Documentation

DOCUMENTATION REPORT ON THE MASJIDS OF AMRITSAR & QADIAN

SUBMITTED BY : ANOUSHKA SOOD MANBIR KAUR MANMEET KAUR PURNOOR KAUR RASHMI GILL

PREFACE The project is done as a part of the curriculum of the viii semester students under the subject architecture design. the objective of the students is to explore the methodology for practising and intervening in the historic site/structure , which will develop an understanding of the significance of historic sites/structures and assessment of their related issues.

A group of five students manmeet kaur, purnoor kaur, manbir kaur ,rashmi gill and anoushka sood, of the batch 2011-2016 , were alloted the historic sites , the khair uddin masjid, masjid jaan muhammad of amritsar and masjid aqsa and masjid darul anwar of qadian for detailed architectural documentation .

These sites were chosen as they are of great historic value and needs to be preserved for the conservation of our heritage and the timelessness of the era in which they were built.

The procedure involved series of site visits to all the sites which were followed by a series of discussion with the faculty .

The whole process was an integration of field work and design studio. the process followed throughout the documentation was divided into the following stages: site work and collection of data.

Analysis of data and preparation of architectural drawings.

Conditional assessment and compilation of report.

The whole project has been an enjoyable and a knowledge enhancing experience .

MASJIDS STUDIED • • • •

JAAN MOHAMMAD ( AMRITSAR) KHAIR UD DIN MASJID ( AMRITSAR) AQSA MOSQUE ( QADIAN) DARUL ANWAR ( QADIAN)

CONTENTS: 1. MASJID JAAN MOHAMMAD , AMRITSAR •. LOCATION •. APPROACH •. ENTRANCE •. CONFIGURATION OF PATH •. PATH – SPACE RELATONSHIP •. TYPOLOGY OF MOSQUE •. ARCHITECTURAL EXPRESSION •. ELEVATIONAL FEATURES •. PROPORTIONS •. AREA ANALYSIS •. MASS VOID RELATIONSHIP 2. KHAIR-UD-DIN MASJID , AMRITSAR •. LOCATION •. APPROACH •. ENTRANCE •. CONFIGURATION OF PATH •. PATH – SPACE RELATONSHIP •. TYPOLOGY OF MOSQUE

• ARCHITECTURAL EXPRESSION • ELEVATIONAL FEATURES • PROPORTIONS • AREA ANALYSIS • MASS VOID RELATIONSHIP • SYMMETRY & AXIS • BALANCE 3. MASJID AQSA , QADIAN •. LOCATION •. APPROACH •. ENTRANCE •. CONFIGURATION OF PATH •. PATH – SPACE RELATONSHIP •. TYPOLOGY OF MOSQUE •. ARCHITECTURAL EXPRESSION •. ELEVATIONAL FEATURES •. PROPORTIONS •. AREA ANALYSIS •. MASS VOID RELATIONSHIP 4. DARUL ANWAR , QADIAN •. LOCATION •. APPROACH

• ENTRANCE • CONFIGURATION OF PATH • PATH – SPACE RELATONSHIP • TYPOLOGY OF MOSQUE • ARCHITECTURAL EXPRESSION • ELEVATIONAL FEATURES • PROPORTIONS • AREA ANALYSIS • MASS VOID RELATIONSHIP 5. COMPARISON OF MEHRABS 6. COMPARISON OF ARCHES 7. JAALIS 8. DECORATIVE ELEMENTS 9. CALLIGRAPHY 10. MINARETS 11. BUILDING MATERIALS 12. COMPARISONS OF MASJIDS OF QADIAN

LOCATION OF SITES

HISTORICAL BACKGROUND OF AMRITSAR The city origin lies in the village of tung and was named after the lake founded by the fourth sikh guru ram das in 1574 on land bought by him for 700 rupees from the village of tung.

Amritsar’s narrow streets mostly developed in the 17th and 18th century. The city is a peculiar example of an introverted planning system with unique areas called katras.

ISLAMIC ORIGIN CONNECTIVITY BETWEEN SITES

After the Sikh culture in the holy city of Amritsar Islamic influence came into existence after the Muslim ruler Jahangir suppressed the city.

In the earlier times people were tortured by this ruler to a large extent, but with time and the intervention of saint Mia Mir it stated taking a new shape.

After this Islamic rule began to flourish leading to construction of masjids in the walled city of Amritsar.

There were about 76 masjids in the walled city at the time of construction with just a few of them left till date.

MASJIDS IN AMRITSAR:SITE ANALYSIS 1. MASJID JAAN MOHAMMAD, Climate: semiarid climate, typical of northwestern india AMRITSAR • Winter season ( december to march) 2. MASJID KHAIR-UD-DIN, AMRITSAR • Summer season (april to june) MASJIDS IN QADIAN, GURDASPUR:• Monsoon season (july to september) 1. MASJID AQSA, QADIAN • Post-monsoon season( october to november) 2. MASJID DARUL-AN-WAR, QADIAN • Rainfall : 681 millimeters

HISTORICAL BACKGROUND OF MASJIDS IN AMRITSAR KHAIR –UD-DIN MASJID , AMRITSAR 1. The beautiful khair-ud-din masjid was built by muhammad khairudin in 1876.

2. The mosque holds great importance in india's struggle for freedom.

3. It was this mosque that tootie-e-hind, shah attaullah bukhari, called upon the people to wage a war against the british rulers.

4. Apart from the historical and religious importance the mosque has an architecture which is spectacle to the behold.

JAAN- MOHAMMAD MASJID, AMRITSAR 1. Masjid jaan mohammad derives its name from the kashmiri mayor jaan who constructed this mosque in 1289.

2. This is the only masjid after the masjid of qaba which has 99 names of allah in scripted on it.

3. This masjid was made by jaan mohammad against hizrat (tang karna) in amritsar city at the time of origin of islam in india.

HISTORICAL BACKGROUND OF QADIAN 1.Qadian is the 4th largest town and a municipal district in gurdaspur district, north-east of amritsar, situated 18kilometers from batala city in state of punjab,india.

2.Qadian is perhaps the best known as the birthplace of mirza ghulam ahmad, the founder of ahmadiyya muslim community.

3. Qadian was established in 1530 by mirza hadi baig, a religious scholar dedicated to islam and the first qazi within the area.

4.The town was named ‘qazimaji’ the word “maji” means bull referring to the animal still found in abundance in qadian, later it came to be known as qadian.

5. THE FOUNDER OF THE PROMISED MESSIAH WAS GIVEN HIGH OFFICIAL POSTS IN THE MUGHAL ADMINISTRATION. WHEN THE CENTRAL MUGHAL GOVERNMENT IN INDIA LOST ITS GRIP. THE FAMILY WAS ABLE TO MAKE ITSELF INDEPENDENT AND RULED OVER 95 KM OF TERRITORY. HOWEVER DURING SIKH RULE THE FAMILY LOST ITS TERRITORIAL RIGHTS AND MUCH OF THE TERRITORY WAS TAKEN OVER BY SIKHS. THIS IS WHY SIKHS ARE IN MAJORITY IN QADIAN. 6. ACCORDING TO INDIA CENSUS IN 2001,QADIAN HAD A POPULATION OF 20,827. MALES CONSTITUTE 54 PERCENT OF THE POPULATION AND 46 PERCENT OF THE FEMALES. 7. QADIAN HAS AN AVERAGE LITERACY RATE OF 75 PERCENT HIGHER THAN THE NATIONAL AVERAGE 59.5 % ,MALE LITERACY RATE IS 78% AND FEMALE LITERACY RATE IS 70%,10% OF POPULATION IS 6 YEARS OF AGE. 8. QADIAN IS ALSO RELATED TO MANY OTHER DIVINE FIGURES OF AHMADIYYA MOVEMENT. IT IS WHERE THE FIRM ROOTS OF THE FRUITFUL TREE OF AHMADIYYA ARE PLANTED.THIS GEOGRAPHICAL MIRACLE IS INFLUENCE TO THE REST OF THE WORLD.NOT ONLY BECAUSE OF SIMPLE AND RELIGIOUS LIFESTYLE BUT ALSO BECAUSE OF EDUCATIONAL ACCESS.

ISLAMIC ORIGIN IN QADIAN 1.MIRZA GULAM AHMAD AL-QADIAN WAS THE MAIN TOOL BY WHICH ISLAM WAS FOUNDED IN QADIAN. 2.GULAM AHMAD GREW UP TO BE A LOYAL AND OBEDIENT COLONIST IN EVERY WAY AND WAS CHOSEN AS A ROLE OF A SO CALLED PROPHET FOR THE MUSLIMS WHO WOULD GATHER AROUND HIM AND HE DISTRACTED THEM FROM WAGING JIHAD. 3. MUHAMMAD ALI THE LEADER OF THE LAHORE QADIANIS WAS THE ONE WHO GAVE A FINAL SHAPE TO THE QADIAN THUS LEADING TO THE GROWTH AND RISE OF AHMADIYYA MUSLIM COMMUNITY IN QADIAN.

AQSA MASJID,QADIAN 1.THE AQSA MOSQUE OR THE MASJID-E-AQSA IS A VERY RELIGIOUS SITE FOR THE MUSLIMS OF THE AHMADIYYA SECT. 2.THE STRUCTURE STANDS OUT FROM THE SURROUNDING RESIDENTIAL AREAS WITH ITS SPIRES AND DOMES 3.THE ARCHITECTURAL STYLE IS AN INTERESTING MIX OF THE LOCAL TRADITIONS AND TRADITIONAL ISLAMIC STYLES. 4.THE ROOF HAS THREE DOMES, A CENTRAL LARGE DOME FLANKED BY TWO SMALLER DOMES ON BOTH SIDES. 5.A MINARET MARKS EACH CORNER OF THE STRUCTURE AND IS TOPPED BY NARROW SPIRES. 6.A LITTLE FURTHER AWAY, ONE CAN SEE THE WHITE MINARET OF QADIAN TOWERING ABOVE THE MOSQUE AND REACHING THE SKY.

DARUL-AN-WAR MASJID, QADIAN, 1. DARUL-AN-WAR MASJID WAS BUILT BEFORE INDEPENDENCE BUT IT CAME INTO USE AFTER 1991 WHEN MIRZA TAHEER SAHIB WAS DECLARED THE 4TH SUCCESSOR OF JAMMAT AHMADDIYA AND IT WAS RENOVATED. 2.INITIALLY 150 PEOPLE COULD PRAY ,BUT PRESENTLY 1700 PEOPLE COULD PRAY.

Masjid jaan MohaMMad

Masjid jaan MohaMMad: Location : OPP. PUNJAB & SIND BANK ,TOWN HALL , AMRITSAR

aPPRoach :

THE APPROACH TO THE MASJID CAN NEITHER BE TERMED AS FRONTAL NOR IT IS AN OBLIQUE APPROACH BECAUSE OF LIMITATION OF THE ROAD WIDTH. WHEREAS IF WE ENTER FROM HALL GATE SIDE , A LITTLE BIT OF SPIRAL APPROACH TOWARDS THE MASJID IS OBSERVED.

ENTRANCE

EntRancE :

THE ENTRANCE TO THE MASJID IS FLUSHED ONE, WITH A FLIGHT OF STEPS LEADING TO THE MAIN SANCTUARY, THUS MAKING THE ENTRANCE DEEP .

THE ENTRANCE IS MODERATELY EMBELLISHED WITH A PSEUDO DOME,NAKSHI CALLIGRAPHY, BLIND ARCHED PARAPET AND MINARETS.

conFiGURation oF Path: THE LINEAR PATTERN OF PATH IS FOLLOWED IN THE MASJID, WITH FILGHT OF STEPS LEADING TO THE SEHN(COURTYARD), WHICH FINALLY DIRECTS TO THE MAIN MASJID.

MAIN SANCTUARY

Path – sPacE RELation shiP: THE PATH SPACE RELATIONSHIP IS A COMBINATION OF TWO TYPES OF RELATIONSHIPS I.E. , ‘PASS THROUGH SPACES ‘AND ‘TERMINATE IN A SPACE’.

IN THIS BUILDING A PERSON PASS THROUGH SPACES TO TERMINATE INTO SPACE I.E. THE MAIN MASJID.

tYPoLGY oF MosQUE: OUT OF THE THREE TYPLOGIES OF MOSQUES AVAILABLE, THIS IS MUCH NEAR TO THE HYPOSTYLE TYPOLOGY. IN HYPOSTYLE TYPLOGY, A LARGE COURTYARD IS SURROUNDED BY LONG ROOMS SUPPORTED BY COLUMNS. IN THIS CASE ALSO THE CENTRAL COURTYARD IS SURROUNDED BY COLONADEDE ARCADE ON ONE SIDE ROOMS ON THE OTHER.

aRchitEctURaL EXPREssion: •

THE ARCHITECTURAL EXPRESSION OF JAAN MOHAMMAD IS PURELY ISLAMIC IN ITS CONTEXT WITH ARCHES,MINARETS, CALLIGRAPHY ETC. • THE WHOLE FAÇADE IS PAINTED WHITE & GREEN , WITH THE SIGNIFYING THE COLOR OF ALLAH. • CALLIGARPHY IS NOT CARVED OR ENGRAVED BUT RATHER SIMPLY PAINTED WITH BLACK COLOR. • THE ALUMINIUM DOORS ARE IN COMPELTE CONTARST TO THE WHOLE FAÇADE ,AS THEY ARE DISTURBING THE CHARACTER OF THE BUILDING • USE OF CUSPED ARCHES THAT ARE MULTIFOLIATED IN NATURE. • A SENSE OF RICHNESS IS TRIED TO BE PROVIDED WITH THE USE OF GOLDEN COLOR ON THE ARCHES OTHER EMBELISHMENTS.

PROPORTIONS

A

JAAN MOHAMMAD TOTAL WALL AREA =41.1 m2 INTERNAL AREA =85.2m2 TOTAL SITE AREA =788.33m2 AREA COVERED BY MOSQUE =128.21m2

B

A/B= 2.76 (LENGTH OF MOSQUE BY WIDTH OF MOSQUE).

B/C= 2.76 (WIDTH OF MOSQUE BY WIDTH OF MOSQUE ENTRANCE).

A/C= 7.64( LENGTH OF MOSQUE BY WIDTH OF MOSQUE ENTRANCE).

C/2= 1.47 (MAIN ENTRANCE TO SIDE ENTRANCES) A/F= 2.51(LENGTH OF MOSQUE TO INTERNAL HEIGHT OF MOSQUE) A/I=1.72 (LENGTH OF MOSQUE TO HEIGHT OF MOSQUE).

J F/C=3.04 (INTERNAL HEIGHT OF MOSQUE TO WIDTH OF ENTRANCE. E/2=3.51 (INTERNAL HEIGHT OF SIDE DOME TO WIDTH OF SIDE ENTRANCE ) J/K=1.24 (HEIGHT OF DOME TO HEIGHT OF K MOSQUE)

1

C

2

I D

E

F

H

MASJID JAAN MOHAMMAD ANALYSIS

AREA (M2)

%AGE

OPEN AREA

462.8

58.7%

BUILT UP AREA

326.3

41.4%

SITE AREA

788.3

SPACE (CU. %AGE M)

MASS ,SPACE ,VOID ANALYSIS OF MASJID AREA (SQ M )

%AGE

TOTAL AREA

128.2

16.2%

WALL AREA

41.1

32.2%

FLOOR AREA

85.2

66.4%

WALL AREA /FLOOR AREA = 0.5 (APPROX)

TOTAL VOLUME OF MOSQUE

745.26

VOLUME OF SPACE

449.3

60.28%

VOLUME OF MASS

284.77

38.21%

VOLUME OF VOIDS

11.16

1.49%

VOLUME OF ENTRANCE

9.8

MASS / VOID = 25.5 (APROXX)

SITE ELEVATION

SITE PLAN

SECTIONAL PLAN

SECTION

KhaiR-Ud-din Masjid

KhaiR-Ud-din Masjid: Location : HALL BAZAR, AMRITSAR aPPRoach : THE APPROACH TO THE BUILDING IS SIMILAR TO MASJID JAN MUHOMMAD. I.E. OBLIQUE.

FLUSHED ENTRANCE

EntRancE :

THE ENTRANCE TO THE MASJID IS FLUSHED ONE.THE ENTRANCE IS MODERATELY EMBELLISHED WITH A PSEUDO DOME,NAKSHI CALLIGRAPHY, BLIND ARCHED PARAPET AND MINARETS.

SHOPS

ENTRANCE SHOPS

conFiGURation oF Path:

MAIN SANCTUARY

THE LINEAR PATTERN OF PATH IS FOLLOWED IN THE MASJID, WITH FILGHT OF STEPS LEADING TO THE SEHN(COURTYARD), WHICH FINALLY DIRECTS TO THE MAIN MASJID.

Path – sPacE RELation shiP: IN THIS BUILDING A PERSON PASSES THROUGH SPACE TO TERMINATE INTO SPACE I.E. THE MAIN MASJID.THUS THE TYPOLOGY IS COMBINATION OF TWO – PASS THROUGH SPACE & TERMINATE INTO SPACE

tYPoLGY oF MosQUE: OUT OF THE THREE TYPOLOGIES OF MOSQUES AVAILABLE, THIS IS MUCH NEAR TO THE HYPOSTYLE TYPOLOGY WITH CLOSITERS ON TWO SIDE

COLUMNS

SEHAN

KHAIR UD-DIN, ELEVATION FINIAL LOTUS PETAL

MINARET CENTRAL PART IS PROJECTED

DOME GEOMETRIC PATTERN MINARET PILLARS CALLIGRAPHY CUSPED ARCH TUDOR ARCH

FINIAL

MARBLE SKIRTING

ELEVATION

CALLIGRAPHY

DOME

MARBLE SKIRTING

GEOMETRIC PATTERN

KHAIR-UD-DIN MASJID

WALL AREA FLOOR AREA %AGE

VOLUME OF SPACE

SPACE (CU. M ) 192.32

VOLUME OF MASS

59.16

30.76

VOLUME OF VOIDS

133.16

69.23

MASS TO VOID RATIO - 1:2.5(APROXX)

AREA (SQ M )

%AGE

TOTAL AREA

44

WALL AREA

11.64

26.45%

FLOOR AREA

32.36

73.54%

WALL AREA TO FLOOR AREA RATIO - 1:3 ( APPROX)

PROPORTIONS

A

KHAIR –UD-DIN MASJID A/B= 3 .04 (LENGTH OF MOSQUE BY WIDTH OF MOSQUE).

B/C=3.49 (WIDTH OF MOSQUE BY WIDTH OF MOSQUE ENTRANCE).

A/C= 10.6 ( LENGTH OF MOSQUE BY B WIDTH OF MOSQUE ENTRANCE).

C/2= 1.38 (MAIN ENTRANCE TO SIDE ENTRANCES) A/F=2.99 (LENGTH OF MOSQUE TO INTERNAL HEIGHT OF MOSQUE) A/I=1.76 (LENGTH OF MOSQUE TO HEIGHT OF MOSQUE).

F/C=3.55 (HEIGHT OF MOSQUE TO WIDTH OF ENTRANCE. E/2=3.56 (INTERNAL HEIGHT OF SIDE DOME TO WIDTH OF SIDE ENTRANCE ) J/K=1.61 (HEIGHT OF DOME TO HEIGHT OF MOSQUE)

1

2

3

C

4

J I K

D

E

F

G

H

SPACIAL ANALYSIS

•THE ENTRANCE GALLERY HAS 4 M HIGH ARCHES AND 128 SQM VOLUME BIFURCATING THE MOSQUE FROM OUTER ROAD AND DIVIDING THE GALLERY IN TWO COMPARTMENTS. •THE FIRST COMPARTMENT CONTAINS 2 PLATFORMS ON SIDEWAYS FOR SITTING (NOWDAYS VENDORS KEEP THEIR PRODUCTS ON THESE FOR SELLING).

•SECOND ARCH IS ANCHORED WITH THE SHUTTER OF THE GATEWAY WHICH IS MEANT FOR LOCKING THE MOSQUE.

MASJID

SAHN

•AT THE END OF GALLERY IS A HUGE OPEN COURTYARD I.E. SEHN.

MAULWI’S ROOM

ENTRANCE GALLERY

SYMMETRY THE MOSQUE IS SYMMETRICAL ABOUT ITS VERTICAL AXIS BOTH IN PLAN AND ELEVATION.

AXIS MAIN ENTRANCE GATE AND ENTRY OF MOSQUE LIE IN THE SAME AXIS .

SYMMETRY ABOUT VERTICAL AXIS

SYMMETRY •RATIO OF HEIGHT OF SIDE ARCH TO THE CENTRAL ARCH IS 1 : 1.2 •THERE ARE 3 PARTS IN ELEVATION. •SIZE OF THE CENTRAL ONE IS LARGER. •BOTH LEFT AND RIGHT PARTS ARE IDENTICAL AND FURTHER DIVIDED SYMMETRICALLY ALONG VERTICAL AXIS.

BALANCE •TO BALANCE THE LARGE BASTONS , 2 MINARETS LIKE TURRETS ARE MADE .

LOAD DISTRIBUTION • THE LOAD IS BEING TRANSFERRED FROM DOME TO ARCHES AND THEN TO WALLS.THAT CALLS THE REASON FOR HEAVY WALLS.

• ITS APEXCRESCENT FINIAL SYMBOLIC OF TURKISH ORIGIN OF ADIL SHAHI DYNASTY

AREA (SQ M )

%AGE

TOTAL SITE AREA

2145

BUILT UP AREA

174

8.1

SEMI COVERED AREA

470.2

21.9

OPEN AREA

1499.3

69.9

HOWZ – 68 SQ M. GREEN STRIPS - .19 SQ M. OPEN AREA SEMI COVERED AREA BUILT UP AREA MASS TO VOID RATIO - 1:8.5

ADJACENT BUILDINGS

ADJACENT BUILDINGS

X TO Y RATIO OF SITE- 1:1.6

ELEVATION

BUILDING HEIGHT : MAIN DOOR =5:1

GEOMETRIC PATTERN ON PANELS

CALLIGRAPHY PANELS

CALLIGRAPHY BAND

FLORAL PATTERN ON ENTRANCE DOORWAY

CALLIGRAPHY PANELS PANELS OVER SIDE ARCHES ARE OF 2.3MX .85M AND 1.3MX.85.

WITH PERSIAN CALLIGRAPHY ON IT. IT IS CARVED ON WHITE MARBLE AND PAINTED BLACK.

X

X’

Y GEOMETRIC PATTERN X:Y =3:1 X’:X = 1:3 X’:Y = 1:1

A

B

C

X’ X

X”

FLORAL PATTERN THIS PATTERN IS MADE ON CENTRAL PART OF ELEVATION. IT IS PAINTED GOLDEN .

IT IS SYMMETRIC ALONG THE AXIS X X’ X”

THERE ARE 3 CIRCLES REPEATED 4 TIMES. A:B=1.3:1 B:C=1.2:1 A:C=1.6:1

aQsa Masjid, Qadian

Masjid aQsa: Location : AHMADDIYYA CHOWNK ROAD, HINDU MOHALLA, QADIAN ,PUNJAB.

aPPRoach : THE APPROACH TO THE MASJID IS OBLIQUE .

EntRancE : THE ENTRANCE TO THE MASJID IS FLUSHED ONE, WITH PASSAGES LEADING TO THE MAIN SANCTUARY. THE MAIN SANCTAURY FORMS THE PART OF THE COMPLEX, WITH THE SANCTUARY SITUATED AT ITS EXTREME RIGHT CORNER.

conFiGURation oF Path: THE LINEAR PATTERN OF PATH IS FOLLOWED IN THE MASJID, WITH FILGHT OF STEPS LEADING TO THE SANCTUARY. THE MAIN SANCTUARY IS 3.5M HIGHER THAN THE ENTRANCE.

MAIN SANCTUARY

Path – sPacE RELation shiP: THE PATH SPACE RELATIONSHIP IS A COMBINATION OF TWO TYPES OF RELATIONSHIPS I.E. , ‘PASS THROUGH SPACES ‘AND ‘TERMINATE IN A SPACE’.

IN THIS BUILDING A PERSON PASS THROUGH SPACES TO TERMINATE INTO SPACE I.E. THE MAIN MASJID.

tYPoLGY oF MosQUE: OUT OF THE THREE TYPLOGIES OF MOSQUES AVAILABLE, THIS IS MUCH NEAR TO THE HYPOSTYLE TYPOLOGY. IN HYPOSTYLE TYPLOGY, A LARGE COURTYARD IS SURROUNDED BY LONG ROOMS SUPPORTED BY COLUMNS. IN THIS CASE ALSO THE CENTRAL COURTYARD IS SURROUNDED BY COVERED MASS ON ALL THE THREE SIDES.

MASJID AQSA ANALYSIS TOTAL AREA UNDER MASJID – 1993.6M2 AREA

%AGE

OPEN AREA

646.4

31.5%

BUILT UP AREA

1289.4

65.7%

SEMI COVERED AREA

26.1

1.3%

AREA UNDER MINARET

31.7

1.5%

EVOLUTION OF MASJID IN THE YEAR 1875 , THE THEN CHIEF OF QADIAN , MIRZA GULAM AHMAD STARTED THE CONSTRUCTION OF THE MOSQUE IN QADIAN KNOWN AS ,MASJID AQSA.INITALLY IT WAS A VERY SMALL MOSQUE WHERE ONLY 50 PEOPLE COULD PRAY , LATER THE MOSQUE UNDER WENT TWO MORE EXTENTIONS , THUS LEADING TO THE PRESENT DAY MASJID. %AGE

VOLUME OF SPACE

SPACE (CU. M ) 281.4

VOLUME OF MASS

120.6

33.4%

VOLUME OF VOIDS

150.8

66.6%

MASS TO VOID RATIO - 1: 2 (APROXX)

AREA (SQ M )

%AGE

TOTAL AREA

67

WALL AREA

24

35.8%

FLOOR AREA

43

64.2%

WALL AREA TO FLOOR AREA RATIO - 11:20

EXTENSION 1 THE FIRST EXTENSION TOOK PLACE IN THE YEAR 1900 , WHEN THE HALL WAS EXTENDED TO THE AREA OF 153 SQM WHERE AROUND 150 PEOPLE COULD PRAY. %AGE

VOLUME OF SPACE

SPACE (CU. M ) 643.4

VOLUME OF MASS

190.4

29.5%

VOLUME OF VOIDS

453

70.5%

MASS TO VOID RATIO - 3:7(APROXX)

AREA (SQ M )

%AGE

TOTAL AREA

153

WALL AREA

34.5

29.1%

FLOOR AREA

118.5

70.9%

WALL AREA TO FLOOR AREA RATIO - 3:7 ( APPROX)

PRESENT DAY MOSQUE THE PRESENT DAY MOSQUE IS DESIGNED THAT 1500 PEOPLE CAN PRAY AT A TIME .

IN THIS THE MINARET WAS INTRODUCED A NEW HALL WAS CONSTRUCTED .

SCHEMATIC MASS SPACE RELATION SHIP SPACE (CU. M ) 11226.6

%AGE

VOLUME OF MASS

1274.25

11.3%

VOLUME OF VOIDS

9952.35

88.7%

VOLUME OF SPACE

MASS TO VOID RATIO - 1:8(APROXX)

AREA (SQ M )

%AGE

TOTAL BUILT UP AREA

1289.4

WALL AREA

157

12.1%

FLOOR AREA

1132.4

87.9%

WALL AREA TO FLOOR AREA RATIO - 3:22 ( APPROX)

A

PROPORTIONS OF AQSA B

RATIO LENGTH / WIDTH

4:1

HEIGHT /WIDTH

2:5

LENGTH /HEIGHT

1:10

ENTRANCE W. /WIDTH

1:5

ENTRANCE H. /HEIGHT

9:16

1 C

COMPARISON OF RATIOS WITH EVOLUTION OF MOSQUE TOTAL BUILT UP MASS VOID RATIO AREA

FLOOR AREA – WALL AREA RATIO

MAIN MASJID

67

1: 2

11: 20

EXTENTION 1

153

3:7

3:7

PRESENT DAY MOSQUE

1289

1:8

3:22

FROM THE COMPARISON OF RATIOS OF MOSQUE @ DIFFERENT TIMES , THE MASS-VOID RATIO HAS BEEN DECREASING , THUS LEADING US TO CONCLUDE THAT WITH TIME ,THE VOLUME OF WALLS HAS BEEN DECREASING COUNTERED BY INCREASE IN VOLUME OF VOIDS/SPACE.

aRchitEctURaL EXPREssion: • • • • • • • •

• • •

THE ARCHITECTURAL EXPRESSION HAS MUCH MORE MODERN APPROACH , WITH USE OF ALUMINIUM & GLASS FACADE. GOTHIC INFLUENCE CAN BE OBSERVED WITH THE USE OF GOTHIC ARCHES ON ONE OF THE FACADES. USE OF CORITHIAN COLUMNS BEFORE THE FACADE MARKS THE FOREIGN INFLUENCE ON THE MASJID. THE ELEVATION OF MAIN MASJID POSSESS INTRICATE WORK OF ISLAMIC TRADITION. THE MINARET IS ALSO PURELY MADE OF MATERIALS INSPIRED FROM THE ICON OF ISLAMIC ARCHITECTURE (TAJ MAHAL).

THE WHITE MARBLE USED FOR MINARET , ADDS TO ITS RICHNESS. ISLAMIC JALIS AND CALLIGRAPHY CAN ALSO BE SEEN. THE PRAYER HALL THAT HAS BEEN RECENTLY INTRODUCED IS PURELY A MODERN STRUCTURE STABLISED BY TRABEATED SYSTEM OF BEAMS & COLUMNS. THE MASJID POSSESS A VERY SIMPLE MEHRAB WITH NO EMBELLISHMENTS & DECORATIONS .

ALSO CAN WE OBSERVE THE MISSING STEPS OF MIMBAR. THE MASJID POSSESSES VERY BEAUTIFUL FLOORING PATTERNS.

Masjid daRUL anWaR, Qadian

Masjid daRUL anWaR: Location :

CIVIL LINES, QADIAN PUNJAB.

aPPRoach : THE APPROACH TO THE MASJID CAN BE TERMED AS OBLIQUE .THE BUILDING IS PERPENDICULAR TO THE ROAD, SO THE CHANGE IN DIRECTION OF PATH ,MAKES IT AN OBLIQUE APPROACH.

EntRancE :

ENTRANCE

THE ENTRANCE TO THE MASJID IS FLUSHED ONE, WITH A FEW STEPS LEADING TO THE MAIN SANCTUARY, THUS RAISING THE PLINTH OF MOSQUE. THE ENTRANCE IS MODERATELY EMBELLISHED WITH A WITH A PORTICO HAVING CALLIGRAPHY, PILLARS AND GEOMETRIC PATTERNS ON THE FRONT FACADE.

conFiGURation oF Path: THE LINEAR PATTERN OF PATH IS FOLLOWED IN THE MASJID, WITH FILGHT OF STEPS LEADING TO THE SANCTUARY.

MAIN SANCTUARY

Path – sPacE RELation shiP: THE PATH SPACE RELATIONSHIP IS of ‘TERMINATING IN A SPACE’.

IN THIS BUILDING A PERSON ENTERS TO TERMINATE INTO SPACE I.E. THE MAIN MASJID.THERE IS NO TRANSITIONAL SPACE IN BETWEEN.

tYPoLoGY oF MosQUE: NONE OF THE MOSQUE TYPOLOGY WAS FOLLOWED AS IT WAS REBUILT AS A TOTALLY MODERN STRUCTURE WITH THE USE OF NANAKSHAHI BRICKS AND NEW BUILDING MATERIALS.

MASJID DARUL ANWAR ANALYSIS TOTAL AREA UNDER MASJID – 2252 M2 AREA

%AGE

OPEN AREA

1139

50 %

BUILT UP AREA

1015.2

45%

SEMI COVERED AREA

97.8

4.9%

AREA UNDER MINARET

2

.1%

•MODERN STRUCTURE, •NO ARCHES , •NO ISLAMIC DOMES (PSEUDO DOME PRESENT ON TERRACE) •COLUMN BEAM STRUCTURE. •NANAKSHAHI BRICKS OF AQSA MOSQUE HAS BEEN USED IN ITS CONSTRUCTION.

SPACE (CU. M ) VOLUME OF SPACE

5764.5

VOLUME OF MASS

576.6

VOLUME OF VOIDS

5188

%AGE

AREA (SQ M )

%AGE

TOTAL BUILT AREA

1113

10%

WALL AREA

133.3

12%

90 %

FLOOR AREA

979

88%

MASS TO VOID RATIO - 1:9

WALL AREA TO FLOOR AREA RATIO – 3:22

NUMBER OF PERSONS THAT CAN PRAY :.75X1113=835 PROPORTIONS A/B=1.1 (LENGTH OF MOSQUE BY WIDTH OF MOSQUE).

D

E

A

B/C=2.1(WIDTH OF MOSQUE BY WIDTH OF MOSQUE ENTRANCE).

A/C= 2.3 ( LENGTH OF MOSQUE BY WIDTH OF MOSQUE ENTRANCE).

C/D= 1 (MAIN ENTRANCE TO SIDE ENTRANCES) C/E= 16.4 (MAIN ENTRANCE TO SIDE ENTRANCES)

B C

aRchitEctURaL FEatUREs

COMPARISON OF MIHRABS AQSA MOSQUE (QADIAN)

•TWO DIFF TYPES OF MEHRABS .

•NEWER ONE PAINTED GREEN AND HAVE RECTANGULAR PROFILE AND HAVE NO ARCH. •OLDER MEHRAB IS PAINTED WHITE AND HAVE SEGMENTED ARCH. •ABSENCE OF MINBAR. •HEIGHT :WIDTH=.9

DAARUL ANWAR (QADIAN)

KHAIR-UD-DIN (AMRITSAR)

•MEHRAB NISHE PAINTED BLUE .

•HAVE RECTANGULAR BOUNDARY. •HAVE STILTED ARCH. •ABSENCE OF MINBAR. •HEIGHT:WIDTH=1:5

•GREEN AND BROWN MOSAIC TILES USED ON MEHRAB NICHE .

•ORNAMENTATION ON CUSPED ARCH PAINTED GOLDEN .

•TO HIGHLIGHT MEHRAB BLIND ARCHES PAINTED GREEN .

•PRESENCE OF MINBAR. •HEIGHT:WIDTH=1:8

JAN-MUHOMMAD (AMRITSAR)

•BLUE MOSAIC TILES USED ON MEHRAB NICHE .

•ORNAMENTATION ON CUSBED ARCH PAINTED GOLDEN .

•TO HIGHLIGHT MEHRAB BLIND ARCHES PAINTED GREEN .

•PRESENCE OF MINBAR. •HEIGHT:WIDTH=1:6

coMPaRatiVE anaLYsis oF aRchEs ISLAMIC ARCHITECTURE IS CHARACTERIZED BY ARCHES. • MULTIFOLIATED CUSPED ARCHES ARE SIGNIFICANTLY USED IN BOTH JAAN MOHAMMAD & KHAIRUDDIN MASJID OF AMRITSAR. • THESE WERE NOT THE TRUE ARCHES , BUT CAN BE TERMED AS BLIND ARCHES, THEY WERE MADE JAAN MOHAMMAD SIMPLY TO GIVE THE ARCH LIKE EFFECT , BUT WERE NOT STRUCTURAL IN NATURE.

KHAIR UDDIN MASJID

• WHEREAS THE ARCHES OF MASJID AQSA OF QADIAN ARE BOTH TRUE AS WELL AS BLIND ARCHES. •SIMPLE POINTED ARCH WAS TRUE IN NATURE , WHEREAS THE BLIND MULTI FOLIATED CUSPED ARCHES CAN ALSO BE SEEN. •THE GOTHIC ARCHES CAN ALSO BE SEEN IN THE FRONT FAÇADE OF THE PRAYER HALL. •TALKING OF THE MASJID DARUL ANWAR , QADIAN , IT WAS PRUELY MODERN STRUCTURE WITH NO USE OF ARCHES AT ALL.

AQSA MASJID , QADIAN

jaLi A JALI (OR JAALI) IS THE TERM FOR A PERFORATED STONE OR LATTICED SCREEN, USUALLY WITH AN ORNAMENTAL PATTERN CONSTRUCTED THROUGH THE USE OF CALLIGRAPHY AND GEOMETRY. CEMENT AND WHITE MARBLE JALIS HAVE BEEN USED IN MINARET AND TERRACES (AS PARAPETS) IN AQSA MASJID. SIMPLE FORMS SUCH AS SQUARE IS USED IN A VARIETY OF WAYS, CREATING MULTISIDED POLYGONS AND STAR PATTERNS.

PARAPET JALI

THERE WAS NO JAALI WORK IN KHAIR UDDIN MASJID,JAAN MOHAMMAD AND DARUL ANWAR MASJID .

JALI ON AQSA MINAR(MARBLE)

dEcoRatiVE ELEMEnts

ISLAMIC CALLIGRAPHY IS EXTENSIVELY FOUND IN ALL MASJIDS OF BOTH AMRITSAR & QADIAN.

USE OF GEOMETRICAL PATTERN HAS ONLY BEEN OBSERVED IN FLOORING. ISLAMIC MOTIFS & ISLIMIS CAN BE EXTENSIVELY NOTICED IN ELEVATIONS AND CEILING DESIGNS. WHEREAS THESE DECORATIONS ARE MISSING IN THE MASJIDS OF QADIAN.

caLLiGRaPhY CALLIGRAPHY IS THE MOST IMPORTANT AND COMMON KIND OF ISLAMIC ART. IT HAS ALWAYS BEEN CONSIDERED THE BEST FORM OF ART BECAUSE THE QUR'AN, THE MUSLIM HOLY BOOK, IS WRITTEN IN ARABIC & IS THUS EXTENSIVELY USED IN DECORATIONS OF MOSQUES. ARABIC CALLIGRAPHY CHANGED OVER TIME INTO MANY BEAUTIFUL STYLES. MANY OF THESE STYLES WERE DEVELOPED BY ARTISTS IN DIFFERENT PARTS OF THE ISLAMIC EMPIRE, AND THEIR WORK CAN BE EXTENSIVELY SEEN IN ARCHITECTURE. "MAJOR CALLIGRAPHIC STYLES" THE SIX GREATEST SCRIPTS (OR HANDWRITING STYLES) ARE: DEEWANI, KUFI, NASKH, TALIQ, RIQA, AND THULUTH. DIWANI WAS DISTINGUISHED BY THE COMPLEXITY OF THE LINE WITHIN THE LETTER AND THE CLOSE JUXTAPOSITION OF THE LETTERS WITHIN THE WORD. KUFIC SCRIPT, A HEAVY MONUMENTAL ARABIC SCRIPT SUITED TO STONE CARVING, APPEARS IN THE EARLIEST SURVIVING KORAN MANUSCRIPTS. NASKH IS LEGIBLE AND CLEAR AND WAS ADAPTED AS THE PREFERRED STYLE FOR TYPESETTING AND PRINTING. TA'LIQ IS A CURSIVE STYLE OF LETTERING DEVELOPED IN IRAN IN THE 10TH CENTURY. RIQ'A, THE SIMPLER STYLE OF EVERYDAY WRITING IS VERY ECONOMICAL AND EASY TO WRITE. IT IS POPULAR FOR WRITING BOTH TURKISH AND ARABIC. THULUTH (ARABIC: "ONE-THIRD") IS WRITTEN ON THE PRINCIPLE THAT ONE-THIRD OF EACH LETTER SLOPES.

JAAN MOHAMMAD

AQSA MOSQUE

THULUTH STYLE OF CALLIGRAPHY KHAIRUDDIN MOSQUE NAKSH STYLE OF CALLIGRAPHY RIQA STYLE OF CALLIGRAPHY

DARUL ANWAR

NAKSH STYLE OF CALLIGRAPHY INFERENCES: OUT OF ALL THE STYLES , NAKSH STYLE OF CALLIGRAPHY IS EXTENSIVELY NAKSH STYLE OF CALLIGRAPHY USED. THE CALLIGRAPHY IS NOT ENGRAVED BUT SIMPLY PAINTED ON MARBLE PIECES. WHEREAS IT IS ONLY IN CASE OF DARUL ANWAR THAT THE CALLIGRAPHY IS EXTRUDED OUT.

MinaREts

•IN SELJUK ERA, THE MINARET WAS LOCATED OUTSIDE THE MOSQUE AS A SINGLE VERTICAL ELEMENT, WITHOUT ORNAMENTATION OR WITH LIMITING BRICKWORK IN WALL AND GENERALLY HAD SYMBOLIC FUNCTION OF MA’ZANEH (A PLACE FOR ANNOUNCING THE PRAYER TIMES).

• BUT, OF THE SELJUK PERIOD, INSPIRING BY THE GEOMETRY-ORIENTED IRANIAN ARCHITECTURE AND DUE TO THE NEW APPROACH OF THE RULERS OF THIS ERA, THE MINARET BECOMES AN INNER ELEMENT OF THE MOSQUE. •THE ATTENTION TOWARD MINARET AND THE EVOLUTION OF ITS USE IN THE ARCHITECTURE OF RELIGIOUS BUILDINGS IS A GRADUAL PROCESS WHICH HAS BEEN FORMED AFFECTING BY VARIOUS FACTORS. •MINARET, IN ITS MODERN AND CONVENTIONAL MEANING, IS A HIGH BUILDING MOSTLY WITH CIRCULAR PLAN.

THE MINARET OF ABU 1 GADANFAR







IN REGARD TO ARCHITECTURAL TYPOLOGY OF MINARETS, IT CAN BE SAID THAT THE THREE MAIN COMPONENTS OF BASE, STEM OR BODY, CAP OR CROWN ALONG WITH TWO SUBSIDIARY COMPONENTS OF STAIRCASE AND SKYLIGHT CONSTITUTE THE MINARET .

THE MINARETS IN PRE-ISLAMIC ERA WERE CUBIC, BUT THEY HAVE EVOLVED A LITTLE IN THE ISLAMIC PERIOD. IN THIS PERIOD, THE LOWER AND UPPER PARTS OF THE STEM BECOMES CUBIC AND SPIRAL CIRCULAR, RESPECTIVELY (JAVADI, 1984). FOR EXAMPLE, THE MINARET OF THE MOSQUE OF SAMARRA IS A SINGLE MINARET WHICH ITS SPIRAL STAIRCASE IS LOCATED OUTSIDE. THERE IS A CHAMBER WITH A WINDOW ON THE TOP OF MINARET PROBABLY FOR HANGING LANTERNS.

EVoLUtion chanGEs oF MinaREts

SPIRAL MINARET

FOUR MINARETS FOR DOME

GUIDE MINARET

FOUR MINARETS FOR FACADE

MA’ZANEH

THE USE OF TWO MINARETS

COMPARATIVE ANALYSIS AQSA MOSQUE (QADIAN)

DAARUL ANWAR (QADIAN)

KHAIR-UD-DIN (AMRITSAR)

JAN-MUHOMMAD (AMRITSAR)

• OCTAGONAL MINARET

• CYLINDRICAL MINARET

• ORNAMENTED MINARET

•

•OCTAGONAL BASE

• CIRCULAR BASE

•OCTAGONAL BASE

•OCTAGONAL BASE

FLUTED MINARET

AQSA MOSQUE (QADIAN)

DAARUL ANWAR (QADIAN)

KHAIR-UD-DIN (AMRITSAR)

JAN-MUHOMMAD (AMRITSAR)

•MADE OF BRICK MASONARY ,CALDDED WITH WHITE MARBLE

• MADE OF BRICK MASONARY

• MADE OF BRICK MASONARY PLASTERED WITH LIME MORTAR

• MADE OF BRICK MASONARY PLASTERED WITH LIME MORTAR

•3 PROJECTED BALCONIES WITH MARBLE JALI WORK (PARAPET).

•NO BALCONY

•NO BALCONY

•NO BALCONY

•TOP COVERED WITH DOME.

CONICAL TOP

ORNAMENTED CHATTRI

ORNAMENTED CHATTRI

AQSA MOSQUE (QADIAN)

DAARUL ANWAR (QADIAN)

MINARET TOPS

DOME

CONICAL TOP

RE

KHAIR-UD-DIN (AMRITSAR)

JAN-MUHOMMAD (AMRITSAR)

CHATTRI CHATTRI

ANALYSIS THE ABLUTION, IS WHERE THE FAITHFUL WASH THEIR HANDS, ELBOWS, FACES, BEHIND THE EARS AND THEIR FEET IN PREPARATION FOR PRAYING. THIS IS PERFORMED UNDER RUNNING WATER. THE ABLUTION AREA ALSO HOUSES THE TOILETS AND SHOWERS. THE NUMBER OF ABLUTION SEATS, TOILETS AND SHOWERS IS GOVERNED BY THE SIZE OF THE PRAYER HALL. AREA REQUIRED PER PERSON FOR PRAYING IS .75 SQM. NAME OF MASJID

NUMBER OF PERSONS THAT CAN PRAY

AREA

KHAIR-UD-DIN MASJID

38 PERSONS

28.3 SQM

JAAN MUHAMMAD MASJID

100 PERSONS

75 SQM

AQSA MASJID

242 PERSONS

181.49 SQM.

DARUL-AN-WAR MASJID

1155 PERSONS

866.30 SQM

PLAN OF ABLUSION

SECTION OF ABLUSION

1.TERMINOLOGY BAB AL-SADIR

MAIN OR GRAND ENTRANCE/GATE

IMAM

THE HOLY MAN/PREACHER/LEADER OF THE PRAYER

JAMI OR JAME

FRIDAY OR CONGREGATIONAL MOSQUE

JANAZA

MORGUE

KAABA

THE HOLY SHRINE IN MECCA

KUTUB KHANA

LIBRARY

MADRASA

SCHOOL

MASJID

MOSQUE

MUEZZIN

PERSON CALLING FAITHFUL FOR PRAYER

QIBLA

THE DIRECTION OF PRAYER ORIENTED TOWARDS KAABA IN MECCA

WUZU OR WUDU

ABLUTION

MINBAR

PULPIT OR SEAT USED BY THE IMAM FOR FRIDAY SPEECH

BUILDING MATERIALS SOME COOMON BUILDING MATERIALS USED WERE BRICK, STONE, MARBLE , MOSAIC TILES, LIME PLASTER, CONCRETE, GLASS , ALUMINIUN FRAMES • • • • •

•

• •

NANAKSHAHI BRICKS WERE USED IN DARUL ANWAR .THE BRICKS WERE FROM OLDER AQSA MASJID. GLASS WAS ALSO EXTENSIVELY USED IN THE FACADES OF BOTH AQSA & DARUL ANWAR MASJID. WHEREAS GLASS HAD A LITTLE INFLUENCE ON THE MASJIDS OF AMRITSAR. JALIS COULD BE SEEN IN THE PARAPETS OF AQSA MASJID BUT WERE MADE OF CONCRETE, NOT OF TRADITIONAL MATERIAL LIKE MARBLE OR WOOD. MARBLE WAS EXTENSIVELY USED AS A FLOORING MATERIAL IN ALL THE ,MASJIDS BUT A BEAUTIFUL PATTERN MADE WITH BRICK TILES CAN BE OBSERVED IN THE COURTYARD OF MASJID AQSA. ALUMINIUM FRAMES CAN BE SEEN USED EXTENSIVELY IN THE FACADES OF MASJID AQSA, WHERAS THE DOORS OF ALL THE 3 MASJIDS ARE OF GLASS & ALUMINIUM, EXCEPT THAT OF DARUL ANWAR. IN THE MINARET OF MASJID AQSA CAN BE SEEN THE JAALIS MADE IN TRADITIONAL MATERIAL I.E. MAKRANA MARBLE. USE OF MOSAIC TILES CAN BE OBSERVED IN THE EMBELLISHMENTS OF THE MEHRABS OF MASJIDS OF AMRITSAR.

COMPARISON BETWEEN THE MASJIDS OF AMRITSAR & QADIAN

MASJIDS OF AMRITSAR

MASJIDS OF QADIAN

•

THE MASJIDS OF AMRITSAR HAVE MUCH MORE GEOMETRICAL PLANS AND BOTH ARE RECTANGULAR IN NATURE.

•

WHERAS THE MASJIDS OF QADIAN ARE NOT GEOMETRICAL .

•

THE MOSQUE TYPOLOGY FOLLOWED IS MUCH MORE NEAR TO HYPOSTYLE ONE.

•

NO MOSQUE TYPOLOGY IS FOLLOWED IN PARTICULAR ,WHEREAS WE CAN RELATE MASJID AQSA TO HYPOSTYLE TO SOME EXTENT.

•

THE ELEVATIONS ARE HIGHLY EMBLLESHIED AND INTRICATELY CARVED WITH NEARLY WITH THE USE OF ALL DECORATIVE ELEMENTS OF ISLAMIC ARCHITECTURE .

•

SIMPLE ELEVATIONS WITH MUCH MORE MODERN APPROACH , MADE OF ALUMINUM & GLASS FAÇADE IN ONE & NANAKSHAHI BRICKS ON THE OTHER.

•

THE MINARETS ALSO POSSESS INTRICATE CARVINGS & BEAUTIFUL DECORATIONS.

•

VERY SIMPLE MINARETS MADE OF MARBLE & CONCRETE, WHEREAS THE ONE OF AQSA DOES HAVE JALIS AND CALLIGRAPHY , BUT THIS IS TOTALLY MISSING IN THAT OF DARUL ANWAR.

•

THESE MASJIDS DO POSSESS FLUTED DOMES , WHICH ARE ONE OF THE IMPORTANT ARCHITECTURAL FEATURES.

•

DOMES ARE MISSING IN THESE MASJIDS , WHEREAS A PSEUDO DOME IS CONSTRUCTED IN DARUL ANWAR , JUST FOR ASTHETICS

MASJIDS OF AMRITSAR

MASJIDS OF QADIAN

•

MEHRABS ARE BEAUTIFULLY DECORATED WITH MOSAIC TILES AND BLINDS ARCHES ABOVE THEM, FOLLOWING THE THOUGHT THAT IT SHOULD BE THE MOST DECORATED PART OF MOSQUE.

•

•

THREE STEPS OF MIMBAR ARE PRESENT ON BOTH THE MASJIDS BUT THE MAULVI RARELY CLIMB THESE STEPS TO ADDRESS THE AUDIENCE ON FRIDAYS .

PRESENCE OF ISLAMIC MOTIFS , ISLIMI, AND ISLAMIC CALLIGRAPHY FOR DECORATIONS WALL TO VOID RATIO WAS MORE IN CASE OF THESE MASJIDS , AS THE WALLS WERE VERY THICK & HEAVY.

•

• •

• •

WHEREAS IN CONTRAST THEY ARE MUCH MORE SIMPLE WITH ABSENCE OF ANY DECORATIONS OR EMBELLISHMENTS , FOLLOWING THE THOUGHT THAT BE LEAST DECORATED AS THEY SHOULD NOT DISTRACT THE ONE WHO IS GOING TO PRAY. THE STEPS OF MIMBAR ARE TOTALLY ABSENT IN THESE MASJIDS. ONLY CALLIGRAPHY IS PRESENT BUT THE MOTIFS & ISLIMI ARE TOTALLY MISSING. WALL TO VOID RATIO WAS COMPARATIVELY VERY LESS AS THE STRUCTURE WAS TRULY MODERN , TARBEATED COLUMN BEAM STRUCTURE WAS FOLLOWED.

INFERENCES 1.MALE AND FEMALE ENTRANCE/EXIT, PRAYER HALL AND ABLUTION MUST BE SEPARATE. 2.TOILETS SHOULD BE IN COMPARTMENTS NOT CUBICLES: I.E. MUST BE OF SOLID WALL CONSTRUCTION NOT THIN PARTITIONS OR GAPS AT FLOOR LEVEL , THEIR ORIENTATION IS OF PARAMOUNT IMPORTANCE. COMPARTMENTS MUST NOT FACE OR BACK IN THE DIRECTION OF MECCA. 3. NO OTHER HABITABLE ENCLOSURE OR SPACE SHOULD BE BEHIND THE MIHRAB WITHIN THE CONFINES OF THE SITE TOILETS MAY NOT BE SITUATED UNDER OR OVER THE PRAYER HALL, AND NO DRAINAGE PIPES WHATSOEVER SHOULD PASS UNDER OR OVER IT. 4.PRAYERS ARE SAID STANDING, KNEELING AND PROSTRATE. 5.THERE ARE THEREFORE NO SEATS, BUT THE PRAYER HALL IS CARPETED AND THE CARPET IS MARKED WITH IMPRINTED PRAYER MATS POINTING TO QIBLA. 6. ALLOW AT LEAST 0.75 M2 PER PERSON FOR PRAYING. 7.NO SHOES ARE ALLOWED PAST THE MAIN ENTRANCE, AND THERE ARE PLACES TO LEAVE, USUALLY IN RACKS, TO ONE OR BOTH SIDES OF THE ENTRANCE.