The Bahmani Kingdom of the Deccan was the most powerful of all the independent Muslim Kingdom that arose on account of the disintegration of the Delhi sultanate. In 1335, there witnessed general upsurge against the dissatisfied rule of Mohammed-Bin-Tughlaq. A section of nobles known as Amir-i-Sadah raised the banner of revolt against the Sultan in Daulatabad. A prominent leader of the rebellions, Hasan conquered Gulbarga and ascended to the throne on 3rd August 1347 and the ruling house came to be known as Bahmani dynasty. The Kingdom extended from Bihar in the north to the Krishna river in the South constituting the nucleus of the Muslim power in the Deccan.
The Indo - Islamic architecture of the Tughlaq style was introduced into the Deccan but none of the buildings have survived the wear and tear of the time. The independent Bahmani Kingdom established 3 phases of growth and development in terms of architecture owing to the changes in the political sphere. The Bahmani architecture is the reflection of all sorts of architectural styles and techniques : indigenous- foreign, Hindu and Muslim. Therefore, they represent an inter mingling of all the cultural dimensions.
First Phase of Architecture, Gulbarg period of the Bahmani rule 1347 to 1429
This first phase of development resembled Indo-Islamic architecture. The Tughlaq style is seen in the tombs of the first three Bahmani rulers. The tombs characterised by thick walls, sharp slopes known as bater with minimal decoration at the surface. Although, the mausoleum of Bahman Shah contains a beautiful band of deep blue enamel tiles resembling Persian style of architecture. The Persian influence on the Bahmani architecture became more prominent with the passage of time shifting away from Islamic traditions of northern India.
The Jama Masjid of the Gulbarg fort is its manifestation. The Fort has a square base with broad Arches supporting the Dome. It became a trendsetter in the Deccan for the purpose of a developed architectural style. It has no open courtyard and whole of its area has been covered allowing light to penetrate through its walls and Arches. The Hindu influence on the architecture has been resisted by the Bahmani sultans mainly due to their superiority complex. Haft Gumbad (or the 7 tombs ) of Sultan Mujahid Shah and his extended family members at Gulbarg; however, depicts indigenous dimensions of architecture. This approach was further carried on by the Bahmani rulers. These 7 tombs resembling fine specimen of craftsmanship also showcases Hindu influence for the first time in the carvings of the prayer niche, doorways polished with Blackstone and beautiful brackets supporting the horizontal projections.
Second Phase: Gulbarga to Bidar
Bidar has forts, mosques, palaces bearing the Persian influence as well as indigenous Hindu reflection also witnessed. The intermix of Persian and indigenous influences can be seen in the tombs of the Bahmani rulers. The tombs are massive than those at Gulbarga, with more arched recesses, screen windows in the facade. Its columns seems intrinsically decorated with enamel tiles and paintings of varied colours.
The best of these tombs include that of Sultan Ahmed Shah I depicting extraordinary skill of the Craftsman. It become rogue with its impactful entrance archway on its side which is divided into three storeys by recessed Arches and adorned windows. The Dome manifests spherical pattern of Persian style and flat Dome of Delhi style. But its main features includes the decoration of its interiors which are elaborately adorned with Vermillion, green and bright gold colors.
The Madrassa of Mahmud Gawan also constructed in the typical Persian style is a huge three-storey building in a rectangular pattern; containing lecture rooms, library hall, residential flats for teachers and students as well as a mosque. In the words of writer ZA Desai the whole building is remarkable for the perfect symmetry and proportion of its various parts. The Solah Khamba( containing 16 pillars) mosque of the Bidar Fort is another impressive development of the Bahamani architecture. It's prayer hall is grand which is divided into multiple aisles by massive circular columns. Its roof is in the form of a majestic Dome of excellent shape with windows of fine screen work displaying geometrical patterns. This architecture is known for its minute details representing work of a jeweller rather than a sculptor.
Daulatabad had a rich indigenous architectural traditions with numerous palaces of the Yadava dynasty along with the public buildings. Hindu architectural styles and plans were also adopted by Muslim ruling class at Daulatabad. Fine blending of Persian style and indigenous patterns manifests a typical style of architecture in few buildings. The Chand Minar at Daulatabad built in 1445, though represents a typical Persian style. The Minar is of 30.5 meters high with a tapering pattern divided into 4 storeys with circular galleries. Despite being a Persian style of architecture indigenous influences also seen in the Minar, which includes the brackets supporting its balconies.
Third Phase: Era of Disintegration
This phase of architecture witnessed maturity and came to be called as Deccani style of architecture. Intermingling of Persian and indigenous north Indian styles with the prominence of the latter reflected this last phase and this phase of interaction of indigenous and foreign influences clearly showcased superiority of indigenous over the foreign. Local traditions also dominated this deccani art style but Persian patterns in the modified version also Seen. Regional variations developed which imparts a typical orientation of individuality and freshness. Zanjiri and Andu mosque at Bijapur, Sunheri mosque at shahpur and Kali mosque at Lakshmeshwara, Gagan Mahal and Gol Gumbad that is mausoleum of Adilshah at bijapur are few manifestations of this phase.
Regional influences like Gujarat and Malwa styles also reflected as seen in the Nizamshahi buildings at Ahmednagar which are finely adorned with decorative items. The Nizamshahi style includes Damri Mosque and tombs of Ahmed nizam Shah, Rumi Khan and Do-Boti-Chira at Ahmednagar, the tombs of Malik Ambar and Zachcha Bachcha at daulatabad, water palace cum pleasure resort of Farah bagh at Ahmednagar. An individualistic style of architecture of its own could not be developed by the state of Berar because of its annexation by Ahmednagar. Though, the mosques of Gwalior, Ellichpur and Malkapur are worth mentioning impressive form of architecture by Imadshahi rulers of berar. After Bijapur, Golconda provided the second best individualistic pattern of Deccani style of architecture.
Char Minar of Hyderabad which is the entrance to the royal building complex is an extraordinary achievement of this phase of architecture in the country. The building comprises of a square building with lofty arches carved out on all the four sides. The Minar is erected on each of its four corners represents a mesmerising architecture in terms of its conception and design. Even the space between them these Minars is covered by a double screen of arched openings. Though, the building looks delicate but has been effectively constructed. Next came Baridshashi dynasty which also contributed its due share with the construction of mosques and tombs of varied patterns in the Deccani regions. Overall, Bahmani architecture showcased grandeur of its conception and artistic excellence which left no one unimpressed.
