The tomb that inspired the Taj Mahal

Kompella Phani Kumar

A Guest Blog

Bijapur, Karnataka

When the word “Architecture” is mentioned the only thing that resonates with me is symmetry. I was drawn into architecture photography by some inspirational photographs on the internet where I saw perfect symmetry. I was blown away by the fact that such geometrically designed monuments existed and also by the golden ratios in the photographs. I started experimenting with symmetrical compositions every time I got an opportunity and over time it has become an obsession.

In this modern world, despite having access to so much sophistication in tools and technology, engineers today struggle with imperfections in many architectural structures across the world.  This was another aspect which drew me specifically into photographing the heritage architecture of ancient India.  How the ancient engineers were able to build such magnificent monuments with such perfect symmetry, angles, balance and accuracy, especially with no “modern“ tools and implements still piques my curiosity.

The Deccan plateau of south-central India was home to a succession of highly cultured Muslim kingdoms with a rich artistic heritage. Under their patronage in the 16th and 17th centuries, foreign influences—notably from Persia (Iran), Ottomans (Turkey), eastern Africa, and Europe—combined with ancient and prevailing Indian traditions to create a distinctive Indo-Islamic art and culture. The architectural styles developed by the Sultans of the Deccan plateau manifested in their full glory and splendour in Bijapur, Bidar, Gulbarga, and Hyderabad, are motivated by Persian and Ottoman designs and plans.

The population of the Deccan plateau by the 16th & 17th century included immigrants from Central Asia and Iran, African military slaves, native-born Muslim nobles, and European missionaries, merchants, and mercenaries. As a result, it boasted one of the most cosmopolitan societies of the early modern world. This blog is an attempt to provide a glimpse into this dynamic, yet little-known society with focus chiefly on the golden period of the sultanate of Bijapur.

The golden age of Bijapur under the rule of Sultan Ibrahim Adil Shah II (1580–1627) defines the spirit of Deccani art. Masterpieces in painting by the leading court artist Farrukh Husain demonstrates the refined and lyrical style that influenced much of Deccani art. Ahmadnagar’s African nobility included the legendary Abyssinian Malik Ambar (1548–1628), whose portraits are included among other rare surviving works. Numerous examples of the celebrated bidri metal work tradition from the kingdom of Bidar are also shown. These feature a base composed of a blackened alloy of zinc and copper with thin sheets of silver inlay in striking designs. Read more about the spectacular art of Bidriware in the downloadable pdf linked below.

The Bijapur Fort (Vijapur Kote), located in Bijapur city in the Indian state of Karnataka, has a plethora of historical monuments of architectural importance built during the rule of the Adil Shahi dynasty. The Adil Shahi Sultans who ruled for nearly 200 years in Bijapur had expended their utmost authority, almost exclusively, on architecture, influenced extensively by Persian, Ottoman Turkish and the allied arts. Each Sultan endeavored to excel his predecessor in the number, size, or splendor of his building projects and as a result, the buildings seen in and around Bijapur Fort and the town have been rightly called the Agra of the Deccan. Among these are the Ibrahim Rauza (the tomb of Ali Rauza or Ibrahim Roza) and the Gol Gumbaz. (the second biggest dome in the world with whispering galleries) known for their architectural symmetry and magnificence.

The group of buildings known as the Ibrahim Rauza stands a short distance outside the Mecca Darwaza, the principle western gate to Bijapur. The complex consists of two large buildings facing each other with a reservoir in between. They sit on a raised plinth set in a square enclosure with high walls pierced by a tall gateway with corner minarets. The building to the east is the Tomb of Ibrahim Adil Shah II (1579-1627), and to the west is his mosque. An inscription over the door gives a date of 1626 and indicates that the tomb was built for Ibrahim's wife, Taj Sultana, but Ibrahim died before his wife and was buried there first. Taj Sultana and four other family members - his daughter, two sons and his mother Haji Badi Sahiba - are buried here with Ibrahim.

The graves lie north to south in a single chamber 12.13 m. square, featured below, with a doorway in each of the four sides, with a fanlight window on each side of the doorways, originally with masonry screens. The most remarkable feature of the tomb chamber is the hanging flat stone ceiling, which is made up of slabs set edge to edge with exceptionally strong mortar. The exterior walls of the sepulchral chamber are elaborately carved with shallow tracery of arabesques and excerpts from the Quran. The tomb is surrounded by a colonnaded verandah with seven pointed arches on each side and with a carved and decorated ceiling divided into compartments and inlaid with arabesques and flowers, considered one of the finest examples of Islamic ornamental decoration in India. The dome is set in lotus petals.

The mosque sits to the west within the enclosure and is built in a similar style.  The front face has five arches, and each corner has a minaret topped with an onion dome. Under the cornice of the mosque are heavy chains with pendants, each carved from a single block of stone. Though the mosque is compact and smaller than the tomb, it stands out due to its harmonious architecture and splendour. The entrance of the mosque is adorned with elaborated ornamentation with two minars at each of the corners. Scholars have said that if this were to be built of marble, the Ibrahim Rauza would have been a close challenger to the glory of the Taj Mahal.

An inscription near the south door of the tomb says that the Persian architect Malik Sandal (his grave also lies in the courtyard) used over 6,000 people who worked for more than forty-seven years to complete the tomb. The complex is considered one of the outstanding achievements of the Adil Shahi period. The plan of having a tomb, a mosque, and a cistern set on a plinth became popular and was copied by royalty and ministers and India. The photograph featured here is a 7 shot panorama of the mosque at Ibrahim Rauza.

In order to achieve symmetry, both buildings have been balanced in style and in volume, though the tomb is the more splendid conception. The mosque has multiple pillars, each designed with beautiful arches and engravings that makes this photograph appealing and one can have multiple layers of never-ending arches permeating through the photograph. The true impact of this simple and yet complex chaos of arches can only be possible if the entirety is captured in single photograph. Maybe a fisheye lens would have done justice but at the time I had to make a panorama work the magic.

It is said that the Adil Shahis, during their reign of 200 years, built over 50 mosques, 20 tombs and 20 palaces. Bijapur has, therefore, been called the Agra of South India.

About Talking Pixels

Inspired by the saying

"A picture can speak a thousand words!"

Why?

For the passionate photographer in me, the driving force always, is to develop a stunning and unique photograph, made possible only when the required pixels are captured perfectly.  If I have to correlate, a thousand pixels take the place of a thousand words, and my photograph speaks for itself. Thus the name Talking Pixels.

Who?

I am Kompella Phani Kumar, a resident of the magnificent City of Pearls, Hyderabad. An Information Technology Consultant by profession with a passion for photography.  A gadget freak and a technology enthusiast!  I predominantly dabble in the #Landscape and #Architecture genres of photography, with a zeal to learn #Wildlife, #BirdPhotography, #Macro and #StreetPhotography as well.  Weddings, Events and Fashion photography do not appeal to me and I intentionally stay away from them.

What?

Before starting photography more than a decade ago, I promised myself that it will remain a passion for life, a very serious passion and one I would not attach a commercial tag to.  I take photographs purely for my personal gratification.  I "may", and I emphasise the “may”, do commercial photography sometime in the future and will, in all likelihood, pass on the benefits to a charitable cause.

Where?

I would love to traverse the length and breadth of India discovering and documenting, on one hand, the natural beauty of the Himalayas, of pristine beaches, of misty and romantic Hill Stations and on the other explore the Heritage, magnificent Monuments and Architectural wonders. I have recently started to explore Wildlife and Bird photography as well and am still discovering the nuances. All my photographs are from the times I have travelled with the intent to take photos and rarely when I have travelled with family and friends.

Contact Talking Pixels: phani@kompellas.co.in | Website | Instagram

*All photos are courtesy of Kompella Phani Kumar and featured here with his permission.

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