Cultural Synthesis in Mughal Architecture
Introduction
The followers of Islamic tradition existed in India long before the arrival of the Mughals. The believers of Allah (Momins) came during the 8th century. India encountered 11 invasions in the region of Punjab but very little political gain was achieved although they collected a significant amount of plunder. The Mughal Empire emerged from the descendants of the Mongol Empire residing in Turkestan during the 15th century
The Garden of Fidelity near Kabul [ Bagh-I Wafa ]. Source: The Heritage Lab. Wikipedia, Date of Accession:8-12-2024.
Babur’s army fighting against the Army of Ibrahim Lodi, c.1590, Source: Date of Accession:8-12-2024.
Babur and Humayun: Early Mughal Architecture
The Timurid ruler of Central Asia, Babur invaded North India in 1526 A.D., leading to the end of the Delhi Sultanate. The Mughal army was constantly in motion, seeking new land acquisitions and establishing structures that replicated the conventional architectural styles of Kabul and Samarqand. Babur’s son Humayun, who needed to travel from Badakhshan, Babur awaited Humayun in the Garden of Fidelity (Bagh-I-Wafa) near Jalalabad, which was his favourite garden in the Kabul area.
After his victory, Babur explored various locations in the Delhi region, such as tanks, gardens, and tombs, including that of Nizamuddin Auliya. He described Agra as Arid, Warm, Unkempt, and Unfriendly, and Mughal nobles immediately constructed gardens on the other side of the Yamuna River from the Agra Citadel. Babur’s Lotus Garden close to Dholpur is the most extensively recorded in his autobiography and the only location with remaining water features. Babur visited Dholpur six times, blending indigenous Indian architecture with new elements. He ordered a rock-cut seat, platform, and mosque, leading to a Mughal Garden complex that combined Central Asian water features with Rajput and Gujarati styles.
Humayun, the successor of Babur, was engaged in intense battles and was unable to provide any new Mughal architectural features. However, his prolonged period of exile in Persia enriched his appreciation and knowledge of Persian culture and architecture, which affected the art and architectural style in later Mughal India.
"Akbar with Lion and Calf", Folio from the Shah Jahan Album Painting by Govardhan, Calligrapher Mir 'Ali Haravi, Source: metmuseum.org, Date of Accession:20-02-2025.
Akbar: The Fusion of Indian and Islamic Traditions
Abu’l-Fath Jalal-ud-din Muhammad, popularly known as ‘Akbar, was a tolerant ruler who played a crucial role in the growth of composite culture in Mughal India.
Akbar implied his tolerant nature in architecture and developed the new style of architecture initiated by Sher Shah Suri.
Akbar’s rule in India was marked by a blend of cultural influences, including Hindu, Transoxiana, Iranian, Afghan, and Arabic elements. This amalgamation is evident in significant structures such as Agra Fort, Fatehpur Sikri, Arab Sarai, Ajmer Fort, Allahabad Fort, and Lahore Fort. Secular artistic traditions, particularly those rooted in Hinduism and Buddhism, played a crucial role in shaping these architectural designs. The presence of the Raniwas and the temple near the queen’s palace exemplifies Akbar’s progressive approach to religious harmony.
Humayun’s tomb. (Self-Clicked).
Roof of the Humayun’s tomb, Source flicr.com, Date of Accession:08-12-2024
Akbar had a notable admiration for Buddhist architecture, with elements of arches and domes traced back to Buddhist buildings. The lotus flower motif, often depicted in blue, symbolizes creation, purity, and beauty. The colours red, white, and blue were emblems of Trimurti representing Brahma, Siva, and Vishnu respectively. The arches themselves symbolize power, reflecting the ultimate authority of the Buddha as expressed in the teachings of the Tri Ratna.
The Buland Darwaza stands out as a striking emblem of Akbar’s time, underscoring his commitment to religious tolerance and open-mindedness. The star or Stellate emblems are prominent parts of the Humayun Garden Tomb’s design, with six-pointed Stellate emblems adorning the spandrels of Pishtaq’s tomb.
Stellate symbol, Humayun’s Tomb (Self-Clicked).
Stellate symbol, Gur -I - Amir, Uzbekistan
Tomb of Humayun Elevation and half plan. source: Encyclopaedia of Indian Architecture.
Elephants of Akbar creating a Gaja – source: Encyclopaedia of Indian Architecture. Lakshmi Torana from Hathi Pol, Fatehpur Sikri. Source: Encyclopaedia of Indian Architecture
Jahangir: Transition and Innovation in Mughal Architecture
During the reign of Jahangir, Emperor Jahangir focused more on paintings rather than architecture. His two most important buildings during his reign were the Tomb of Akbar at Sikandara and the Tombs of Itimad ud- Daulah. His reign was considered a period of transition and innovation, with his wife Nur Jahan playing a significant role in making architecture more Persian.
Tomb of Itmad-ud-Daulah (Elevation and half plan.) (Elevation and composite half plan), (Encyclopaedia of Indian Architecture).
Tomb of Akbar
Shah Jahan: The Golden Age of Mughal Architecture
Shah Jahan (1628-58) succeeded Jahangir and is renowned as ‘The Great Mughal Builder’, marking the ‘Golden Age’ of Mughal Architecture. He commissioned iconic monuments like the Red Fort and Jama Masjid, but the Taj Mahal stands out, symbolizing cultural synthesis during his reign. Rabindranath Tagore described it as “a teardrop on the cheek of time,” while
Painting of the Taj Mahal, 19th century, British Museum Date of Accession:20-02-2025. Height: 21.70, Width: 29cm.
Eleanor Roosevelt viewed its white marble as representing pure love. The Taj Mahal exemplifies an amalgamation of architectural styles, heavily featuring Persian elements such as the Charbagh garden, inscriptional embellishments, and dome designs. Concurrently, Hindu influences are evident, suggesting inspiration from ancient Indian architecture, and showing how Mughal creators integrated diverse styles into their monumental legacy.
Prayer direction towards Mecca is rarely seen in Indo-Muhammadan structures, with the Taj Mahal’s dome displaying unique characteristics. Unlike typical Arab domes, it features three segments, influenced by Buddhist architecture as noted by Rām Rāz. Hindu temple pillars often symbolize the lotus, bell-shaped fruit, and water pot (Kalasa/Kumbha), representing immortality and vital in Indian art. The lotus, a central symbol in Hinduism, parallels the mihrab in Islam. The Taj Mahal’s wall paintings reflect both Rajput and Ajanta styles, including Ganesha symbols in its underground chambers. Additionally, the Pietra dura technique, commonly linked to Arab influence, has roots in earlier Indian art practices, indicating a broader cultural synthesis beyond just Mughal contributions.
Conclusion
Mughal architecture uniquely combines Indian, Persian, and Central Asian elements, showcasing diverse cultural influences. Each ruler enhanced its development, resulting in a rich artistic and architectural heritage that still inspires today.
References
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- Kumari, Annu. (2019). Elucidation of relationship between clothing silhouette and motifs with Indian Mughal architecture. Fashion and Textiles, 6(1). https://doi.org/10.1186/s40691-019-0174-4
- “Taj Mahal as a Mirror of Multiculturalism and Architectural Diversity in India.” 2013. Journal of Subcontinent Researches 5 (15): 123–34. https://doi.org/10.22111/jsr.2013.1200.
- Catherine B. Asher, Architecture of Mughal India, 1992, https://doi.org/10.1017/chol9780521267281.
- Wescoat, J. L. (1991). Landscapes of Conquest and Transformation: Lessons from the Earliest Mughal Gardens in India, 1526-1530. Landscape Journal, 10(2), 105–114. https://doi.org/10.3368/lj.10.2.105
- Saquib, M., & Ali, A. (2023). PERSIAN ARCHITECTURE: a SOURCE OF INSPIRATION FOR MUGHAL IMPERIAL MOSQUES IN NORTH INDIA. Journal of Islamic Architecture, 7(4), 744–749. https://doi.org/10.18860/jia.v7i4.21013
- Nagarch, B. L. Encyclopaedia of Indian Architecture: Buddhist, 2008.
About the Author:
Author: Sauban Ahmad
Sauban Ahmad is a postgraduate student in the History of Art program at the Indian Institute of Heritage. He holds a degree in History from the University of Delhi. Additionally, he possesses knowledge of Sanskrit and Persian languages
