histort Ppt

FACULTY OF ARCHITECTURE AND PLANNING , AKTU , LUCKNOW RAR-507 HISTORY OF ARCHITECTURE-IV B.ARCH IIIrd YEAR ‘B’ 2020-2021

BY:▪ NUPUR ▪ SHRESTHA JAIN ▪ SUSHANSHIKA RAJ SHAKYA ▪ TUSHAR SHARMA ▪ VASUNDHRA ▪ VIKASH KUMAR ▪ YASH SINGHAL

Provincial style of architecturePUNJAB

Content ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪

Timeline - Shrestha Jain Physical and geographical settings- Sushanshika Raj Shakya Patrons- Vasundhra Form and architecture- Tushar sharma Technique and construction- Nupur Art , craft , cultural expression-Vikash Kumar Visualization of spaces through models 1 –Shrestha Jain Visualization of spaces through models 2 – Yash Singhal

Timeline -Shrestha Jain

Timeline ▪ Period:

A.D. 1150 - 1325

▪ The first contacts with Islam were made through it’s two principal centres:

MULTAN LAHORE

Percy brown-Indian Architecture Islamic Period

AFGHANISTAN PERSIA

SINDH

LAHORE MULTAN

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Lahore

Multan ▪

They are of ‘ Arab-Persian’ derivation.

▪

Multan was first to come within the

▪

They are of ‘ghaznavide-saljuqian’ origin.

▪

Lahore, received its islamic influence at a later

sphere of Moslem influence, as in

date, through the country of afghanistan

consequence of the rather premature

under mahmud of ghazni.

Arab invasion of Sind in the eighth Mahmud of Ghazni

▪

century.

▪

power of ghor, lahore, once the provincial seat

Afterwards, due to this early penetration,

of the ghazni rulers, became the real capital of

its associations were continued with Southern Persia to which there was ready access by sea, river, and road to this portion of India.

On the destruction of ghazni by the rival

the diminished ghaznavide kingdom.

▪

It was almost entirely obliterated in the middle of the twelfth century by ala-ud-din ghor.

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Physical and geographical setting -Sushanshika Raj Shakya

Physical and geographical settings ▪ The earliest provincial style to emerge was in Punjab, as here the first contacts with Islam were made through its two principal centres, Multan and Lahore.

▪ Arab invaded Multan from the Sindh region earlier in the eighth century. But the province received a permanent Islamic influence in the tenth century.

▪ The Indo-Islamic architecture of Punjab province was mainly of brickworks and produced highly decorated building arts. Their palaces were embedded with brickwork and other wooden elements, mainly their doorways, windows and other hanging balconies.

▪ The buildings were constructed in Islamic styles with the fusion of Hindu culture.

▪ A city of undivided Punjab of India, Multan became a part of Pakistan in 1947.

▪ Moslem influence was first felt upon Multan.

▪ Multan was the city when Arab invasion took place in its Sindh area in the eighth century.

▪ Due to the early penetration, it was linked with the Southern Persia through road, river and sea and later became the capital of an independent Arab.

▪ As a result, Multan has more Iranian influence than India, as its arts now tesy.

Physical and geographical settings ▪ However, Lahore in undivided Punjab received the Islamic ▪ influence and its architecture later from Afghanistan in the tenth century when Mahmud Ghazni captured Punjab.

▪ Later Ghazni was defeated by the rival power Ghor, and Lahore became an important centre and the capital of the Ghaznavide kingdom.

▪ In the twelfth century, the city was known mainly for the royal residences of the princes of that dynasty. It can be said that Indo Islamic architecture in Punjab initiated in that era.

▪ In the middle of the 12th century, Ala-ud-din Ghor destroyed the palaces of Lahore.

▪ Therefore, not much is known about the architectural styles and characteristics.

▪ It is assumed that probably the ruined buildings of Lahore had much the same character as those in the parent city of Ghor.

Physical and geographical settings • In remote areas of Lahore, we have some ruins of wooden architecture that bear resemblance to the buildings of the Saljuqs of the 12th century.

• The fine wooden work owe to their indigenous techniques of timber treatment and construction.

• But the projecting bosses and patterns in carvings are definitely of Saljuqian origin.

• Hence Lahore`s and Multan`s architecture were of Ghaznavide-Saljuqian and of Arab-Persian derivation respectively.

• Though of different origins, the styles of Lahore and Multan had much together in common.

Patrons -Vasundhra

Patrons of punjab Muslims first arrived in areas now constituting southern half of Pakistan mostly Sindh and Balochistan in Eighth century A.D. when ships of Arab general Mohammad bin Qasim landed somewhere near the mouth of the Indus river and then traveled upriver all the way to the important city of Multan in lower Punjab. Thus bringing most of the commerce routes from the Indus valley to Mesopotamia through Balochistan and Persia under their control.

Shah yousaf ghardezi ▪ The saint was born in Gardez, near Ghazni in Afghanistan in 450 AH/1058.

▪ He arrived in Multan sometime between 479 /1086 and 481/1088, and settled on the banks of a branch of River which then flowed where Bohar Gate is today.

▪ He stayed in Multan for 50 years and died here in 531/1136.

▪

He was buried in his own hujra on the bank of the branch of River Ravi near his residence. It was around his residence that the city of Multan once again grew after the destruction wrought at the hands of Ghaznavids.

Tomb of shah yousaf ghardezi

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▪ It is said that Shah Muhammad Yusuf Gardizi was a specially gifted man who could ride tigers and could handle snakes.

▪ There is a hole in his grave where it is said that for 40 years after his death, his hand would occasionally come out of his Tomb to greet special visitors..

▪ The tomb proper was built in 1150 i.e. 14 years after his death.

▪ Today, the tomb is inside the walled city near the same gate.

The present building is the result of many renovations, interventions and alterations particularly in its decorations both internally and externally.

▪ This is the earliest mausoleum in Multan and differs in all its essentials from the mausoleum architecture which later on developed in and became the hallmark of Multan.

▪ The mosque on the south of the tomb was built by Sher Shah Suri (1639-1655).

Tomb of shah yousaf ghardezi

www.indiandocument-proviencesofpunjab

Shah rukn- e -alam

▪ The tomb was said to have been built by Ghias-ud-din Tuqhluq(r.

1320-1325) for himself during the days of his governorship of Depalpur, between 1320 and 1324 AD, but was given by his son, Muhammad bib Tuqhluq to the descendents of Shah Rukn-e-Alam for the latter’s burial in 1330.

▪ The mausoleum of Rukn-e-Alam has been admired by not only the travelers and chroniclers but also by the art-historians and archaeologist who wrote the architectural history of the subcontinent.

▪ In the 1970s the mausoleum was thoroughly repaired and renovated by the Auqaf Department of the Punjab Government.

The entire glittering glazed interior is the result of new tiles and brickwork done by the Kashigars of Multan.

Shrinre of shah rukn- e -alam

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Form and Architecture -Tushar Sharma

▪ The buildings were constructed in Islamic styles with the fusion of Hindu culture.

▪ In remote areas of Lahore, ruins of wooden architecture bear resemblance to the buildings of the Saljuqs of the 12th century.

▪ Hence Lahore`s and Multan`s architecture were of Ghaznavide-Saljuqian and of Arab-Persian derivation respectively.

▪ These buildings were basically Islamic impregnated with the imaginative genius of the indigenous craftsman.

▪ Multan’s architecture begins with the muslim conquest.

▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ The architecture of multan prior to the 11thcentury, though elsewhere in pakistan we can trace the genesis of muslim architecture from the 8th century A.D

Their historical value, Priceless art work, Architecture style and craftsmanship involved, Blue titles, Fresco-paints Mosaic work, Kashi and naqashi work

▪ Most of the crafts and monuments of artistic value are clearly influenced by islam.

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Main architectural features

▪ Mainly of brickworks and produced highly decorated building arts.

Single dome

Tapering walls

▪ But the projecting bosses and patterns in carvings are definitely of saljuqian origin.

▪ Doors were framed and carved with wooden designs resembling heavy tassels and knotted fringes, by cords on each side to form the opening.

▪ Palaces were embedded with brickwork and other wooden elements, mainly their doorways, windows and other hanging balconies.

▪ Due to the sloping construction in the buildings, they appeared like tents.

▪ The horizontally placed beams were embedded with brickwork and other substantial wooden elements, especially doorways, windows and also hanging balconies providing a very artistic wooden portico.

▪ The half timbered construction of buildings were decorated with painted plaster with paneling of glazed tiles in dazzling colours. www.indiandocument-proviencesofpunjab

Material response to architecture

▪The main building materials were brick or mud-brick and timber because good building stone was unavailable in this region of river plains.

▪Timber framed buildings, with the wooden beams inserted in the walls.

▪Beam and bracket system prevailed.

▪The wooden elements provided a very artistic façade.

▪The fine wooden work owe to their indigenous techniques of timber treatment and construction.

▪The bricks were sometimes laid in straight upright courses to ensure additional strength.

▪The walls of brick or mud brick were usually sloped to provide greater stability and also from compressive strength considerationsspecially of mud blocks.

▪Parts of the building were decorated with painted plaster and panelling of glazed tiles in brilliant colors. www.indiandocument-proviencesofpunjab

5 tombs in Multan ▪ In Multan a group of 5 tombs.

▪ Each one is a mausoleum of a saintly personage associated with the history of the city.

▪ Their construction took about 170 years, starting from the middle of the 12th to the beginning of the 14th century.

▪ These tombs were so severely damaged and were restored that some of these structures now appear relatively modern.

▪ These 5 tombs were of :-

Shah Yusuf Gardizi

Shah Shams-ud-din Tikrizi

Shah Bahau-l-Haqq

Shadna Shahid

Shah Rukn-i-Alam Percy brown-Indian Architecture Islamic Period

Tomb of Shah Yusuf Gardizi

▪ With a rectangular hall.

▪ It is quite different from the city’s other tombs.

▪ Building standing in an enclosed courtyard.

▪ Flat dome-less roof.

▪ Bricks used are 8(20.32 cm) long and 2(5.08 cm) thick

▪ Its elevation consists of the steady surfaces of four vertical walls.

Plan ▪ The sole relief, an oblong portion is slightly projected to frame the doorway and the other portion contains the "mihrab" in the inner side.

▪

The skyline is a miniature replica of a fort’s battlement and has a row of arches with borders raised in relief.

▪ Below the parapet wall runs a continuous calligraphic border on all four side, the motifs include a rich variety of floral patterns. www.indiandocument-proviencesofpunjab

▪

Access to the tomb is through both Lohari Gate as well as Bohar Gate.

▪ The rectangular building is thoroughly covered with the blue Multani tiles, decorated with countless floral and geometric patterns (rectangles, square and border.)

▪ The ceiling is currently decorated with mirror work.

▪

▪

It relies on the brilliant play of colour produced by its surface ornamentation of encaustic tiles which encase every part of its outer walls.

The patterns on these tiles are geometrical or inscriptional, but rarely floral, an indication that the law of the Prophet prohibiting natural forms was strictly observed.

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Shrine of hazrat bahaudin zakriya

▪ 1260-67.

▪ The essential features of the tomb are its combination of three geometric forms—a square, an octagon, and a circle which, coupled with its corner minarets and battered walls, synthesized a style of indo-islamic architecture that remains influential to the present day.

▪ Third storey ▪ Dome ▪ The hemi-spherical whitewashed dome.

Dome

▪ Octagonal second storey

Corner minarets

25m

▪ First storey

22.5m 17m

19m

17m

▪ Ground floor

▪ Brick masonry structure

21m www.indiandocument-proviencesofpunjab

▪ But zakariya's tomb was the first to combine all of these features into an enduring memorial. The tomb also, according to suvorova, features the earliest use of blue tilework on the indian subcontinent; a tradition that may have have been imported from khorasan or perhaps central asia where blue tiles were beginning to be used in bukhara and other nearby areas in the decades prior to the mongol conquests.

▪ None of these features by themselves were new—for instance, iranian mausoleam had long made use of octagonal and square bases topped with domes, and the nearby tomb of khaliq walid already incorporated corner towers and battered walls

▪ Inscriptions found on glazed tiles on site do confirm that the tomb was repaired or renovated in 1319 .

▪ The space within the tomb contains several other graves of the-family members and disciples of the saint. The tomb is adorned with www.indiandocument-proviencesofpunjab several inscriptions rendered in multani tile work.

Tomb of shah shams

▪Each corner of the square and octagonal story has a turret.

▪ There is a verandah all-round the grave-chamber, with fine arches in every side and a single entrance to the hall.

▪ This style is characterized by a square lower story, an octagonal drum, a square dome, battered walls, and corner minaret-like towers called guldastas.

▪The interior has recently been finished with 15x15 centimetres white ceramic tiles up to 4 feet as a dado and mirror work done inside the dome and above 5 metres height.

▪The main door made of solid wood with a ceiling of wooden battens with kashi kari.

▪The main chamber is surmounted by an octagonal storey and then the dome.

▪The dome is placed on a drum which is perforated with windows.

Percy brown-Indian Architecture Islamic Period

▪Above the dome is an inverted lotus molding with a finial.

▪The wood work in this building is admirable.

▪ It is a square tomb surrounded by a veranda which is a unique feature.

▪Kashi kari work on four arches.

▪The inside verandah ceiling kashi kari work is in a poor condition.

▪Flooring is of small brick tiles.

▪It is constructed with small brick tiles decorated with multani tile and lime plaster. Most of the lime plaster is damaged.

Percy brown-Indian Architecture Islamic Period

▪ Extensively damaged by fire in the 1770s, reconstruction in 1779 by mughal’ such as the kiosk-like superstructures added to the guldastas.

guldastas

▪ Initialy , the main entrance to the shrine was on its south facade but was subsequently moved to the west because the mecca is the west direction .

▪ The mihrab (the niche facing mecca), replaced with a doorway.

Hasan ali khan notes that mihrabs are not an essential feature in tombs as they are not places of prayer in orthodox islam .

▪ Architecturally, this was most notable in the relaxation of the usual tradition (in south asia) of placing the main entrance on the east so that the visitor (to a muslim tomb) could face mecca upon entering, and depart with his back to mecca when leaving, signifying islam's expansion into the wider world. www.culturepedia.com

Shrine of shah rukn- e -alam

▪ Built by ghias-ud-din tuqhluq(r. 1320-1325) ▪ The tomb is located on the southwest side of the Fort premises ▪ Tughlaq style of architecture

▪ Besides its religious importance, the mausoleum is also of considerable archaeological value as its dome is reputed to be the second largest in the world.

▪ In red brick with a visible framework of beams of shisam wood.

▪ Glazed tile panels, stringcourses and battlements.

12m

Inclined walls

small kiosk

Arched opening fitted with grilles

corner turrets

31m

corner turrets

Inclined walls

46m

Section View

▪ Rectangular frames decorated with multani tiles.

▪ Colors used are dark blue, azure, and white, contrasted with the deep red of the finely polished bricks Percy brown-Indian Architecture Islamic Period

▪ Burnt bricks and supported by timber framing.

▪ Red brick, bounded with beams of shisham wood.

▪ Decorated with tile faced bricks and wood beams.

▪ The entire glittering glazed interior is the result of new tiles and brickwork done by the kashigars of multan.

Decorative tiles

▪ Octagon plan ▪ Decorated with some floral as well as calligraphic patterns.

Wooden grill

▪ Second storey -octagon ▪ But without corner bastions and turrets.

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Balance Holy grave

Massive walls Balance in elevation

Plan

Balance in elevation

â–Ş Bisect the plan is showing balance . â–Ş 4 bastions above and below . When we bisect plan with red line it creates Asymmetrical balance. www.bratinnica.com

Unity â–Ş Unity will give a sense of visual pleasure if all the elements and components are arranged in harmony, complementary to each other, and with an appealing focal point, instead of competing for attention.

Ground floor plan

Section

Elevation

Second floor plan www.bratinnica.com

Harmony

â–Ş Harmony in architecture is the visually satisfying effect of combining similar, related elements. e.g: adjacent colors on the color wheel, similar shapes etc.

Plan

â–Ş Visually satisfying effect of combining similar bastions

Elevation

Arial view www.bratinnica.com

Rhythm

â–Ş The repetition or alternation of elements, often with defined movement intervals between them.

Boundary wall

First storey plan Inside view of dome

Boundary wall www.bratinnica.com

Variety â–Ş Combining art elements by adding slight changes to increase visual interest. The use of differences and change to increase the visual interest of the work.

Variety of different shapes in plan & Elevations

Variety of different shapes in plan & Elevations

Variety of Forms & Elements of art like Multani Tile works & Pattern. www.bratinnica.com

Proportion

â–Ş Proportion is the relationship in scale between one element and another, or between a whole object and one of its parts. Differing proportions within a composition can relate to different kinds of balance or symmetry, and can help establish visual weight and depth

â–Ş All shapes are in proportion of 1 : 2 that means outer shell is double of inner octagon .

Ground floor plan Elevations Elements is constructed with 1:2 www.bratinnica.com

Emphasis â–Ş Emphasis is the intended focusing or highlighting of a particular characteristic of the design, which has the purpose of creating a focal point or point of interest.

Dome & Bastion are the Emphasis or Focusing elements www.bratinnica.com

Pattern

â–Ş Pattern uses the art elements in planned or random repetitions to enhance surfaces of architectures or sculptures. Patterns often occur in nature, and artists use similar repeated motifs to create pattern in their work

Floral patterns

Small kiosik

Kashi kari geometrical shape Wooden grill

â–Ş Octagonal Islamic geometric pattern on the front elevation & entire tomb. www.bratinnica.com

Technique and Construction -Nupur

Materials used ▪ Bricks ▪ Mud bricks ▪ Timber ▪ Plaster

▪ Tiles ▪ Mud mortar

TOMB SHAH YUSUF GARDIZI, MULTAN

https://s3.us-east1.amazonaws.com/media.archnet.org/system/media_contents/contents/87022/original/IAA 100158.jpg?1386700558

TOMB SHAH RUKHN- E- ALAM, MULTAN

Overview to construction techniques Wooden beam placed horizontally

▪The walls are generally made of bricks or mud bricks as the stones are readily not available in alluvial plane of 5 rivers.

▪The walls of blocks and mud bricks were usually sloped to provide strength to the wall and also better compressive strength considerations: specially for mud bricks.

▪Timber frame structures prevailed as the timber beams and braces were used.

▪Use of wooden elements like doorways, windows and ceiling provides artistic façade.

▪ The domes where white washed

▪ Parts of buildings were decorated with painted plaster and panelling of glazed tiles in brilliant colours.

▪ The exterior of walls were plastered multiple times and then chizzed to fix tiles on the surface.

▪ Windows comprise of wooden grills which provides light and shadow pattern to interior spaces.

Tomb of shah yusuf ghardezi

▪

https://upload.wikimedia.org/wikipedia/commons/thumb/b/b7/Tom b_of_Shah_Yousuf_Gardezi_Multan.jpg/220pxTomb_of_Shah_Yousuf_Gardezi_Multan.jpg

https://s3.amazonaws.com/media.arc hnet.org/system/media_contents/con tents/87020/original/IAA100156.jpg?

1386699592

▪ Cubical structure with one storey only and no dome.

▪ Use of wood for door and windows.

▪ Use of glazed tiles of blue and white ▪ https://66.media.tumblr.com/336bf33deef54e5e70e embedded to b07d12fc00afc/tumblr_oi6lv9nsFr1ue00dco3_640.j pg exterior façade ▪ Use of geometrical shapes or iscriptional to carve or the tiles embedded are also in geometrical form.

▪ Use of wooden grills of various pattern in the windows

▪

http://3.bp.blogspot.com/-f907cj8ohss/Tfipj6LYbXI/AAAAAAAABU/XAMfokZ9p-Q/s1600/Tomb+Shah+Yousaf+Gardezi+2.jpg

▪ Use of bricks and wood to make openings and gateways and the frame to the arches

SHRINE OF HAZRAT BAHAUDDIN ZAKARIYA

http://www.gossipmint.com/wp-content/uploads/2017/05/HazratBahauddin-Zakariya-Shrine-Multan-Pakistan.jpg

▪ Brick masonary three storied structure with square plan at base, octagonal plan at first floor and the dome at the second which is hemispherical.

https://everipedia-storage.s3accelerate.amazonaws.com/ProfilePics/69695391369.PNG?nocache=2cdf1758-2

▪ The gigantic wooden doors at the start of the shrine are worth seeing. Tourists from all over the world come to see this immensely inspiring piece of art.

▪ The hemispherical dome is whitewashed.

https://live.staticflickr.com/710/23351251862_77cbaff090_b.jpg

▪ The blue tiles and red bricks used in its construction are so much inspiring that the typical architecture of Multan is known by these designs.

https://www.blizin.com/articles/bahaud-din-zakariya-multani

Shrine of hazrat shah dana shaheed

▪

http://2.bp.blogspot.com/-CBeQZf7LSa0/TgYSWnQPFFI/AAAAAAAACWc/aw5YOQZiPvI/w1200-h630-p-k-nonu/Tomb+Shahdana+Muhalla+Kamangran+inside+Delhi+Gate.jpg

▪

▪ This building is a typical representation of Multani tomb architecture having a square chamber with octagonal second storey and the dome.

▪ It has a low dome adorned with finial with heavy cylindrical base.

▪ Four cardinal sides in the octagonal storey have arched windows set in rectangular frames.

▪ In front is a veranda with three openings which are superimposed by ventilators.

▪ The building currently is completely white washed.

https://66.media.tumblr.com/336bf33deef54e5e70e b07d12fc00afc/tumblr_oi6lv9nsFr1ue00dco3_640.j pg

https://pakistaniinformation.wordpress.com/hazrat-shah-dana-shaheed/

Shrine of shah rukn-e - alam

https://farm6.staticflickr.com/5131/5457939358_c041af25f1_b.jpg

▪ The mausoleum is a three-tiered structure.

▪ Though the second octagonal tier is typical of Multan, the first tier in the shape of an octagon The first tier features bands of timber that create a visual break in the exterior brickwork.

▪ The octagonal first tier is buttressed by small minaret-shaped towers in each of its 8 corners that provide support to the structure, and narrow as they rise and surpass the height of the first tier.

▪ A second octagon rests upon the first tier that features small domes in each of the eight corners of the building. A third tier rests above the second, and is formed by a dome .

▪ The dome is capped by a structure similar to an amalaka found on Hindu temples.

▪ The mausoleum is built entirely of red brick, bounded with beams of shisham wood, which have turned black over the centuries.

▪ The exterior is elaborately ornamented with carved wooden panels, carved brick, string-courses and battlements. Buttresses, turrets and crenellartions at the top of the shrine reflect the influence of Tughluq military architecture on even non-military buildings. https://www.pakpedia.pk/tomb-shah-rukn-e-alam/ https://en.wikipedia.org/wiki/Tomb_of_Shah_Rukn-e-Alam

Shrine of shah rukn-e - alam

â–Ş â–Ş

The white dome is decorated with blue tile-work along its lower perimeter The exterior is further embellished with regional-style tilework in floral, arabesque, and geometric motifs with dark blue, azure, and white tiles - all of which contrast the deep red finely polished bricks. https://www.pakpedia.pk/tomb-shah-rukn-e-alam/ https://en.wikipedia.org/wiki/Tomb_of_Shah_Rukn-e-Alam

Art , craft & cultural expression -Vikash Kumar

Kashi kari â–Ş Kashi kari refers to small tiles with hand painted pattern that are put together to form a large pattern or design. â–Ş The pattern is first drawn on paper and then the tiles are made according to the motif required they are individually painted. â–Ş These tiles were handmade and in their imperfection lies their beauty.

https://issuu.com/yasmeenjafri/docs/kashi_kari _final_format_for_mail

Pattern and design of kasha kari ▪ Typology of pattern are many

Calligraphy ▪ Calligraphy is the art of decorative handwriting and it plays a vital role in Islamic art.

▪ Kashi kari designs calligraphy is one very important element and can be seen in mosques, mausoleums as well as palaces

Geometric ▪ Geometry played a key role in the Islamic art and design.

▪ The beauty of geometry has always held a certain charm for the Muslim designers and craftsmen due to the abstract design generated by it.

Arabesque ▪ Floral arabesque designs are also very common in Islamic art and can be found in kasha kari works.

▪ Also categorized as biomorphic art , in Arabic this design is known as ‘Islimi’ ‘Nebati’ and ‘Arabesque

Multani tiles

▪ The ceramic tiles of this area gained popularity with the passage of time and were frequently used in shrines, mosques, and other buildings to give a fascinating look and tribute to the origin of this art.

▪ The centuries old art and craft tradition is also known as Multani pottery, Blue Pottery or Multani Kashi.

▪ The blue pottery is very famous and a centre of attraction for the interior designers.

▪ Method ▪ The artistic and unique blue colour is a combination of cobalt oxide and copper oxide. The basic steps of this great pottery work are grinding, kneading, filtration, moulding, raw material baking at a temperature of 800 degrees this is done with the help of machines and technology as compare to wood and dung cake fire which was used in the early ages of this art.

http://www.dostpakistan.pk/multani-ceramic-art/

Visualization of space through models-1 -Shrestha Jain

Shrine of Shah Rukn- E –Alam- Multan -Video

Visualization of space through models-2 -Yash Singhal

Tomb of Asif khan – Lahore -Video

References

▪ ▪ ▪ ▪

Percy brown-Indian Architecture Islamic Period www.indiandocument-proviencesofpunjab www.culturepedia.com www.bratinnica.com

Thank you