Alai Darwaza

ALAI DARWAZA
1311 -AD
A GRAND GATEWAY
 The Alai Darwaza is a perfect specimen
of architecture belonging to the period
of the Delhi Sultanate. It was built in
1311, by Ala-ud-din-Khilji, of the Khilji
dynasty (which ruled the Delhi
Sultanate from AD 1290 to AD 1316).
The Alai Darwaza was a part of Ala-ud-
din-Khilji’s extension of the Quwwat-ul-
Islam mosque .
 It highlights the remarkable artisanship
of Turkish and local artisans who
worked on it.
INDO-ISLAMIC STYLE OF ARCHITECTURE
 The Qutab Minar and the various monuments
within the Qutab complex, including the Alai
Darwaza, belong to the period of the Delhi
Sultanate (1191–1526).
 The Alai Darwaza represents a new style of
architecture, popularly referred to as the Indo-
Islamic style of architecture.
 The Indo-Islamic style is neither a local variant
of Islamic art, nor a modification of Hindu art,
but it is an assimilation of both the styles,
though not always in an equal degree.
 It is so because each region in India has its own
form of Indo-Islamic architecture, which varies
from place to place and there is no
standardization. On the other hand, Islamic art
itself was a composite style, which had various
Muslims influences—Turkish, Persian, and
Arabic.
 This assimilation of exotic and
indigenous architectural styles was
possible due to a variety of factors:
the Muslim rulers had to use, in
most cases, Indian craftsmen and
sculptors who were schooled in
their own art traditions. Though
both the Indian and Islamic styles
have their own distinctive features,
some common characteristics made
fusion and adaptation easy. Both
the styles favor ornamentation and
buildings of both styles are marked
by the presence of an open court
encompassed by chambers or QUTUB COMPLEX
colonnades.
FORM
 The main structure of the Alai Darwaza
consists of a single hall 34½ feet on the
inside and 56½ feet on the outside.
 The domed ceiling rises to a height of 47
feet. The three doorways on the east,
west, and south are lofty pointed arches,
in the shape of a horseshoe, which rise
above the flanking side bays.
 The entrance to the north is of an
indigenous character, as its arch is semi-
circular in shape.
 The overall outlook and proportions of the
Alai Darwaza is pleasing to the eye. The
recessed corner arches of the attractive
horseshoe forms, supporting a simple
spherical dome on top of the square
chamber.
PLAN
FRONT SIDE BACK SIDE
THE DOME
 A series of squinches of pointed shape,
one recessed within the other, in the
upper section of each angle of the hall,
changes the square into an octagon,
and then the octagon into the circle of
the dome with an interweaving
sixteen-sided shaft formed by a bracket
at each end of the octagon.
 With use of complex geometric
calculations, the load of the dome has
been gracefully conveyed to the
ground—from the circle to the sixteen-
sided shaft, from the latter to the
octagon and then onto the four walls
of the square chamber.
DETAILS AND MATERIALS
 It is the blend of the red sandstone and
white marble in elevation
 The plinth on each side is beautifully
carved with floral and geometric patterns
in both white marble and red sandstone,
creating a superb polychrome effect.
 Perforated latticework window screens
(jali) are set in the recessed windows on
both sides of the entrances.
 These marble screens set off the
monotony of the vertical lines of
calligraphic ornamentation.
 The most charming aspect of surface
decoration is the lace-like interweaving of PLINTH DETAIL
floral tendrils, repeated with a flawless
symmetry on all the three entrances,
elegantly designed and perfectly built.
decoration is the lace-like interweaving of

decoration is the lace-like interweaving of
ORNAMENTATION
 The façade is elaborately ornamented
in sensuous carving and patterns,
characteristic of the pre-Turkish days
(the first Muslim rulers of India came
from Turkey).
 The Alai Darwaza also shows the
influence of Seljuk art. The Seljuks had
started fleeing Western Asia after
Mongol invasions in the 12th century
AD and had reached Delhi for
protection.
 The ‘spear-headed’ embellishment on
the three entrances is of particular
importance in this regard. In addition,
the surface ornamentation has been
done with an eye for lavishness and
detail.
WINDOW DETAILS
 The gate way of north elevation facing
into the complex, is a semicircular arch.
The south , east and west elevation
each feature horseshoe arches with
spearheaded decoration in the intrados
and a decorative parapet above
 In addition to its pleasing symmetry,
alai gate is notable for its finely carved
surfaces. On the south elevation,
patterns range from arabesques to
more hindu motifs such as rounded
loutus buds and leafy tendrills.
CARVING DETALIS
FRONT FACAD CARVING

THANK YOU
 ASHI CHANDAK
 BHAVESH SARSIYA
 DIVYAM KANDIYA

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ALAI DARWAZA

 The most charming aspect of surface

FRONT FACAD CARVING

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