRI

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PATHAR MASJID CLOSE TO THE WESTERN GATE OF THE MADARSA, IS THE SMALL YET ELEGANT PATHAR MASJID OF RED SANDSTONES. MADRASSA

THE MASJID IS ASSIGNABLE TO THE SEVENTEENTH CENTURY A.D.

TOMB

IT IS REMARKABLE FOR ITS FLUTED MINARETS, WHICH ARE ATTACHED TO ITS BACK WALL.

WESTERN GATE

PATHAR MASJID FIRST FLOOR PLAN

6 3

4 5

1.

2.

2

3.

4.

5.

6.

1

MASONRY TERRACE CARVED PILLARS QIBLA ARCHED NICHES ARCHED JAALI WINDOW FLUTED MINARETS

THE MASONRY TERRACE FORMING THE FRONT COURT WAS ADDED AT A LATER DATE.

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PATHAR MASJID CARVED PILLARSTHE PILLARS ARE ALSO PROFUSELY DECORATED WITH FLORAL DESIGNS, WHILE THE BASES OVER THE MOULDINGS SHOW CHAITYA-WINDOW MOTIFS.

BASE DETAIL

CAPITAL DETAIL

CARVED PILLAR

QIBLATHE QIBLA IN THE CENTRE OF THE WESTERN WALL IS FLANKED ON EITHER SIDE BY TWO ARCHED NICHES INSCRIBED WITH VERSES FROM THE QURAN.

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JAALI WINDOWTWO SIDE WALLS AT FIRST FLOOR CONSISTED ON ARCHED JAALI WINDOWS HAVING EXTENSIVE CARVINGS ALL AROUND.

JAALI DETAIL ARCHED NICHESTHE QIBLA IN THE CENTRE OF THE WESTERN WALL IS FLANKED ON EITHER SIDE BY TWO ARCHED NICHES INSCRIBED WITH VERSES FROM THE QURAN.

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FLUTED MINARETS THE TWO FLUTED MINARETS, ATTACHED TO EACH CORNER OF BACK WALL ARE NOTEWORTHY. THE MINARET AND THE INNER CARVINGS ARE STRIKING SPECIMEN OF MUSLIM ARCHITECTURE.

GROUND FLOOR PLAN

GROUND FLOOR

FIRST FLOOR

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BEAM DETAIL – THE ROOF OF THE MASJID WAS SUPPORTED ON COLUMN AND BEAMS. BOTH COLUMN AND BEAM WERE OF STONE WHICH WERE HIGHLY CARVED. BOTH WERE DECORATED WITH FLORAL DESIGNS, WHILE THE COLUMN BASES AND THE MOULDINGS SHOW CHAITYA-WINDOW MOTIFS.

BEAM DETAIL

CORNICES

BEAM

CORNICE

CORNICE

STONE CARVING

CORNICE DETAIL

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REFLECTED CEILING PLAN (RCP) – THE CEILING OF THE MOSQUE, RESTING ON PILLARS IS DECORATED WITH FLORAL DESIGNS CARVED IN LOW RELIEF.

SECTION YY’

SECTION XX’

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MAINT TOMB

q DESIGN CONCEPT – THE STRUCTURE WAS BUILT IN OCTAGONAL FORM TO EMPHASISE THE POWER OF THE RULER. THE BUILDING IS DERIEVED FROM THE FORM OF A PYRAMID AS THE EARLY EGYPTIANS USED TO BURY THEIR RULERS IN A PYRAMID. THE TOMB IS CROWNED WITH A DOME WHICH IS BELIEVED TO BE THE GATE OF HEAVEN.THUS THE SOUL RESTING BENEATH THE DOME WOULD BE CONNECTED TO THE ALLAH. IN TERMS THEY REPRESENT THE RULER AND HIS SUBORDINATES. SUN (DOME)

EVOLUTION OF FORM q DESIGN – PLANETS (CHATTRIS) • THE STRUCTURE IS MADE ON A RAISED PLATFORM 2FEET 6 INCHES FROM THE MOUND WHICH IS AT A LEVEL OF +8’ FROM THE GROUND TO GIVE IT A GRAND LOOK FROM BELOW. • THE ARCHITECTURE IS CHARACTERISED BY THE OCTAGONAL CHAMBER, AND A COVERED VERANDAH WITH ARCHED OPENINGS ON EACH SIDE BORDERED BY INCLINED COLUMNS AT EACH CORNER. • CONTINOUS STONE CHHAJJAS ARE PROVIDED ON THE ROOF SUPPORTED BY HEAVY BRACKETS FOR DRAINAGE. • THE PARAPET HAS A INWARD SLOPE TO RUN THE WATER TOWARDS VARIOUS OUTLETS ON THE TERRACE AND GULDASTAS ARE ADDED ON THE CORNERS. • IT HAS A RCHETYPAL AFGHAN PATTERN DOME ON A RAISED DRUM SURROUNDED BY CHHATRIS. • AN UPTURNED ORNAMENTAL LOTUS PLACED ON THE TOP OF THE MAIN DOME AND THE CHHATRIS • EACH SIDE OF THE INNER CHAMBER HAS A N ARCHED DOORWAY • . ABOVE THE DOORS, THE SHAPE OF THE CHAMBER INGENIOUSLY TRANSFORMS FROM AN EIGHT-SIDED OCTAGON TO A SIXTEEN-SIDED, HEXA DECAGON.THE SIXTEEN SIDES THEN FORM A CIRCULAR DOME ABOVE, THE SOFFIT OF WHICH IS ORNAMENTED WITH STUCCO PLASTERWORK. WEST SIDE TOMB CHATTRIS MADRASSA COMPLEX WITH CHAR BAGH CONCEPT

PLINTH

MAIN TOMB

MINARET

ISOMETRIC VIEW OF TOMB

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q PLANNING PARAMETERS • THE TOMB IS SURROUNDED BY A GARDEN WITH CHAR BAGH CONCEPT. USUALLY RULERS HAD THE CHAR BAGH AROUND THEIR TOMB .

• THE WALKWAYS VARIES FROM 2M TO 3M IN WIDTH • THE SITE MEASURES 127M X 238M ALONG X AND Y RESPECTIVELY. • A SERIES OF ROYAL PALM TREES SURROUND THE OUTER PROFILE OF THE SITE. AZADIRACHTA INDICA ROYSTONIA REGIA

PLAN AT TERRACE LEVEL

q PLANNING PARAMETERS THE ENTRY TO THE CHAMBER FROM THE SOUTH WHUCH IS 1.8 M HIGH FROM THE PLINTH LEVEL EACH SIDE OF THE OCTAGON HAS HIGHLY CARVED JALI WHICH SERVES AS THE LIGHTING SOURCE THE HEIGHT OF THE ENTRANCE DOOR IS DOUBLE TO THAT OF HUMAN SCALE THE INNER FLOOR LEVEL IS 3 INCHES LOWER THAN THE VERANDAH LEVEL

PLAN AT LEVEL

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q INTERIORS CEILING: • THE CEILING PATTERN BELOW THE MAIN DOME IS DERIVED FROM THE ISLAMIC OCTAGONAL STAR AND AT THE CENTRE OF IT CONCENTRIC CIRCLE WITH CALLIGRAPHY AND FLORAL PATTERNS CAN BE SEEN • THE EXTERIOR CORRIDOR HAS 8 PETAL FLORAL DESIGN AND ON THE MIDDLE ARCH AND STALACTITES SURROUNDING IT.

FLORAL PATTERN AT CENTRE

OCTANGONAL STAR

REFLECTED CEILING PLAN 45 DEGREE JUNCTION

EVOLUTION OF OCTAGONAL STAR IN DOME CEILING REPRESENTTING HEAVEN AND PARADISE IN ISLAM

EVOLUTION OF FLORAL PATTERN USED OVER CENTRAL CORRIDOR ARCH SYMBOLISING

MAIN DOME CEILING

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INTERIORS : • EACH SIDE OF THE INNER CHAMBER HAS A N ARCHED DOORWAY WHICH ORIGINALLY HAD PERFORATED SCREENS WITH THE MAIN ENTRANCE TO THE CHAMBER FROM THE SOUTH. • THE SHAPE OF THE CHAMBER INGENIOUSLY TRANSFORMS FROM AN EIGHT SIDED OCTAGON TO SIXTEEN SIDED HEXADECAGON • ABOVE THE SIXTEEN SIDED SLAB 16 NICHES ARE PROVIDED AND EVERY NICHE ENHANCE THE GRANDEUR OFTHE INTERIORS.

FILLED NICHE FROM EXTERIOR

DOUBLE NICHE FOR LIGHT ON EACH FACE

PUNCHED NICHES FOR LIGHT

• THE DRUM IS SUPPORTED BY RED SANDSTONE BRACKETS AND IT TRANSFORMS TO 32 SIDED DRUM WHICH SUPPORTS THE DOME. • THE ARCHED DOORWAY HAS VARIOUS CALLIGRAPHIC PATTERNS INSCRIBED IN CIRCLES INVERTED LOTUS FINIAL HEXADECAGONAL DOME

GULDASTA 32 SIDED DRUM NICHE PUNCHED FOR LIGHT 16 SIDED DRUM RED SANDSTONE BRACKETS

RUBBLE RAISED PLINTH

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FACADES : • THE FAÇADE CAN BE DIFFRENTIATED IN 3 LEVELS – THE UPPER TIER CONTAINING DOME AND GULDASTAS:THE MIDDLE TIER CONTAINING ROOF,CHHATRIS AND SQUINCHES : AND THE BOTTOM TIER CONTAINING THE ARCHED GATEWAYS AND BUTRESSES. • EACH OF THE EIGHT FACES HAVE OGIVAL TYPE ARCHED OPENINGS AND EACH CORNER HAS A SLOPING BUTRESS FOR SUPPORTING THE STRUCTURE

MAIN ENTRANCE VIEW

EXTERIOR CARVED JALI

ENTRANCE ARCH

• ON TOP OF THE ARCHES THERE IS A STONE CHHAJA SUPPORTED BY BRACKETS • THE PARAPET IS ORNAMENTED WITH FLORAL DESIGNS AND A GULDASTA IS AT EACH JUNCTION OF PARAPET LOTUS FINIAL

ARCHETYPAL TYPE AFGAN DOME

GULDASTA DOME DRUM PARAPET STONE CHAJJA

OGIVAL ARCH

RUBBLE RAISED PLINTH

SOUTH ELEVATION

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FAÇADE : CHHATRI • THE NAME “CHATRI” ITSELF REFERS TO WHAT CAN BE CALLED A PROTECTIVE SHELTER OR UMBRELLA TYPE ROOF THAT COVERS THE UPPER PORTION OF A COLONNADED STRUCTURE AND SERVES THE FUNCTION OF SHADING • THE CHATRI WAS USED AS A COVERING FOR A GRAVE OR TOMB AS WELL, USUALLY WITHOUT WALLS AND STANDING AS A SHADING STRUCTURE TO THE GRAVE UNDERNEATH. • THE ELEMENT WAS LARGELY AN INDIAN INFLUENCE ON THE TIMURID AND PERSIAN ARCHITECTURE OF EARLY MUSLIM DYNASTIES AND THE MUGHALS AFTER THEM, COMBINING THE ELEMENTS OF THE MUSLIM AND HINDU INFLUENCES ON THE CULTURE OF THE DAY.

CHHATRI PLAN

AN ISOMETRIC VIEW LOTUS FINIAL DOME CHHATRI CEILING PLAN

DOME DRUM

STONE CHHAJA COLUMN CAPITAL SHAFT PEDESTAL

CHHATRI ELEVATION CHHATRI ROOF PLAN

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STRUCTURE SYSTEM ALL THE STRUCTURES OF THE BUILDING FOLLOW FORM ACTIVE STRUCTURE SYSTEM SARAI PENDENTIVES ARCH

THE LOAD OF THE ROOF IS TRANSFERRED THROUGH PENDENTIVES AND ARCHES TO THE THICHK BRICK WALLS. MADARASA

DOME SUPPORTED ON ARCHES AND PIERS

BRICK CURVED ROOF

THE LOAD OF THE ROOF IS TRANSFERRED THROUGH PENDENTIVES AND ARCHES TO THE THICHK BRICK WALLS.

MAIN TOMB

INTERIOR OF DOME

THE LOAD OF BOTH THE DOMES IS TRANSFERRED THROUGH PENDENTIVES TO THE THICHK BRICK WALLS.

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PRINICPLES: • AN IMPORTANT FEATURE OF THE ARCHITECTURE IN SHEIKH CHILLI TOMB IS THE AMAZING MEASUREMENTS OF HEIGHT AND WIDTH TO MATCH WITH THE STRUCTURE OF THE BASEMENTS. MASS- SPACE RELATIONSHIP: • THE HEIGHT OF MAIN TOMB IS ABOUT 83’-9” WHICH IS ALMOST EQUAL TO THE WIDTH OF THE COURTYARD 83’-4.5”.THUS ANGLE MADE DEGREES THAT’S MAKES A SENSE OF ENCLOSURE AS VISION DOES NOT BEYOND THE STRUCTURE. • MAIN TOMB COMPLEX PLACED ON A HIGH PARAPET GIVES APPEARANCE AS A HUGE AND LOFTY BUILDING.

TEXTURE: • BLEND OF FINE GRAINED AND COARSE GRAINED TEXTURE IN FACADES. • THE RED STONE USED IN DETAILS WITH SMOOTH FINISH AND NATURAL DRESSED STONE HAS ROUGH TEXTURE IN BADA GUMBAD FACADES. • IN FRIDAY MOSQQUE, INTRICATE CARVINGS IN STUCCO ADDS TEXTURE TO THE FAÇADE. • THESE CARVINGS INCREASE SURFACE AREA AND REDUCE HEAT GAIN DUE TO TEXTURE SHADING. INCISED CALLIGRAPHIC AND GEOMETRIC CARVINGS IN SPANDREL

COLOURS: • MIXED USE OF THE RED COLOUR OF RED SANDSTONE AND GREY COLOUR OF QUARTZITE STONE BLENDING INTO THE WHOLE FAÇADE OF BADA GUMBAD. • THE NATURAL COLOURS OF THE MATERIALS BLEND WHOLELY INTO THE FACADES AS WELL AS INDIVIDUALLY HIGHLIGHT THE DETAILS. • THE COLOUR OF THE INCISED CARVINGS IN STUCCO USED IN TONE WITH THE SURROUNDING GREY QUARTZITE STONE. • WITHIN THE DOMES OF MOSQUE, FLORAL PAITINGS ARE MADE IN ORIGINAL RED AND BLUE COLOURS.

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URBAN SPACE SARAI THERE IS NO SENSE OF ENCLOSURE IN SARAI AS THE ANGLE OF VISION IS LESS THAN 10 DEGREES

SARAI SECTIONAL ELEVATION MAKES AN ANGLE OF 8* FROM CENTRE. MADRASA :

MADRASA SECTIONAL ELEVATION MAKES AN ANGLE OF 15* FROM CENTRE THUS PROVIDES SOME SENSE OF ENCLOSURE.

MAIN TOMB :

THE TOMB IS MAKING AN ANGLE OF 42* ON BOTH SIDES.

HERE THE DETAILS OF THE FACADE ARE MORE IMPORTANT THAN THE OVERALL FACADE.

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PATH SPACE RELATIONSHIP THIS PRINCIPLE IS THE COMBINATION OF TWO TYPES OF RELATIONSHIPS I.E., PASSING THROUGH THE SPACE AND TERMINATING INTO THE SPACE. MOSQUE

TYPOLOGY OF THE MOSQUE IS COURTYARD TYPE SHARED BY SURROUNDING BUILDINGS

CENTRAL COURTYARD

DIVERGING INTO DIRECTIONS TO TERMINATE INTO SPACES

AXIAL PASSING THROUGH THE FLIGHT OF STEPS

q CONFIGURATION OF PATH: • PATH CONFINED IS LINEAR ONE CORRESPONDING TO STRUCTURES ON A SINGLE PLINTH ACCESED BY COMMON STAIRWAY. SYMMETRY: • IT IS ACHIEVED COMPLETELY IN ALL STRUCTURES OF BADA GUMBAD COMPLEX. • ELEVATIONS BALANCED THROUGH SYMMETRY ON EITHER SIDE OF CENTRAL AXIS IN THE INTERIOR AS WELL AS EXTERIOS.

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REPETITION: • IT GENERATES UNITY WITHIN DESIGN THAT ENHANCES HARMONY IN OVERALL COMPOSITION. THIS CAN BE TRACED IN WELL PROPORTIONED DESIGNS. RHYTHM: COMBINATION OF REPETITION AND VARIETY. THROUGH THESE, RHYTHM IS DEVELOPED IN ARTIFACTS CREATING FEELING OF DANCE AND MUSIC. • NOTICED IN THE GEOMETRIC • PATTERNS OF ARCHES IN THE OPENINGS OF MOSQUE AND DETAILS AT PARAPET AND DOME PERIPHERY. BALANCE: THIS PRINCIPLE IS REQUIRED TO ACHIEVE BALANCE IN VISUAL WEIGHT OF OBJECTS. BALANCE IS ACHIEVED IN TWO KINDS: • FORMAL BALANCE- SYMMERICAL ONE WHERE ONE SIDE IS SIMILAR TO THE OTHER SIDE. INFORMAL BALANCE- ASYMMETRICAL ONE WHRE ONE SIDE MAY NOT BE SIMILAR TO THE OTHER BUT PROPORTIONATE. LIGHT: • IN MAIN TOMB ,SOURCE OF LIGHT IS THE RECESSED OGEE ARCHES IN THEIR FRONT ELEVATIONS. • IN MOSQUE, LIGHT ENTERS THE 5 BAYS THROUGH FRONT ELEVATION AND JALI PROJECTIONS ON NORTH AND SOUTH ELEVATION. • IN PATHAR MASJID , LIGHT ACHIEVED THROUGH THE ARCHED OPENINGS IN THE ELEVATIONS ON ALL THE 4 SIDES. • THE LIGHT COMING FROM THE OPENINGS FOCUSES AT THE CENTRE • SMALLER ARCHED NICHES IN THE WALLS FOR LIGHT AND VENTILATION IN THE STAIRCASE.

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SIMPLICITY: • MAIN PRINCIPLE OF DESIGN, DIFFICULT TO ACHIEVE. • THE STUCCO DETAILS OF THE CHATARI , THE LEAST DETAILS IN THE BLUE QUARTZITE STONE OF CHATARI MERGING IN UNITY OF THE COMPLEX. • THE UNITY IN STYLE AND THEME OF THE THESE BUILINGS MAKES THE COMPLEX SIMPLE YET ELEGANT.

TOMB THROUGH MADRASSA

UNITY / HARMONY: FOCAL COMPONENT LAYING EMPHASIS ON ALL ELEMENTS OF DESIGNS, WHICH WHEN COMBINED TOGETHER CREATE BALANCE AND HARMONY IN THE ARCHITECTURAL EDIFICE. • CATAGORISED INTO THREE KINDS: UNITY IN STATIC AND DYNAMIC , STYLE AND THEME. • SEEN IN EXCEPTIONAL CARVINGS IN YELLOW STUCCO MATERIAL OF SPANDRELS , STALACTITES,PENDENTIVES OF DOME. • STYLISTIC UNITY IS THE USE OF OGEE ARCHES , BRACKETS, PENDENTIVES ,SQUINCHES ETC. I.E.THE BLEND OF INDO-ISLAMIC ELEMENTS.

VARIETY: • A MAJOR CHARACTER OF DESIGN ELEMENT WHICH INCREASES CURIOSITY AND VISUAL INTEREST. • IN THE MOSQUE, THE VARIATION IN THE ARABESQUE. • THIS ATTRACTS SPECTATORS AND DENOTE AESTHETICAL UNIFICATION AND CREATES HARMONIOUS BLENDING WITH OTHER DECORATIVE ELEMENTS.

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BIBLIOGRAPHY:

WEBSITE: 1. GOOGLE.COM 2. WIKIPEDIA.COM 3. HTTP://WWW.IMPORTANTINDIA.COM/11253/TOMB-OF-SHEIKH-CHILLI/ 4. HTTPS://ARCHNET.ORG/SITES/ 5. HTTP://PIXELS-MEMORIES.BLOGSPOT.IN/2014/03/TOMB-OF-SHEIKHCHILLI.HTML 6. HTTP://WWW.ALAMY.COM/SEARCH.HTML 7. HTTP://WWW.VMIS.COM

THANK YOU

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