Skyline of Delhi: Domes of Delhi

The architecture of any monument is largely influenced by a variety of factors from the social and political domains to the choice of individuals in their aesthetic sense. In history, each dynasty made a trade mark in their architectural brilliance showcasing their authority and power through their monuments to establish their sovereignty. Hence, the advent of true dome construction in Delhi was possible by the introduction of the true arcuate principle from Western Asia during the 13th century. The earliest example is Alai Darwaza.

During the Lodi period, the majority of construction activity was focused on funerary structures, as demonstrated by the numerous tombs and mausoleums established in and around Delhi . According to Brown, these prominent tomb buildings took two distinct forms. The first type featured an octagonal plan, characterized by an arched colonnade or verandah with a projecting eave, typically standing one story tall. The second type was square in plan, lacking a verandah, and usually comprised two to three stories. In both designs, the buildings were crowned with a dome, often enhanced by a series of pillared kiosks that rose above the parapet—one on each side of the octagonal structure and one at each corner of the square variant

The Lodi tombs are characterized by several striking architectural features that set them apart:

– Structural Design: These tombs exhibit impressive arcuate constructions made from robust stone masonry, allowing for effective load distribution across the entire structure.

– Location: Strategically positioned on elevated terrain, the tombs are typically built on natural ridges or artificial earth mounds—this practice is a testament to the architectural legacy inherited from the earlier Sayyid era (1414 – 1451 CE).

– Domes: Each structure is topped with grand domes supported by sturdy drums, enhancing their monumental presence.

– Surface Finishes: The external surfaces are expertly crafted from finely dressed quartzite stone, often adorned with sandstone ornamentation or finished with smooth lime plaster for added elegance.

– Ornamentation Features
– Tile Work: Many tombs showcase intricate decorative ceramic and stone tiling that reflects artistic prowess.
– Parapets: A number of them are further embellished with merlons, battlements, and kangooras, contributing to their ornamental richness and visual appeal.

DOMES IN LODI TOMBS: Literary sources consistently indicate that the domes constructed during the Lodi period are notably more elevated than their predecessors. Consequently, the square tomb architecture characteristic of the Lodi tombs is often referred to as ‘Gumbad’ or the Dome. For example, the Tomb of Kale Khan is commonly known as Kale Khan ka Gumbad. It is suggested that this design choice was intended to enhance the visual proportions of the dome, which can appear somewhat diminished from ground level.

MATERIALS USED  IN CONSTRUCTION

Motifs used in Delhi Domes

The Red Fort was the official residence of the Mughal Emperors since Shah Jahan built it in 1639–48. It suffered extensive damage during the Uprising of 1857 and the subsequent British occupation of the Fort when large parts of the original buildings were demolished to make way for army barracks. The Naqqar Khana (drum house), survived and now serves as the main gateway to the Diwan-i-Aam. The interior has now been converted to a War Memorial Museum.

Patterns ranged from geometry and abstraction of pure forms to intensive floral patterns and Koranic inscriptions in calligraphy. Patterns were developed such that they could be repeated as well as the patterns bore the idea of repetition in ways of representing a visual infinity. Rich decoration covered facades of arcaded courtyards, minarets, iwans, pishtaqs, and domes. Patterns were rigorously standardized; repetitive motifs were made using glazed bricks and multicolour tile mosaic displayed vegetative motifs, ornamented kasha.

Foliate imagery was the ultimate element in decorative art. It gave the culture’s decorative art motifs from living forms where some were imbued with scientific naturalism and others endowed with abstraction and formed an element in the arabesque, lending the continuous and unending pattern. Artists of the region were keen observers of nature and tried to imitate nature in their designs with great accuracy. A style of naturalism was created in three empires Ottoman, Safavid and the Mughal.

Safdarjung Tomb was built by 1754 for Mughal wazir name Abdul Mansur Khan, who was bestowed the of the “Safdarjung” which means (foremost in the battle). He died in the city of Lucknow but his body was brought to Delhi to be put in this mausoleum, the final major garden in the charbagh style built in Delhi.

 

The dome’s interior is adorned with stucco (plaster) relief work, featuring floral and foliage patterns. These designs resemble Persian and Mughal floral themes, often stylized lotus, tulips, and arabesque. Interlacing polygons and star motifs are subtly incorporated into the plasterwork, echoing Islamic architectural traditions. These patterns are often symmetrically arranged around the apex of the dome.

Quwwat-Ul-Islam mosque is notable for a profusion of Hindu and Jain temple motifs which appear in the architecture of the various assembled parts of temples which once stood in the Qila Rai Pithora citadel during the Chauhan and Tomar periods. This radial floral design is part of a canopy now located behind the western screen wall.

Islamic architecture emphasizes symmetry and geometric precision, seen in interlocking star patterns and angular designs inside the dome. These patterns contrast with the more organic floral elements. Unlike true Islamic domes, which use squinches or pendentives, the Quwwat-ul-Islam Mosque’s dome relies on corbelled construction, a technique inherited from Indian temple architecture. The underside of the dome may have originally had painted or stucco decorations, though much of it has worn away over time

Some Common Structural Problems

The increase in dome construction from the mid-15th century necessitated a rise in the number of skilled masons required to build these structures. Unfortunately, some of these masons simply copied the designs of existing buildings without fully understanding the underlying structural principles. A prevalent issue observed in the Lodi-era tombs is the outward spreading of the octagonal verandah at the eaves level. This spreading is caused by the horizontal forces exerted by the arches and vaults that form the roof of the verandah.

Signs of this movement can be identified by a circumferential crack at the midpoint of the ceiling and the rotation of the outer piers in several tombs. It is likely that this movement occurred early in the building’s lifespan as the structure adjusted to reach a state of equilibrium.

Conclusion

The article represents and demonstrates the important interplay of architecture with its construction. The elevation of the dome highlights the visual proportion, while the varying curvature maintains the masonry mass, promising stability of the structure. understanding of historic monument construction forms a viewpoint which is largely uncharted in India.

References

1. Percy Brown : Indian Architecture
2. sahapedia.org
3. wikipedia
4. news18 : domes of Delhi
5. Shubhru Gupta: Delhi Domes in transition
6. The Historic Precedence to Floral Imagery in Mughal Architecture by Ayla Khan, International Advanced Research Journal in Science, Engineering and Technology