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Shah Jahan Mosque, Thatta
| Quick Facts | |
| Other Name Location Coordinates Faith Category Started Date Completed Date Order to Construct Status Architecture Style Covered area Dome(s) | Jama Masjid Thatta,Shahjahani Mosque,Badshahi Mosque Thatta Thatta, Pakistan 24°44′49.62″N 67°55′40.08″E Islam Mosque 1644 A.D. 1647 A.D. Mughal emperor Shah Jahan Active Islamic, Mughal 305′ x 170′ 93 |
The Shah Jahan Mosque, also known as Jama Masjid, stands as an architectural marvel within Thatta, a city in Sindh province, Pakistan. This remarkable edifice, dating back to the reign of Mughal emperor Shah Jahan, has earned a place on the UNESCO World Heritage tentative list since 1993.
Nestled in Thatta, approximately 100 kilometers (60 miles) from Karachi, the Shah Jahan Mosque captivates with its exquisite architecture. Constructed using red bricks adorned with blue glaze tiles, believed to have been imported from Hala in Sindh, this mosque boasts an impressive count of 93 domes, making it the world’s largest mosque featuring such an abundance of domes. Its construction was meticulously designed to amplify acoustics; a speaker at one end of the dome can be distinctly heard at the other.
History Significance:
Commissioned by Emperor Shah Jahan, the mosque’s construction served as an expression of gratitude to the people of Thatta for providing refuge during the emperor’s youth after his father, Emperor Jahangir, exiled him from Delhi. Persian inscriptions on-site indicate the mosque’s foundation in 1644 and its completion in 1647. The floor was paved with stone in 1657. Repair work done during the seventies by the Endowment (Awqaf) Department added a garden to the eastern side.
Architecture:
The mosque, a heavy brick structure of simple construction built upon a stone plinth, with heavy square pillars and massive walls, is centered around a courtyard 169′ X 97′. The prayer chamber is of a similar size. Both are covered by large domes. On the north and south two aisled galleries open by means of arcades onto the courtyard. Ninety three domes cover the entire structure, and are probably the cause of a remarkable echo, which enables the prayers in front of the Mibrab to be heard in any part of the building. The mosque contains the most elaborate display of tile-work in the Indo-Pakistan sub-continent. The two main chambers, in particular, are entirely covered with them. Their domes have been exquisitely laid with a mosaic of radiating blue and white tiles. Stylish floral patterns, akin the seventeenth century Kashi work of Iran, decorate the spandrels of the main arches and elsewhere geometrical designs on squThe mosque, a heavy brick structure of simple construction built upon a stone plinth, with heavy square pillars and massive walls, is centered around a courtyard 169′ X 97′. The prayer chamber is of a similar size. Both are covered by large domes. On the north and south two aisled galleries open by means of arcades onto the courtyard. Ninety three domes cover the entire structure, and are probably the cause of a remarkable echo, which enables the prayers in front of the Mibrab to be heard in any part of the building. The mosque contains the most elaborate display of tile-work in the Indo-Pakistan sub-continent. The two main chambers, in particular, are entirely covered with them. Their domes have been exquisitely laid with a mosaic of radiating blue and white tiles. Stylish floral patterns, akin the seventeenth century Kashi work of Iran, decorate the spandrels of the main arches and elsewhere geometrical designs on square tiles are disposed in a series of panels.are tiles are disposed in a series of panels.
Design:
Interior of mosqueThe freestanding entrance built for the new garden is defined by a triple arched structure that imitates the Mughal style of arches contained within rectangular frames, with the central portion being projected higher than the others. It is built on axis with the main entrance to the mosque. The new garden is an imitation of the four-quadrant chahar bagh style, through which one walks to reach the mosque.
The monumental main entrance capped with a central domed chamber is approached through a rectangular vestibule. The mosque is organized along an open central courtyard that measures 164′ x 97′. Arcades of red brick arches highlighted with bands of white surround the courtyard and present a striking image. The main entrance is in the eastern portion and the secondary entrances are contained in the north and south portion. On the west side is the prayer hall housing the mihrab. The prayer hall is three bays deep on either side of the central mihrab chamber; the other three sides are only two bays deep on either side of the entrance iwans. Each bay is covered by a low dome, which adds up to 93 domes. The proportion of the aisle to the low domes enables an acoustic range that allows the prayers read in front of the mihrab to be heard in all parts of the mosque. The whole mosque measures 305′ x 170′.
Other equally interesting modifications and experiments with Mughal style are also in evidence; for example, there is no minaret. Instead of the typical three bulbous domes, there is only one main dome in the prayer hall. The dome does not command a strong visual position, as it is completely concealed behind a tall semi-domed entrance (pistaq). The use of high pistaqs during the Takhan period of Thatta has been recorded and is also typical of the Timurid architecture. The concept of a domed iwan has been developed here and has been used to define the secondary entrances.
The ablution pond is not located in the center of the courtyard. Instead, it is in a square courtyard located within the eastern portion of the mosque. The ablution courtyard was formerly accessible from an arched opening in the domed entrance chamber, but is now reached only from the eastern aisle.
The Shah Jahan mosque represents the height of tile decoration in the Sind. The influence of mosaic on tile work is seen in the ceiling decoration of semi-domed and domed chambers, as well as in the fillings of interlaced arches and in the panels at squinch level. The technique of soft glazed tile paneling had been in use since the Tarkhan period. Various shapes of tiles – square, rectangular and hexagonal – were manufactured and joined to complete a design in a given panel. The tilework is not related to the imperial Mughal style, but to the Timurid school. Various shades of blue on white, and some yellow or purple background produce a very soothing effect in the hot climate of Thatta.
The glittering star motif predominates, replacing the rosettes of other buildings in the Makli hills. These stars combine to make a floral pattern and when arranged in circles around a central round motif (usually representative of a sunflower), they actually represent a starry sky with all the stars moving round the sun. This new concept reveals Mughal influence in the types of of geometric lines that enclose these stars to make different patterns. An important Thatta landmark, this mosque has been restored and renovated. A conscious attempt has been made in the process of tile restoration to maintain the original style. This mosque remains a prime example of an imperial architectural form regionalized via the use of brick and Sind tilework.
Ranikot Fort, often dubbed as the “Great Wall of Sindh,” is one of Pakistan’s most fascinating and enigmatic historical landmarks. Situated near the town of Sann in Jamshoro District, Sindh, the fort is recognized as one of the largest in the world, with a perimeter of around 32 kilometers (20 miles). Despite its immense size and strategic location, much about its origins remains a mystery, adding to its allure and significance as a cultural and historical monument.
Historical Background
Ranikot Fort is believed to have been originally constructed in the first half of the 17th century, though there are varying accounts about its exact origins. Some historians suggest that it may date back even further, to the reign of the Sassanian Empire or earlier. It was later renovated and expanded during the rule of the Talpur Mirs in the early 19th century, as they sought to fortify their domain against external threats.
The purpose of the fort, however, remains unclear. While some believe it was built as a defense against invasions, others argue that it was a means of securing trade routes or serving as a safe haven for local rulers. The lack of any major historical records associated with significant battles or sieges at Ranikot adds to the ambiguity surrounding its function.
Architectural Marvel
The scale of Ranikot is staggering, covering an area of approximately 32 square kilometers. The fort’s massive walls snake across the barren landscape, resembling the Great Wall of China, with which it is often compared. Constructed from limestone and sandstone, the fort’s walls rise up to 6 meters (20 feet) in height and are punctuated by several bastions and watchtowers.
Ranikot has four main gates: Sann Gate, Amri Gate, Shah-Pere Gate, and Mohan Gate, each offering access to different sections of the fort. The Sann Gate, located on the eastern side, is the main entrance and is notable for its intricate design and stonework.
Within the fort’s vast expanse lies another fortification known as the “Meeri” or “Mirikot,” a small fort within the larger walls that served as the residence of the Talpur Mirs. This inner fort has its own gates and walls, adding an additional layer of defense. The Meeri Fort is perched on a hill, providing a commanding view of the surrounding landscape.
The Great Wall of Sindh
The fort’s walls, stretching across the arid hills, resemble a smaller version of the Great Wall of China. This feature has earned Ranikot the nickname “The Great Wall of Sindh.” The zigzagging walls extend for miles, blending into the rocky terrain, and are a stunning sight, especially at sunrise or sunset when the golden light casts long shadows over the surrounding desert.
Unlike the Great Wall of China, however, Ranikot is not located in a highly populated or strategically important area. Its remote location has contributed to the fort’s air of mystery, as well as its relative obscurity in the global historical and architectural landscape.
Mysteries and Theories
The true purpose of Ranikot Fort is still shrouded in mystery. Scholars and historians have proposed various theories about why it was built, ranging from a defense structure against invasions from Central Asia to a royal retreat for the Talpur dynasty. Some suggest that it was intended to protect the local population from bandits and raiders, while others believe it may have been a strategic point for controlling trade routes passing through the region.
One of the most intriguing aspects of Ranikot is the lack of significant historical records or evidence of major battles taking place there. Its size and scale suggest that it must have had some important function, yet it remains an enigma to this day.
Cultural Significance
Ranikot Fort is not only an architectural marvel but also a cultural treasure. It stands as a testament to the rich history of Sindh, a region that has been home to ancient civilizations, including the Indus Valley Civilization. The fort’s design reflects the influences of various dynasties and cultures that have ruled over Sindh, from the Greeks and Mauryas to the Mughals and Talpurs.
In modern times, Ranikot has gained recognition as a symbol of Sindh’s historical heritage. The fort has been nominated for inclusion in UNESCO’s World Heritage Sites list, which would help preserve and promote this incredible site on a global stage.
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