Unit I

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ISLAMIC ARCHITECTURE

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DEVELOPMENT OF ISLAMIC ART-INFLUENCE
OF STYLES
The first followers of the Holy prophet ARABS, had no
artistic or traditional styles

As Islam spread, its art forms developed and were
modified by different climatic conditions and materials
that were available in the lands

Islam spread, adapting indigenous art styles.
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Unity of god head
Unification of mankind
salvation of human civilisation ,
establishing justice, dignity and
freedom for all.
PRINCIPLES OF ISLAM
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ISLAMIC STRUCTURES
Can be divided into two main types
RELIGIOUS STRUCTURES
TheMosque or Masjid
The Madressah or
Religious school
The tomb or Mausoleum
SECULAR STRUCTURES
The Palace
The Caravanserai
The Cities
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INFLUENCE OF STYLES
ROMAN
EARLY CHRISTIAN
BYZANTINE STYLES
PRE-ISLAMIC PERSIA
TURKS
MONGOLS
Development of Islamic Art began in the 7
th
century

Elements of Islamic style
Large domes
Minarets
Walls and vaults
Wall-like facades
Large courtyard often merged with a central praying hall
Use of geometric shape and repetitive art (arabesque)
Extensive use of decorative Arabic calligraphy
Use of symmetry and ablution fountain
A mihrab inside mosque to indicate the direction of Mecca
Use of bright colour
Focus on interior of space rather than exterior
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TERMINOLOGY
Entrance Portal / Gate
Courtyard Sahn
Cloistered hall / enclosure
- Iwan / Liwan / eyvan
Ablution Pool / Tank /
Fountain Talab
Tower (Prayer Call
Minaret
Main prayer hall Haram
West Direction Qibla
Prayer Niche Mihrab
Pulpit (elevated) - Minbar
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MOSQUE OR MASJID
A place of community gathering and prayer.
This unique religious edifice had the typical prominent features
MIHRAB
A mihrab is a niche in
the wall which points the
worshipers toward Mecca.

This identifies the
QIBLA, within the Mosque
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MIMBAR

Damascus, Great Mosque, qibla wall
(pointing to Mecca) with minbar
MINBAR
Raised wooden seat
or Pulpit , from which
sermons (Khutba)
was given.
A place from which a
religious leader (an
"imam") speaks to the
people.
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ABLUTION FOUNTAIN

Before prayers, the faithful
cleaned their faces, hands, feet,
and rinsed their mouths.

Cleansing was an act that was
both symbolic and literal to
prepare oneself to meet with God
in prayer
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COURTYARD OR SAHN
Almost every mosque and traditionally all houses and buildings in areas of
the Arab World contain a courtyard known as a sahn (Arabic ), which
are surrounded on all sides by rooms and sometimes an arcade.
Sahns usually feature a centrally positioned pool known as a howz.
If a sahn is in a mosque, it is used for performing ablutions.

A simple Sahn, with a howz in
the middle.
ABLUTIONS POOL OR HOWZ
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PRAYER HALL OR HARAM
This is a colonnaded large hall where the prayer was usually
held.

Any ritualistic activity took place here.

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IWAN
Typically, iwans open on to a central
courtyard, and have been used in both
public and residential architecture.

An iwan is defined as a vaulted
hall or space, walled on three
sides, with one end entirely open.

Iwans were a trademark of the
Sassanid architecture of Persia,
later finding their way into Islamic
architecture

This transition reached its peak
during the Seljuki era when iwans
became established as a
fundamental design unit in
Islamic architecture.

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THE ALHAMBRA PALACE OF THE MOORISH KINGS AT GRANADA, SPAIN
In the l3th century, the last Muslim dynasty of Spain
made Granada its capital. The Alhambra became the
dynasty's royal city.

The Alhambra (Arabic: Al-Hamra', means "the red
palace") is a palace and fortress complex of the
Moorish monarchs, in southern Spain.

One of the most famous
examples of Islamic
architecture, the Alhambra
was built in the 14th
century and served as the
royal palace for the Caliph,
Abd-el-Walid.

Once the residence of the
Muslim kings of Granada
and their court, it is
currently a museum
exhibiting exquisite Islamic
architecture. The Alhambra
was redesigned in the last
half of the 14th century by
Muhammad

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ALHAMBRA,GRANADA,SPAIN
Planning :
The terrace or plateau where the.
Alhambra settles, measures about 740
m X205 m
It is enclosed by a strongly fortified
wall, which is flanked by 13 towers
Within the walls of the Alhambra were
Mosques, Baths, houses, gardens and a
royal burial place.
Except for the outer walls, the citadel
and two large architectural units, little
remains of the original construction.
The plan of the Alhambra basically
includes two great inner courts set at
right angles to each other.
Tile courts of the Alhambra lead to
halls, and tile halls to apartments, each
in turn giving way to smaller courts and
baths, all richly dressed in geometric
designs of stucco, ceramic and wood.

Partial Plan, Alhambra, Ct. of
Myrtles, Ct. of Lions
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This court is 42 m by 22 m, and in the
centre there is a large pond set in the
marble pavement.

There are galleries on the north and
south sides;On the south 7 m high, and
supported by a marble colonnade.

Underneath it, to the right, was the
principal entrance, and over it are three
elegant windows with arches and
miniature pillars.

From this court the walls of the Torre de
Comares are seen rising over the roof to
the north and reflected in the pond.

The Patio De La Alberca (Court of the Blessing or Court of the Pond):

VIEW OF ALHAMBRA, SPAIN
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The Celebrated Pa Tio De Los Leones (Court Of The Lions)
An oblong court, 35 m by 20 m, surrounded by a low gallery
supported on 124 white marble columns.
A pavilion projects into the court at each extremity, with filigree
walls and light domed roof, elaborately ornamented.
The square is paved with colored tiles, and the colonnade with
white marble; while the walls are covered 1.5 m up from the
ground with blue and yellow tiles, with a border above and
below enamelled blue and gold.
Court of the Lions View of Court of the lions
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The columns supporting the roof and
gallery are irregularly placed.

They are adorned by varieties of foliage,
etc.; about each arch there is a large
square of arabesques; and over the
pillars is another square of exquisite
filigree work.

In the centre of the court is the
celebrated Fountain of Lions, a
magnificent alabaster basin supported by
the figures of twelve lions in white
marble,
The Celebrated Pa Tio De Los Leones (Court Of The Lions)
Court Of The Lions
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The Gardens and Fountains
(shown above) are a symbol for
"Paradise" or Heaven.

A garden (al-janna, "The Garden")
is usually four rectangles with fruit
trees arranged in rows parallel to a
watercourse.

The symbolic value of the formal
Islamic garden was as an earthly
anticipation of paradise.

Gardens nested among the
Alhambra
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"Honeycomb," "stalactite," or mocarabe
vaulting in the "Hall of the Abencerrajes

Although the Alhambra is a royal palace, it
was given no center or focus to emphasize
power.

It is a maze of rooms and courtyards,
passages and corridors, of water basins and
canals that link the open and covered
spaces, of fountains and of decorations that
are undoubtedly among the most
extraordinarily complex and technically
accomplished in all Islamic architectural
design

INSCRIPTIONS ALHAMBRA, SPAIN
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Court of the Lions
Court of the myrtles
Plan along Court of Myrtles
View of Court of the lions
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THE ALHAMBRA PALACE OF THE MOORISH KINGS AT GRANADA, SPAIN
Patio (Court) of the Lions
Court of the Canal, Generalife, Granada
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Gardens nested among the
Alhambra
Arabesque Detail in the
Dome
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THE FIRST OF THE THREE GREAT SHRINES OF
ISLAM
Ka'ba at Mecca
(al-Haram al-Makki al-Sharif).
Mosque of the Prophet Muhammad Madina
Dome of the Rock (QUBBA-AL-SAKHRA)
Jerusalem.

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KABA-MECCA,SAUDI ARABIA
The dimensions of the present
Ka'ba :
Northern wall :12.63 meters
Eastern wall : 11.22 meters
Western wall :13.10 meters
Northwest wall :11.03 meters (it
is not completely regular.)
The Ka'ba height is 13 meters.
The door on the northern side is 2
meters from the ground and is 1.7
meters wide.
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PROPHETS MOSQUE
THE RECONSTRUCTED MOSQUE AT
MADINA
PLAN PROPHETS MOSQUE
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DOME OF THE ROCK, (QUBBA-AL-
SAKHRA),JERUSALEM
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SAKHRA),JERUSALEM
HISTORY
BUILT IN 687 AD AND
692 AD
ARCHITECT OF
BYZANTINE TRAINING
SUPERVISION OF SYRIAN
BUILDERS
DECORATION AND
MOSAIC BY
CONSTANTINOPLE
EXTERIOR VIEW FROM
NORTHEAST
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DOME OF THE ROCK, (QUBBA-AL-SAKHRA),JERUSALEM
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SAKHRA),JERUSALEM
PLAN
SECTION AA
ROCK
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SAKHRA),JERUSALEM
SECTIONAL VIEWS
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SAKHRA),JERUSALEM
INTERIOR VIEWS
Grilled
windows
INTERIOR
PORTICO
3 columns
supporting
4 arches on
either sides
Central ambulatory
&Rock
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SAKHRA),JERUSALEM
The Rock inside the Dome
View along North Portico
showing marble paving
Artificial Cave
within rock
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SAKHRA),JERUSALEM
Dome covered with alloy
containing gold
Lead sheets
above
ambulatory
Exterior
drum tile
work
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GREAT MOSQUE AT DAMASCUS
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PLAN
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SECTION ALONG ENTRANCE
SECTION ALONG DOME
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INNER COURTYARD
AERIAL VIEW
PORTICO FACING
COURTYARD
ISOMETRIC VIEW
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THE ABLUTIONS POOL
WITHIN THE COURTYARD
TREASURY
NORTHERN PORTICO
FACING COURTYARD
MINARET DETAIL
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INTERIORS
Interior Prayer Hall
View of the
Mihrab
Detail of exterior wall showing both the
Upper mosaic and lower marble
ornamentaion on pier and woodwork of
window
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INTERIORS
Mihrab with bands
and marble ornamentation
Stepped Mimbar with
marble ornamentation
Night view of the
central courtyard
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DECORATION
Mosaic detail
showing
Ummayad
palaces
Mosaic detail of inscripton on
spandrels of arcade arches
Column with Calligraphic text
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QUBBAT AS-SULABIYA,SAMARRA,IRAQ
Octogonal plan of the tomb
First known Mausoleum architecture
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TOMB OF SAMANIDS,BUKHARA
Tomb of Brick construction
Rudimentary Hemispherical
dome
Square Plan
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CARAVANSERAI
Map Showing the Caravan
Route Silk Road
Typical
Caravanserai
Detail
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CARAVANSERAI,KARAJ,IRAQ
Square plan
Showing axial Symmetry
Single Portal entrance
Covered with rudimentary domes
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MINARET
Square Minaret
Chinese Style Minaret
Conical Minaret
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MINARET
Square Minaret in Brick Minaret showing the Balcony-
Muezzin calls out for prayer
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THE PALACES
During Ummayad and
early Abbasid eras, the
caliphs' families built
desert palaces in Syria and
Iraq some of which had
hunting park
Or they had domed baths,
derived from' late Roman
types of buildings.
These palaces
demonstrate the Western
and Eastern artistic
influences which
characterized Islamic art.
The caliphs conquered new
territories,began to administer the
vast empire and carried on
extensive trade.

They became rich and their
palaces reflected this. The rulers
also built mosques as part of their
palaces.

Palaces also included living
quarters for the wives of the
sultan called a harem,
bathhouses, kitchens and dining
areas, and quarters for the
Sultan's family, and servants.

Soldiers were housed in a
separate part of the palace or
outside of it.

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ELEMENTS AND CHARACTER IN TERMS OF MATERIALS
The countries into which Islam first expanded were already rich in
building materials. Islamic architecture made use of locally available
materials for construction.

Indian Islamic architecture in its early stages sees the use of locally
available materials scavenged from the earlier Hindu buildings.

Even in India there is a vast difference in the materials used from one
region to another.

Massive structures, constructed of materials, characteristic of there
geographical location. (Brick-making and walling in mud brick
alluvial plains and eastern Iran, stone bearing areas Syria).
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MATERIALS USED :
Brick for the structure (Eg: Tomb at samarra , IRAQ)
Stone Red sand stone
Marble In the form of relief and inlay work, decorative marble slabs,
grills, plate tracery.
Polychrome Stones Inlay work (Dome of rock, Jerusalem).
Mosaic coloured external surfaces of Islamic arch (Great mosque,
Damascus)
Lime for mortar and plaster (Great mosque of Jibla south of sana).
Stucco In plaster
Wood Timber played important structural role in the history of Muslim
building.
Gold Plating For ornamental use in religious and secular building.
Screen wall in the (Taj Mahal)) was proposed to be in gold.
Glass glass manufactures was sufficiently advanced to provide
window glass.
Lead / Brone lead working and bronze casting and use of iron (dome
construction).

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MOSAIC
Ummayads used mosaics either as paving or wall facing.
In 5th century Glass mosaic technique covering stone cubes with a layer of
glass.
In 6th Century produce gold plated glass itself ( Glass Gold leaf Glass).On
this uniform plaster surface, the contours of the motif were drawn with a sharp
point, which served to fix the precise spot where each cut was too placed.
These mosaics show, no living creatures, usually demonstrate an underlying
vegetal theme.
In the great mosque at Damascus, the mosaics represent a landscape (With
majestic tree,and group of buildings and villas, set along the tanks of a stream).
In great mosque at Corbola, Spain, the mosaics are purely ornamental
Prominent Examples :
Dome of rock,
jerusaleum
Great mosque of
Damascus, syria
Palace complex of
Khilbat al Mafjar
Dome of rock, jerusaleum Detail of
the exterior's bright mosaic tiles.
Great Mosque of
Damascus, mosaic
detail
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STUCCO
A Simple plaster based manual coating, stucco is the most widespread
method of ornamentation in Islamic world (Central Asia, India to North Africa
and spain).
Produced form Gypsum, abundant in the Middle East. Modest price. It does
not require a high temperature to be transformed into plaster.
Advantages :
Easily fashioned / carved.
Shaped and moulded.
Construction materials, disappears
behind finely wrought veils of
STUCCO.
Adaptable to all architecture elements
walls, pillars, vault etc.

Preparation:
Preparation of coating material
Its application
Tracing
Cutting of pattern
Finishing touches

Examples

15th Century Friday mosque of Varamin , Ibn-Julum-mosque, cairo

Qass-al-hair-al gharbi

Achambra, spain

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BRICK
Brick is the principal construction material in Iran, central Asia, Indus and
Mesopotamia.
Advantages :
Brick bends itself to all sort of
manipulations, which can disrupt the
monotony.
Eg:- tomb of the samanids, Bukhara
Disadvantages:
Repeated use over a large surface,
brings about monotony.
Ornamental Panels In Brick
Fragments of bricks are cut, according to
Geometric or calligraphic shapes,
assembled face down.

A layer of plaster is then applied

The whole template then shifted to the
actual bldg.
Example :
Minaret of MasUd at Ghazna (12th
Century)
The Minaret of Jam - at 63m high, the
second tallest mud-brick minaret in the
world.
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BRICK-
Minaret of MasUd at
Ghazni,afghanistan (12th Century)
The Great (or al-Mutawakkil) Mosque
of Samarra in Iraq (847 AD)
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CERAMIC
Ceramic tiles were in the beginning limited to only monochromatic schemes.
Use of polychrome tiles- in the 11th & 12th Century.
Colours Commonly
Used:
1. Turquoise Blue,
2. Cobalt
3. Navy Blue
4. Emerald green
5. White/Black
6. Saffron Yellow
Each one require a specific
firing time.
Example:- Shah-i-zinda. Necropolis-
Samarkand ,Baghdad.
The Isfahan, Maydan-i-Shah Mosque in Isfahan, Iran (1611-1639)
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Principles of Islamic Planning
Symmetry was a strong concept in all
Islamic buildings. Ex: Garden Plans.
Plans:The plans were usually geometric in
shape-Square, Rectangular being
predominately used.(Ex: Damascus,
Qairwan).
Division into bays:The plan was normally
divided into nine bays.(Ex: Ak Serai,
Samarqand)
Axis: A strong axial planning resulting in
symmetry. (Ex:- Caravanserai, KARAJ
IRAN,
Octogon:The use of octagon in tomb
architecture and other mosques was
prevalent. EX: Dome of Rock, Jerusaleum
format at samara).
Power Architecture: Begins, primarily, with
military and defensive architecture.
Resulting in structures, such as citadels
walled cities, moats.
(Ex: ALHAMBRA, Spain). SYMMETRY
AXIS
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METHODS OF CONSTRUCTION
Arches
Used for entranceways
Intersecting arches,
Pointed Arch
Horse shoe arch
Stacked transverse arches
Transition from the ogee arch to
the bifoliated cusped arch.
Development From Corbelled To True Arch
Ancient Indian way of constructing
Corbelled Arch.
Corbelled Arch, with courses turned
down vertically at the crown.
Indo-Islamic radically cut arch.
Pointed arch
Horshoe
arch,Cordoba,Spain
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TYPES OF ARCHES
The most obvious Islamic
influence is the pointed arch,
which was in use in Byzantine
architecture as early as the 9th
century.
Horseshoe shaped Arch
In Islamic
buildings, such as
those built in Spain
in the 8th and 9th
centuries, the
pointed arch was
further developed
into the ogival arch
by adding a
reverse curve at
the top
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Domes : Corbelled domes, Squinch arch domes.Transition form the
semicircular dome to the onion shaped domes .
Squniches, Turkish Triangule,
Pendentives :
In Mediterranean lands, the
construction of domes was
possible, over only small
areas.
This was until architects, had
derived a suitable transition
between the ground plan
which was square and
circular springing of the
dome. (Ex. Santa Sophia,
Constantinople. 6th Century
AD)
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METHODS OF CONSTRUCTION-Squinches
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METHODS OF CONSTRUCTION-Dome
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Spherical Pendentive:
The spherical penentive is an
interspace, formed by intersecting a
hemisphere with a cube.
Although equally unsatisfactory in
terms of both stability and form, it
was confined to the Mediterranean
area.

Conical Pendentive:
Interspaced formed by intersecting
a cone with a cube.
The Persian architect changed the
square Ground Plan to a Octagon,
made the Dome could rest on 8
points.
There were no problemsregarding
Stability.
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Turkish Triangule:
Discovered in Turkey & India.
Intersecting a pyramid with & cube.

The architraves, which form the
Octagon, at the springing of the dome,
rest upon a projection layer, of
masonry , set diagonally across the
corners.

Interspaces between Ribs (Squnich Nets)
The planes of the triangle (Turkish) were
multiplied to make the transition to a 16
sided polygon in Persia, similarly a second
Squnich Zone, was formed over the first.

All arches are of the same shape and
size.Each panel in this network has the
form of a small squinch- Cluster of
Squnich Nets.
Ex: Mosque at ISFAHAN

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SQUINCHING
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SQUINCHES USED TO SPAN DOMES
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Stalactite / Muqarnas
Muqarna is a honeycomb decoration that can reflect and refract light.Arabs,
call it Muqaranas,referred to by most architectural historians as Stalactites
Usually situated at a great ht. below the domes.

In constructing Stalactites, the plaster was not generally applied to flat
base.
Instead, birck or stones were made to project in such a way that only small
niches had to be filled with Stucco.

Used as transition from square panels of the ground floor plan to small
Cupolas Above.
Muqarnas in Stucco
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Alhambra Palace At Granada.
Muqarna which coated archways and ceilings were premoulded in plaster
and fitted to create the effect of stalactites.
The walls are covered with tapestry-like plaster relief, in a seemingly
endless variety of geometrical and abstract patterns.
The panels are framed by holy texts from the Koran, carved by the
Moorish masters in contrasting calligraphically styles which dazzle the
viewer with their intricacy and elegance.
View of Muqarnas
Muqarnas,used in arches in ceramic
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Muqarnas- Sheikh Lotf Allah Mosque
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ELEMENTS OF DECORATION
ORNAMENTAL MOTIFS
1. The Figure
2. Plaint Forms
3. Geometry
4. Calligraphy
5. Arabesque or vegetal
ornamentation
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The Figure
In spite of condemnation by jurists, Figurative Art did exists in Islamic
World.
The use of Animal, and above all Human Forms, had only a marginal place in
architecture.
Images were mostly induced by external cultural influence or surviving local
custom.

Example:
Quasiramar Ammam, representation of an Enthroned Prince,
Hunting Scenes, Bathings Scenes, Buildings, Animal Figures.
Qasr-Al-Hair Al Gharbi, palymra - horse man hunting with bow
and arrow.
Great Mosque Of Diyrabakr (12th Centery) Ancient
Mesopotamian Astrological symbol Lion hunting down a Bull
symbol of power.

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Plant Form
Islamic Vegetal Ornamentation takes its basic vocabulary from Middle Eastern,
Greco Roman, and Byzantine.
Islamic artists reproduced nature. Flowers and trees used as the motifs for the
decoration of textiles, Objects and buildings.
The relationships between vegetal ornamentation and the Theme of Paradise, is set
out in certain buildings Ex: Mosque at Damascus, / Entrance to the Taj Mahal.
Trees on Faade Dome of Rock, it has been compared to the Mesopotamian Tree
of Life, a promise of resurrection and immortality.
Other basic element in Islamic Vegetal ornamentation is the Stem Line of
unvarying thickness, with no beginning and no limits to its growth, which extends
infinitely.
Theme of Paradise -
Mosque at Damascus
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Geometry
Geometric motifs were popular with Islamic art decorating almost every
surface, whether walls or floors, pots or lamps, book covers or textiles.
Aniconism - The development of this new distinctive art may have been due
to the discouragement of images in Islam.
Instead of covering buildings and other surfaces with human figures, they
developed complex geometric decorative designs, as well as intricate patterns
of vegetal ornament (such as the arabesque).
Geometric ornamentation in found in all materials Stone, Brick, Mosaic,
Marble facing, Wood.Most common Ceramic Tile Facing.
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Geometry
The circle, and its centre, are the point at which all Islamic patterns begin and it
emphasizes one God, symbolising also, the role of Mecca, the centre of Islam,
toward which all Muslims face in prayer.
From the circle come three fundamental figures in Islamic art, the triangle,the
square and the hexagon.
Islamic iconography is the Star which radiates equally in all directions. The
star, a fitting symbol for the spread of Islam.
Ex: Six Pointed Star Inscribed in Ceramic Tile Qutaish Mosque Siclon (15th
Century)
One feature that is unique to the Shi'a branch of Islam is the use of mirrors in
the ornamentation of the interior architecture of holy places.
A dazzling arrangement of tiny pieces of mirrors using complex principles of
geometry in three dimensional inlays, usually decorates the domed ceilings and
walls of mausoleums (Ex. Holy Ahlul Bayt).

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Arabesque or Vegetal Ornamentation
Characterized by continuous Stem, which splits regularly producing a series
of secondary stems, which can in turn split again or return to be reintegrated
into the main stem.
In arabesque the lines clearly define space.Repetition of curved lines,
produces a design that is balanced and free from tension.
One can visualise a strong link between art and nature in Islamic monuments
where scrolling vines, surreal flowers and gracefully flowing leaves can be
seen everywhere from the decoration of Qur'anic manuscripts to the
grandiosity of architectural monuments.
Such art does seem to evoke a feeling of heavenly grandeur although it is not
a direct depiction of heaven.

Arabesque pattern at
the Alhambra

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Calligraphy (Khatt in Arabic)
Nearly all Islamic buildings have some type of surface inscription in the
stone, stucco, marble, mosaic and/or painting. The inscription might be a
verse from the Qur'an, lines of poetry, or names and dates.
The written script rapidly attained a major ornamental element. 10th, 11th
century it bloomed out and became the visual element which contributed, to
the architectural Islamic world.
Like other Islamic decoration,
calligraphy is closely linked to
geometry. The proportions of the
letters are all governed by
mathematics.
Inscriptions are most often used as a
frame along and around main
elements of a building like portals and
cornices.
Sometimes single words such as
Allah or Mohammed are repeated and
arranged into patterns over the
entire-surface of the walls.

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Calligraphy (Khatt in Arabic)
Different Scripts:
Kufic script
Nakshi script
Thuluth script
Taliq script
Diwani script

Examples:
The first ex: of the use of the written script in
Islamic Arch is Mosaic Inscription, which
winds around the summit of the octagonal
arcade in Dome of rock.
Cursive Style, Naskshi- (Wazir Khan Mosque
Lahore).
Calligraphic ornamentation in conjunction
with geometric patterns - Taj Mahal.

Calligraphy
inscription- Taj Mahal
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Light in Islamic Architecture
For many Muslims there is no more perfect a symbol of the Divine Unity than
light. "God is the light of the heavens and the earth ...
Light can add a dynamic quality to architecture, extending patterns, forms and
designs.
And the combination of light and shade creates strong contrasts of planes.
In Islamic architecture, light functions decoratively by modifying other elements
or by originating patterns.
Covering the interior surface of a mosque with mosaics, ceramic tiles and
transforming other surfaces into perforated reliefs to filter the light.
"Stalactites' also serve to trap light and diffuse it with the most subtle
gradations.
Carved marble screens allow light to flood rooms.
This is further seen in mughal paintings where the ruler is often depicted with a
ring of light around the head- known as paradisiacal imagery.

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Water in Islamic Architecture
Water is a major component in Mughal gardens .
In hot Islamic climates, the water from courtyard pools and fountains cools as
it decorates.
Water reflects architecture and it also emphasizes the visual axis.
Water could be used in the from of- Still water, Ponds with pavilions,
Channels, Fountains, Flowing water on elaborately carved marble floors,
Chadar-sheet of water flowing down a slope. Baths

The Taj Mahal in Agra
"Alhambra Palace",
Granada - Andalucia -
Spain
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Opus Sectile
The traditional technique of inlay is the opus settle, which is Marble intarsia of
various colors,Use of polychrome stones to create a variety of patterns in inlay
work.

Pietra Dura
Opus Sectile been replaced by Pietra Dura, in which hard and rare stones such
as lapis, onyx, jasper, topaz, carnelian and agate were embedded in the marble.
The inlaying of many different kinds of colored stones in intricate patterns that
depict flowers was developed late in the reign of Jahangir, and came into maturity
under Shah Jahan himself.
opus sectile, inlay flooring,
pietra dura- The marble background is
carved out and natural stone ,gems are
inlaid into the marble. (TAJ MAHAL)
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VERNACULAR ARCHITECTURE
ARAB Nomads-Tent
construction
Raw earth constuction inYEMEN
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HAMAMS-BATH HOUSES

Unit I

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