Treasured Pasts : Aurangabad 2017 by BSSA Editorial

AURANGABAD TREASURED PASTS 2017 1

BALWANT SHETH SCHOOL OF ARCHITECTURE BSSA aspires to be a school of contemporary thought. Learning architecture at BSSA is about the people, processes & technology. Architecture is about the holistic understanding between people, culture, heritage & art. BSSA wants understand people to be able to build for them. Architecture is about understanding processes than products. BSSA focuses on understanding processes in nature, science & society. It is a process based designed school. ACKNOWLEDGEMENTS The trip to Aurangabad helped us gather a better understanding of the city, it’s zoning, people and spaces. This compilation is a documentation of the selected works of our 6 day trip to Maharashtra. We would like to extend our gratitude to our college Dean and it’s authorities for giving us this wonderful opportunity. We’d also like to thank our mentors Ar. Trilochan Chhaya, Ar. Dhruv Seth, Ar. Kuwalsanam Chintala & Ar. Vidhi Jobanputra who not only accompanied us, but also motivated, guided us and encouraged us throughout the trip. Lastly, we extend our warmest thanks to the authorities and agencies of Maharashtra, for the smooth conduct of the trip.

Copyright 2022 Balwant Sheth School of Architecture SVKM’s NMIMS All rights, no part of this publication, may be reproduced, or transmitted in any form, or by any means, electronic or mechanical, including photocopy, recording or any other information storage or retrieval system, without prior permission in writing from the publisher. 2

Fig 1.1 Temple structure inside caves

PREFACE Dotted with a plenitude of ancient and historic monuments, this quaint city wears a rustic charm of the past and still holds true to its roots. The city of Aurangabad is a nucleus for all kinds of outstanding historical monumental displays of architecture. This publication aims to capture the essence of this rich history through our own lens. Malik Amber who is credited to being the founder of Aurangabad in the year 1610, more than four hundred centuries earlier, can still be felt when you drive through the mystic roads of Aurangabad. Close to its toes, lie the famous crag lacerated Buddhist Shrines of Aurangabad caves which are one of the most magnificent artificial displays of rock-cut Buddhist shrines. We also visited the renowned Bibi ka Maqbara also known as the ‘Deccan Taj’. Lastly concluded the trip with a visit to the Daulatabad Fort- an ancient fortification that rises formidably from the midst of verdant greenery. Publisher Publication cell, BSSA Editor Atrey Chhaya (I C Dean), BSSA

Fig 1.2 Window Jaali

03 ELLORA CAVES 04 DAULATABAD FORT

02 AJANTA CAVES

BIBI KA MAQBARA

INTRODUCTION Aurangabad is a city in Maharashtra state in India. The City was founded in 1610 by Malik Amber and has a strong historical presence. Aurangabad is the Tourism Capital of Maharashtra marked by many historical monuments, including the Ajanta Caves and Ellora Caves, which are UNESCO World Heritage Sites, as well as Bibi Ka Maqbara (replica of Taj Mahal) and Panchakki. Aurangabad is known as “The City of Gates”. It has 52 gates and the strong presence of these can be felt as one drives through the city. The city is also known as it is a major production center of cotton textile and artistic silk fabrics.A fine blend of silk with locally grown cotton was developed as Himroo textile. Paithani silk saris are also made in Aurangabad. The city of Aurangabad was founded by Malik Ambar, the Prime Minister of one of these rulers, though the name of the city then was Fatehpura. The region kept changing hands till the Mughal Emperor Shah Jahan consolidated his hold and appointed his son Aurangzeb as the governor. The city got its name ‘Aurangabad’ after it fell under the Mughal rule and became the headquarters of then leader Aurangzeb during his

Fig 1.3

Fig 1.4 Fabric weavers of Aurangabad

Fig 1.5 Famous fabric weaves of Aurangabad

Fig 1.6 Stepwell

B I B I

K A

Maqbaras are Muslim qabars or graves and were more popular during the Mughal period. They were monuments erected to entomb bodies and preserve the name and memory of the dead. Bibi ka Maqbara was built on the basis of Mughal architecture. Aurangzeb constructed the monument in the memory of his wife Dilras Banu Begum. The mausoleum was built in the centre of the garden and has a striking resemblance to the Taj Mahal in Agra. GARDEN: As per the Mughal architecture, the garden in which the monument exists is divided into four parts and is called Charbagh. The garden increases the beauty of the monument due to its symmetry and layout. Cypress, pine, palm, mango and Ashoka trees grace the garden. You will also notice many types of flowering plants and roses. The complex is divided into four gardens with one building on each side. All four buildings are equidistant from each other. On the east is the Jamait khana or Aina khana (so called due to the mirrors fixed on its doorway) and on the west a mosque. On the north side is a Baradari (with 12 doors), while on the south is the main entrance which is a huge two-floored building.

Fig 2.1: Sketch of Bibi Ka Maqbara

Fig 2.2

RIVER: The Mughal architects laid great importance on having a river pass through the monuments they erected. Just like the freeflowing Yamuna River was an integral part of the design of the Taj Mahal, the Kham River, which originates from the Lakenvara Hills in the Satara mountain range of Maharashtra, flows behind Bibi Ka Maqbara.

Fig 2.3: View of Bibi Ka Maqbara

Fig 2.4

M A Q B A R A ENCLOSURE WALLS: The monument was built at the centre of an enclosed wall whose dimension is 458m x 275m. The wall has pillared pavilions also known as baradaris located in the east, north, and west portion of the wall. The wall has arched recesses which are divided by pilasters or supporting columns. The recesses have small minarets. Besides the recesses, there are bastions and the recesses and the bastions are built at regular intervals. The wall is built on a square platform and there are four minarets, one at each corner of the platform. Fig 2.5

Fig 2.6

ENTRANCE GATE: The entrance gate is at the southern part of the mausoleum whose exterior is covered by wood. Brass plates are inlaid on the wood having many designs. MAUSOLEUM: The mausoleum was built with marble till the lower part of the wall called dado level. After this level, basalt was used in the construction till it reached the dome. The dome was built with marble. The basalt area is plastered to give a polished finish and decorated with stucco. The white dome of the maqbara has panels adorned with intricate designs of flowers. The minars are 72 feet high and have 144 stairs leading to the top. They are three-storeyed and after each floor, a gallery opens out with railings of red sandstone carved in jali design. THE GRAVE OF DILRAS BANU BEGUM: The grave can be found in a chamber below the ground level, accessible by a staircase, surrounded with octagonal shaped jalis made up of marble. The roof of the chamber has octagonal opening from where the grave can be viewed.

Fig 2.7: Elevation of Bibi ka Maqbara

BIBI KA MAQBARA DECORATIVE ELEMENTS: From the entrance to the interiors various decorative elements are employed to add to the beauty and elegance of the Mughal structures. Here we find that stucco painting, stucco plaster with relief ornamentation, stucco lustro and dado were used, besides glazed tiles and lattice work. The patterns in stucco paintings are mostly geometric, floral, inscriptional and conventional. The main entrance ceiling has exquisite paintings of geometric designs.

Fig 2.10: Column

Relief ornamentation is found in the main mausoleum on the exterior as well as the interiors. Designs of diaper (a pattern repeated continuously over the wall surface), lotus medallions, rosettes, and mehrab with floral and leaf patterns have been used inside. These can be seen on the exterior of the main wall of the Maqbara. Similar floral designs can also be seen above the engrailed arch of the main Maqbara gate. JALIWORK/ LATTICE WORK: The lattice work here is mostly done on black or red stone except inside the main mausoleum where a marble screen with floral decoration is used. METAL DOOR OF THE MAQBARA: The metal door at the entrance of Bibi-Ka-Maqbara is made of wood with a metal-plate cover. As the architect, Attaullah Rashidi, was an expert in metallurgy, enabling this. There are star-shaped motifs with smaller stars within them interspersed with tiny rosette designs. On either side of the central space are designs of creepers interspersed with ornamental leaves and rosettes. The central knob of the door is surrounded by a floral pattern within which are carved geometric designs with flowers, leaves and creepers. Around the knob, above the central flower, trellis work has been used. 12

Fig 2.11: Window Jaali pattern

Fig 2.8: Column details

Fig 2.9: Dome of the Maqbara Fig 2.12: Window Jaali pattern

Fig 2.14

Fig 2.13 : Elevation of gate of the Maqbara

Fig 2.16 : Elevation of front of the Maqbara

Fig 2.15

The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site. The Buddhist Caves in Ajanta are approximately 30 rock-cut Buddhist cave monuments dating from the 2nd century BCE to about 480 CE in the Aurangabad district of Maharashtra. The Ajanta Caves constitute ancient monasteries and worship-halls of different Buddhist traditions carved into a 75-metre (246 ft) wall of rock. The caves include paintings and rock-cut sculptures described as among the finest surviving examples of ancient Indian art, particularly expressive paintings that present emotions through gesture, pose and form. The caves also present paintings depicting the past lives and rebirths of the Buddha, pictorial tales from Aryasura’s Jatakamala, and rock-cut sculptures of Buddhist deities. Textual records suggest that these caves served as a monsoon retreat for monks, as well as a resting site for merchants and pilgrims in ancient India. The Buddhist works consist of stupas, dagobas, rails, stambhas, viharas, dharmashalas, and chaityas.

Fig 3.1: Decorative motif

Fig 3.3

A Stupa is an ornamental mound, erected over some sacred relic of Buddha, or marking a spot consecrated as the scene of his acts. It was also raised over the ashes of distinguished Buddhist worshippers. The relic was subsequently exhibited on an altar, called a “dagoba,” which is a monolith, consisting of a hemispherical dome supported on a cylindrical base. A square stone box, covered by a series if thin slabs, each projecting over the one below, was placed on the top of the altar; and an umbrella surmounted the whole.

Fig 3.2: Stupa inside Cave

Fig 3.4

Fig 3.5: Stupa inside cave

Rails are stone barriers resembling a timber fence, with the horizontals running through the vertical posts, usually surrounding a stupa. The early Buddhist architects lavished all the resources of their art on them. The sculptures represent Tree and Serpent worship; veneration for dagobas, wheels, and Buddhist emblems; and domestic scenes of love-making and drinking. Stambhas of lats are pillars, erected in front of temples and carrying one or more of the symbols of the religion to which it was dedicated. Ashoka raised a great many stone pillars, inscribed with edicts, intended to promulgate the tenets of Buddhism.

Fig 3.6 : Series of columns inside caves

Fig 3.8: Exterior view of cave

Fig 3.7 : View of columns inside caves

Fig 3.9: Arched gate inside cave

Fig 3.10: View from inside the cave

The viharas are monasteries intended for the accommodation of mendicant monks, living together in communities. The oldest viharas have one or more cells, with a stone bench or bed in each cell, and a verandah in front, to protect the openings into the interior from the sun. The stone bench is a constant feature in all the earlier cells, but disappears about the 2nd century after Christ. The verandahs seem to have been originally of wood, but afterwards they were of stone and became the most ornamental parts of the structure. A permanent spring or cistern called “pandhi” was indispensable and was close to the vihara when the Bhikshukas or mendicant monks became very numerous, the viharas were made larger, and consisted of cells arranged externally around three of the sides of a square or rectangular hall. In the some instances, the viharas were two, three, or more storeys in height, each storey diminishing in horizontal dimensions and the cells were placed on the successive terraces of the structure, which assumed this a pyramidal form. 15

The other type of main hall architecture is the narrower rectangular plan with high arched ceiling type chaitya-griha literally, “the house of stupa”. This hall is longitudinally divided into a nave and two narrower side aisles separated by a symmetrical row of pillars, with a stupa in the apse. The stupa is surrounded by pillars and concentric walking space for circumambulation. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.

PAINTINGS: The paintings in the Ajanta caves predominantly narrate the Jataka tales. These are Buddhist legends describing the previous births of the Buddha. These fables embed ancient morals and cultural lores that are also found in the fables and legends of Hindu and Jain texts. The Jataka tales are exemplified through the life example and sacrifices that the Buddha made in hundreds of his past incarnations, where he is depicted as having been reborn as an animal or human. The Ajanta Caves are generally agreed to have been made in two distinct phases, the first during the 2nd century BCE to 1st century CE, and a second during the 5th centure BCE. CAVES OF THE FIRST (SATAVAHANA) PERIOD: The earliest group consists of caves 9, 10, 12, 13 and 15A. The murals in these caves depict stories from the Jatakas. CAVES OF THE LATER, OR VĀKĀAKA, PERIOD: The second phase is attributed to the theistic Mahāyāna,[26] or Greater Vehicle tradition of Buddhism.[38][39] Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. 16

Fig 3.12 Cave entrance

Fig 3.11 Column detail

Fig 3.13 Column decorative motif

Fig 3.14 Perspective view of column

Fig 3.15 Staircase leading to the caves

Fig 3.17

Fig 3.16 Front elevation of the cave

CAVE 1: This cave (35.7 m × 27.6 m) has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. CAVE 2: Cave 2, is known for the paintings that have been preserved on its walls, ceilings, and pillars. This cave is best known for its feminine focus, intricate rock carvings and paint artwork. CAVE 3: This is an incomplete monastery and only the preliminary excavations of pillared veranda exist. CAVE 4: Cave 4, a Vihara, was sponsored by Mathura, a wealthy devotee. This monastery is the largest among the Ajanta caves and it measures nearly 970 square metres (35m × 28m). CAVE 5: Cave 5, an unfinished excavation was planned as a monastery. CAVE 6: Cave 6 is two-storey monastery (16.85 × 18.07 m). It consists of a sanctum, a hall on both levels. The lower level is pillared and has attached cells. The upper hall also has subsidiary cells. The sanctums on both level feature a Buddha in the teaching posture. CAVE 7: Cave 7 is also a monastery (15.55 × 31.25 m) but a single storey. It consists of a sanctum, a hall with octagonal pillars, and eight small rooms for monks. The sanctum Buddha is shown in preaching posture.

CAVE 8: Cave 8 is another unfinished monastery (15.24 × 24.64 m). For many decades in the 20th-century, this cave was used as a storage and generator room. CAVE 9 & 10: Caves 9 and 10 are the two chaitya or worship halls. Cave 9 is smaller than Cave 10 but more complex. They have a large central apsidal hall with a row of octagonal pillars, a nave separating its aisle and stupa at the end for worship. The stupa has a pradakshina patha. CAVE 11: Cave 11 is a monastery (19.87 × 17.35 m). The cave veranda has pillars with octagonal shafts and square bases. The ceiling of the veranda shows evidence of floral designs and eroded reliefs. CAVE 12: Cave 12 is an early stage Hinayana monastery. Its three sides inside have twelve cells, each with two stone beds. CAVE 13, 14, 15 & 15A: Cave 13 is another small monastery consisting of a hall with seven cells, each also with two stone beds, all carved out of the rock. Cave 14 is another unfinished monastery. Cave 15 is a more complete monastery with evidence that it had paintings.Cave 15A is the smallest cave with a hall and one cell on each side. CAVE 16: Cave 16 occupies a prime position near the middle of site and influenced the architecture of the entire site. CAVE 17: The cave features a large and most sophisticated vihara design, along with some of the best-preserved and well-known paintings of all the caves. It also has two great stone elephants at the entrance

Fig 3.18 Front elevation of cave

CAVE 18: Cave 18 is a small rectangular space with two octagonal pillars and it joins into another cell. CAVE 19: Cave 19 is a worship hall (Chaitya-griha). It is one of the caves known for its sculpture. CAVE 20: Cave 20 is a monastery hall and consists of a sanctum, four cells for monks and a pillared verandah. CAVE 21, 22, 23, 24 & 25: They are all monasteries, representing the final phases of Ajanta’s construction. Cave 21 is a hall with twelve rock cut rooms for monks, a sanctum, twelve pillared and pilastered verandah. Cave 22 is a small vihara. Cave 23 is also unfinished, consisting of a hall. Cave 24 is unfinished but much larger. It features the second largest monastery hall. Cave 25 is a monastery but has no sanctum, includes an enclosed courtyard. CAVE 26: Cave 26 is a worship hall. The sculptures in Cave 26 are elaborate and more intricate and it is among the last caves excavated. CAVE 27, 28 & 29: Cave 27 is a monastery and it may have been planned as an attachment to Cave 26. Cave 28 is an unfinished monastery. Cave 29 is an unfinished monastery at the highest level of the Ajanta complex. CAVE 30: Cave 30 may actually be the oldest cave of the Ajanta complex. It is a 3.66 m × 3.66 m cave with three cells, each with two stone beds and stone pillows on the side of each cell.

Fig 3.19 Decorative motifs

Fig 3.20 Cave floor succession

Fig 3.21 Inside view of a Chaitya- griha

The Hindu, Buddhist and Jain caves at Ellora were chiselled between the 4th and the 9th centuries. Ellora, considered amongst the finest examples of rock-cut architecture. Of the 34 caves, 12 are Buddhist, 17 Hindu and 5 Jain. Buddhist monuments (Caves 1-12) occupy the southernmost part of the site, while Hindu monuments (Caves 13-29) are located in the middle; towards the north are a small number of Jain excavations (Caves 30-34). The dramatic focus of the site is undoubtedly the magnificent achievement of Cave 16 the famous Kailasa. CAVE 1: The earliest caves were excavated between the 5th and 8th centuries, reflect the Mahayana philosophy of Buddhism then prevalent in this region. Cave 1 is a plain vihara with eight small monastic cells. It may have served as a granary for the larger halls.

Fig 4.2 : Column C view

Fig 4.1 : Cave 1 Column Plan & Elevation Drawing

Fig 4.3 : Column details

VISVAKARMA (CAVE 10):

Fig 4.5: Column Isometric view

Fig 4.4 :Cave 10 Plan, Elevation & Isometric Drawing

Fig 4.6: Column Isometric view

This is the last noteworthy chaitya hall of the Deccan cavetemple series. The hall is positioned at one end of an excavated court that is entered through a gateway. A portico on three sides is raised on a basement carved with animals. The columns have partly fluted shafts, pot and foliage capitals, and plain brackets. A long frieze depicting a hunting scene appears above. At the rear end of the court is an upper gallery with parapet wall embellished with amorous couples and scrollwork. The main verandah was intended to have subsidiary shrines at either end; the one to the left is incomplete. The antechamber walls to the right are carved with images of Buddha and goddesses. The hall itself is entered through three doorways at the rear of the verandah. Access to an upper gallery is provided by steps cut into the left side of the verandah. The facade behind this upper gallery consists of a doorway flanked by carvings of deities, while the side niches contain Bodhisattvas with female attendants. Both niches are capped with pyramidal pediments composed of arch-like motifs. The pediment over the doorway is larger and contains a chaitya window between arched motifs. Flying celestial figures, naga deities with coiled bodies, and scrollwork adorn this scheme. Suspended over the facade is a ceiling with rock-cut beams. The upper gallery doorway leads to an internal gallery with a parapet, the inner face of which is sculpted with embracing couples and maidens. The spacious apsidal hall is divided into three aisles by slender octagonal columns; the two central columns of the front row have pot and foliage capitals. Above the columns is a frieze carved with ganas. Curved ribs emphasize the soaring vault of the ceiling. 21

DO TAL CAVE 11: The cave is a three storied structures and is erroneously named Do Tal or ‘two storeys’ because its ground floor was once buried. The lowest level of Cave 11 has two cells and a central sanctuary; a Buddha image in teaching posture is positioned at the rear end of the verandah. A flight of steps at the north end of the verandah ascends to the intermediate level. The top floor is reached by a flight of steps on the north. The last floor has three shrines, however, one of them has not commenced. The other two cells have a Buddha image along with Padmapani and Vajrapani. The rucaka pillars with square base and bulbous upper shaft supporting a cushion capital were seen here Leaving a huge courtyard in the front seems to be the typical plan used by this group of caves. The images of goddess Durga and Ganesha carved on the wall of the hall indicate that this cave was later converted to Hindu worship.

Fig 4.7 : Cave 11 Column Plan, Elevation & Isometric Drawing

Fig 4.8 : Cave 11 Column Plan & Elevation Drawing

RAMESVARA (CAVE 21): The Ramesvara (Cave 21) is approached through a court with a monolithic Nandi on a plinth in the middle. This leads to a verandah provided with side shrines, off which opens a linga sanctuary. The monument is celebrated for the charm of its sculptures. Female figures adorn the brackets of the outer columns of the verandah while amorous couples in panels are carved on the balcony wall. On the left of the verandah is a gracefully posed figure of Ganga, Yamuna appears in the corresponding position on the right. Carved panels in Ramesvara cave include the marriage of Siva and Parvati, Kartikeya, Durga, Ravana shaking Kailasa, Siva and Parvati playing dice, Nataraja Siva, the Sapta Matrikas with Ganesa and Veenadhara Siva, Mahakala and Kali placed in the verandah and flanking sub shrines. Large guardian figures flank the sanctuary doorway. Plain shafted rucaka [square] pillars are extensively used to create huge galleries. Fig 4.9 : Cave 21 Column Isometric Drawing

Fig 4.9 : Cave 21 Column Plan & Elevation Drawing

The architecture of Ramesvara has a lot in common with Ajanta caves and successive brahmanical cave temples at Jogesvari and Mandapesvara (both in Mumbai). The plan of the cave consisting of a broad verandah flanked by upavarnakas [sub shrines] belongs to the lineage of Ajanta and Aurangabad caves. The shrine is placed at the rear of the verandah which acts as an ardhamandapa or antarala. It has a circumambulatory path adhering to the Pasupata sambradaya. The shrine doorway at Ramesvara cave has the most elaborately decorated jambs and lintels in the Ellora cave complex. 23

D A U L A T A B Built in 12th century AD, the Daulatabad fort was constructed by Yadava general Raja Bhillamraj on the Deogiri hill, and surrounded by three concentric circles of fortification also called kots (Amberk kot, Mahakot and Kalakot). This made it virtually impossible to penetrate

Built on a 200 metre high conical hill, the fort was defended by moat and glacis running around the hill at its foot besides the most complex and intricate defence system. The fortifications comprise three encircling walls with bastions. Series of trick defence and secret escapes routes are the famous features of this fort. Jami Masjid, Bharatmata Mandir, the Chand Minar, Elephant Tank and ‘Chini Mahal’ or Chinese Palace are the important monuments inside the fort. Fig 5.1 : Daulatabad Fort front Elevation sketch

The fort had the following specialties which are listed along with their advantages : 1. No separate exit from the fort, only one entrance/exit - This is designed to confuse the enemy soldiers to drive deep into the fort in search of an exit, at their own peril.

Fig 5.3 Main entrance gate

2. No parallel gates - This is designed to break the momentum of the invading army. The real gates of the fort are on the right & the false ones on the left, thus confusing the enemy. 3. Spikes on the gates - In the era before gunpowder, intoxicated elephants were used as a battering ram to break open the gates. The presence of spikes ensured that the Fig 5.2 : Daulatabad Fort canons sketch 24

B A D

F O R T CHAND MINAR: It is also known as the pillar of victory and is the second largest tower after Qutub Minar. It is 63 metres high and is divided into 4 storeys and 24 chambers. A small mosque or praying hall sits at the base of the tower, which is covered with Persian blue tiles. The Tower also displays some indigenous Indian architectural features such as the brackets supporting its balconies[1] The tower’s height makes it visible from every corner of the Daulatabad Fort.

Fig 5.4

Fig 5.6

Fig 5.7

One of the unique features of Daulatabad Fort is the massive collection of 288 cannons it has. The cannons here are unique. They have various types, sizes and shapes. One of the most famous cannon present at Daultabad Fort is Mendha Canon: Designed in Afghanistan and second largest in India. It is fitted with a shock absorber system and rotation limited to 180 degrees so the opponent couldn’t turn it towards the fort to fire. Its head is intricately carved in the shape of a rams, giving it its name. Aurang Pasand Tope : 2.90 m long x 0.46 m ( maximum breadth) x 0.12 m calibre. BHARAT MATA TEMPLE: A temple housed within the complex. It is believed to be one of the oldest structures at the fort and features the layout of a mosque. A statue of Bharat Mata was installed within it after independence and hence the name. AAM KHAAS BUILDING: A huge hall meant for the public audience SARASWATI BAWDI: A stepwell near the main entrance. KACHERI: A building featuring two stories and a courtyard RANG MAHAL: A rectangular building with carved woodwork.

Fig 5.5 Window details of Fort

Fig 5.8

Fig 5.9

2017