No More Learning

din Hasan, Bahman Shāh (d. 1358), Muhammad Shāh (d. 1375)
and Muhammad Shāh II (d. 1397), besides two anonymous tombs
of a later date; the second, which is known as the Haft Gumbad
or 'Seven Domes' and is situate to the east of the town, contains
the tombs of Mujāhid Shāh (d. 1378), Dā’ūd Shāh (d. 1378), Prince
Sanjar, Ghiyās-ud-din (d. 1397) and his family, and Fīrūz Shāh
(1422) and his family. In their general form all these tombs
present a striking family likeness; the single ones, that is to say,
are simple square chambers, crowned with battlements and corner
turrets and roofed by a single dome, the whole standing on a low
square plinth; while the double ones are merely a duplication of
the single ones, resulting in a building twice as long as it is broad
and covered by two domes instead of one. In their detail features,
however, they clearly reveal the phases through which the archi-
tecture of the Deccan passed during this period. Thus, the tomb
of the first king, Hasan, with its battering walls and low dome, its
fluted turrets, tall narrow doorways and band of blue enamel tiles
below the springers of the dome, is typical of the Tughluq style of
1 For an analysis of the fundamental differences between the art of the Dra.
vidian South and the art of the Aryanised North of India, cf. the writer's article
'Influence of Race on Early Indian art,' in the Journal of the Society of Arts,
vol. Ixxi, pp. 659—667,


## p. 634 (#684) ############################################

634
[ CH.
THE MONUMENTS OF MUSLIM INDIA
Delhi ; and the tombs of Muhammad Shāh, Mujāhid Shāh, Dā’ūd
l
Shāh and Prince Sanjar are direct products of the same style. In
the tomb of Ghiyās-ud-din, on the other hand, which was built in
the closing years of the fourteenth century, Hindu craftsmanship
begins to show in the carvings of the prayer-niche ; and a genera-
tion later the splendid mausoleum of Firuz Shāh and his family
(153' x 78' externally) bears witness to the steadily growing strength
of this Hindu influence as well as to the new fashion for Persian
ornament, the former obtruding itself on the outside of the build-
ing in the carved and polished black stone pilasters of the entrance
and in the dripstones and elegant brackets that support them; the
latter, in the resplendent plaster and painted decorations of the
interior which are closely akin to those found in the contemporary
tombs of the Sayyid and Lodi kings at Delhi and call to mind the
rich designs of Persian bookbinding and embroidery.
Muhammad Shāh Bahmani, whose tomb has been noticed
above, was the author also of two mosques at Gulbarga, the earlier
and smaller of which is now known as the Shāh Bazār Masjid. Its
gateway is an almost exact replica of the Sultan's tomb and in
other respects also, notably in the tall stilted archways of its
prayer chamber and in the austere simplicity of its style, imitates
the Tughluq architecture of Firūz Shāh's reign at Delhi. The
other mosque is the famous Jāmi' Masjid within the fort, which was
built by one Rafi', 'the son of Shams, the son of Mansur of Qazwin,'
whose Persian sympathies find expression in the stilted domes and
narrow entrances, though in other respects, the style of this
building appertains rather to Delhi than to Persia. Two features
of this mosque call for particular remark. One is the design of the
broad squat arches of the cloisters (Fig. 95) which now make their
appearance for the first time, but are destined henceforth to become
familiar adjuncts of the architecture of the Deccan; the other is
the unique treatment of the courtyard, which instead of being left
open to the sky, as usual, is covered in by 63 small domes carried
on arched bays, the cloisters at the sides being roofed with
corresponding vaults, and light and air being admitted to the
interior through open archways in their outer walls. At the four
corners of the building, which measures 216 by 176 feet over all,
are four shapely domes, while a fifth and larger one dominating
the whole is raised on a square clerestory above the prayer
chamber. To single out for praise any particular feature of this
mosque would be difficult ; yet there is about the whole a dignified
simplicity and grandeur that place it in the first rank of such


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XXID ]
BIDAR
635
buildings and sufficiently account for the influence it exérted on
the subsequent development of the Deccan style. The date of its
erection, as stated in an inscription, was 1367-a few years, that is
to say, before Jauna Shāh built the Kālī and Khirki mosques at
Delhi, and it is not unlikely therefore that Jauna Shāh's architect
may have been acquainted with the design of this Gulbarga proto-
type and sought to improve upon it by introducing open aisles
across the closed court and thus obviating the need for the admis-
sion of light and air through the surrounding cloisters. The main
drawback, however, to both the Gulbarga and the Delhi plans must
have been that on important ceremonial occasions, most of the
worshippers were obstructed from seeing the central liwan and
mimbar-a drawback which was quite enough to account for their
plans not being copied in later buildings.
The peculiar form of wide arch with low imposts initiated at
the Jāmi' Masjid was subsequently imitated at Gulbarga in the
stupendous archway over the entrance to the shrine of Banda
Nawāz, which is traditionally ascribed to the reign of Tāj-ud-din
Fīrūz Shāh (1397–1422) but which there are good reasons for
referring to a later date. Whatever its age, this archway is
eloquent of the fearless imagination of the architects of the Deccan,
which led them to essay the construction of domes and arches as
vast as any known to the mediaeval or ancient world.
Bidar, where from the reign of Ahmad Shāh Vāli onwards the
story of Deccan architecture continues to unfold itself, boasts, like
Gulbarga, of two separate groups of royal tombs : one of the later
Bahmani kings, the other of the Barid Shāhīs. The former are
twelve in number and generally similar to their predecessors at
Gulbarga, though their scale is larger, their domes loftier and
more bulbous and their facades adorned with a greater multi-
plicity of arched recesses or screened windows. The finest of them
is the tomb of Ahmad Shāh Valī, the interior of which is adorned
with brilliantly coloured paintings in the Persian style and enriched
with bands Kūfic, Tughrā and Naskh inscriptions worked out
in letters of gold on a ground of deep blue or vermilion. This
Persianising tendency which continued to gather strength during
the fifteenth century found further expression during the reign of
the next king 'Alā-ud-din Shāh, in the Chand Minār at Daulatā-
bād, the whole design of which is characteristically Iranian, as well
as in the tomb of the same emperor, the facade of which is covered
with a veneer of enamel tiles in various shades of blue. But of all
the monuments of this period built in the Persian style the most


## p. 636 (#686) ############################################

636
[CH.
THE MONUMENTS OF MUSLIM INDIA
remarkable is the Madrasa or College erected at Bidar in 1472 by
Mahmud Gāwān, the mininster of Muhammad Shāh III. This
building, which resembled, so it is said, the College of Ulugh Beg
at Samarqand was of imposing appearance. Three storeys in
height with towering minarets at its two front corners, it covered
an area of 205 feet by 180. In it were a mosque, library, lecture
halls, professors' quarters and students' cubicles, ranged about an
open courtyard, a hundred feet this way and that. The mosque
and library were to the front of the building on either side of the
entrance ; the lofty lecture rooms (which rose to the full height of
the three storeys) in the middle of the other sides ; and the pro-
fessors' rooms in the corners-all planned for convenience and
comfort and amply provided with light and air. In form the
corner towers resembled somewhat the Chånd Minār at Daulatā.
bād, but unlike that minar they were emblazoned, as was also the
whole of the front facade between them with a glittering surface
of encaustic tilework, which with its chevron patterning and deep
bold bands of sacred texts would challenge comparison with any.
thing of its kind in Persia. But with all its elegance of outline, its
unimpeachable proportions, and refined details, there is little or no
feeling in Mahmūd Gāwān's college for plastic form and mass, or
for the values of contrasted light and shade. The architect has
visualised his subject, as the architects of Eastern Persia habitually
did, in two rather than in three dimensions, and has sought to
achieve beauty by a glistening display of enamel, helped out by
symmetry of outline and a nicely adjusted balance of parts. For
sheer loveliness of colour the result could hardly be bettered ; but
divest the building of it superficial ornament and little is left save
a mathematically correct, tame, and highly stylised fabric. To the
reign of Muhammad Shāh III there probably belongs also the
Sola Khamb Mosque in the Bidar Fort, and near by it an interest-
ing group of palace buildings including the Gagan, Tarkash, Chini
and Nagina Mahals. Shorn of all ornament, modernised and con-
verted to baser uses as record office, court and jail, these palace
buildings are impressive even in their decay, and with their
spacious halls, their water courses and cascades, still awaken echoes
of their former splendour. The mosque, too despite its fallen
domes and crumbling masonry, is a good example of the Bahmani
style as illustrated in the royal tombs of Gulbarga and Bīdar-a
style which is imposing but never pretentious, solemn in its
simplicity but never austere.
1 It measures 297 by 77 feet,
1


## p. 637 (#687) ############################################

Xxit ]
KASHMIR
631
The Persianising tendency visible in much of the architecture
of the Bahmanis persisted, though in a less degree, under their
successors, the 'Imad Shāhis of Berar, the Barid Shāhīs of Bidar,
the 'Adil Shāhis of Bījāpur, and the Qutb Shāhis of Golconda,
whose founder, Sultān Quli was himself a Turk from Persia and
endowed with that peculiar sympathy for ultra refinement in art
and literature which belongs to the Persian tenperament. By the
end of the fifteenth century, however, the latent art of the Deccan
was reasserting itself in increasing strength and when, in the
following century, the 'Adil Shāhīs set about their mangnificent
monuments at Bījāpur and freely employed Indian artists and
craftsmen on their construction, it was inevitable that Indian genius
should rise superior to foreign influence and stamp itself more and
more deeply on these creations. This later phase of Deccan
architecture, however, when the style was attaining its full
maturity, belongs to a subsequent period and to another volume
of this history. To another volume also must be reserved our
description of the monuments of the Färūqi kings of Khāndesh at
Thalner and Burhānpur, though it may be mentioned in passing
that the few that have survived at the former place, including the
inscribed tomb of Mirān Mubārak I (dec. 1457) are strikingly akin
in style to the monuments of Māndū.
Finally, there remains the remote valley at Kashmir. When, in
the fourteenth century, the Muhammadans e ntered into possession
of this highland valley, they found there a legacy of many fine
buildings left by their predecessors, some of stone, but the vast
majority of wood, which has always been the principal building
material in these well-wooded tracts of the Himalayas. The stone
buildings, however,-imposing structures of peculiarly classic
stamp-belonged to a bygone age, and the art of the stone-mason
had been too long forgotten for the Muhammadans to revive it.
True, they did convert a few of the stone temples of the unbelievers
into mosques and tombs for themselves, but this they did merely
by using such of the old architectural members as they could,
and completing the rest of the structure in rubble or brick. One
such reconstructed temple is the tomb of Mandani, with mosque
adjacent, which bears an inscription recording its erection in the
year 1444—in the reign of Zain-ul'Ābidin ; but the remarkable
tile decoration on its eastern face, for which this tomb is celebrated,
belongs not, as is generally supposed, to the original edifice, but to
a later restoration of the Mughul period. Another monument of
Zain-ul-Abidin's reign (1420—70) is the tomb of his mother, the


## p. 638 (#688) ############################################

638
[CH.
THE MONUMENTS OF MUSLIM INDIA
wife of Sikandar Butshikan. In this case the builders left the
enclosure wall and gateways of the desecrated temple much as
they had found them, but of the temple itself they kept only the
plinth, and on it erected an entirely new superstructure of brick
and plaster, embellished here and there with glazed bricks. In
style this toinb is typically Saracenic, if not purely Persian; nor is
there anything in its design (nor indeed, in the design of any other
brick or stone building of this period) to indicate that the old
stone architecture of the Hindus exerted any appreciable influence
upon it, beyond contributing some of the materials for their
building. Far different is it with the wooden architecture of this
epoch. Unfortunately, owing to their perishable nature, none of
the old Hindu structures of wood have survived to the present
day : but there can be no question that from time immemorial,
wood had been, and under the Muhammadans still continued to be,
the chief building material of the Kashmiris. Even in the reign of
Akbar stone-masons had to be imported into Kashmir to build the
fort of Hari Parbat ; and two generations later wood was still,
according to Bernier, preferred to stone 'on account of its cheap-
ness and the facility with which it could be brought from the
mountains by means of so many small rivers. Although, however,
in the matter of this wooden architecture the Muhammadans
carried on the established tradition of the valley and adopted the
architectural style of their predecessors, they were by no means
content to perpetuate that style unchanged. They did in Kashmir
what they did everywhere else in India. They made the indigenous
style the basis of their own ; but they gave it a new complexion
by grafting on to it the structural forms and decorative motifs
peculiarly associated with Islam, and-which was more important-
they gave it a breadth and spaciouseness that could hardly have
been dreamt of by the older Hindu builders. Of the style as we
find it in the Muslim period, the most telling characterisitc is the
treatment of the roof. Boldly projecting eaves, carried on several
tiers of carved and overlapping brackets, and enriched with
pendant drops at their corners; sheets of growing irises or tulips
covering the gently inclined roof; and crowning all a tall and
graceful steeple—these are the features that first arrest the eye
and give peculiar distinction to the mosques and tombs of Srinagar.
They are not, however, the only distinctive features; for the well-
finished timber work of the walls with its pleasing diaper of
headers and stretchers ; the magnificent pillars of deodar in the
larger halls, and the delicate openwork traceries of window screens


## p. 639 (#689) ############################################

XXIII )
HINDU AND MUSLIM ART
639
and balustrades, skilfully put together out of innumerable small
pieces of wood, all help to enhance the charm and accentuate the
stylishness of this architecture. As a protection against the heavy
rain and snows of Kashmir, the use of birch bark nailed in multiple
layers above the roofs and overspread, in turn, with turf and flowers
could hardly have been improved upon ; and the planting of irises
and tulips on the roofs was a singularly happy inspiration, not only
because of their own intrinsic beauty, but because their tenacious
roots gave added strength to the fabric of the roof covering. For
the rest, however, it must be confessed that the construction of
these buildings leaves much to be desired. The Muslim builder
knew no
more than the Hindu about trusses or struts or other
devices familiar to the modern architect, and when there was an
unusually large area to be roofed, the best he could do was to
insert intermediate pillars for the support of the ceiling with
ponderous piers of logs above the pillars to carry the sloping roof
-as extravagant and cumbersome an arrangement as could well
be imagined, and one which inevitably led to the premature
collapse of the overweighted structure.
Of the few monuments in the wooden-or mainly wooden---style
whose origin goes back to the pre-Mughul period, the most im-
posing is the Jami' Masjid at Srinagar. Founded by Sikandar
Butshikan (1390—1414) and extended by his son Zain-ul-Abidin,
it was thrice burnt down and thrice rebuilt-once in 1479, a second
tirne in 1620, and third time in 1674-and after again falling to
ruin was extensively restored in recent years. In spite, however,
of its many vicissitudes, the original design seems to have been
more or less faithfully repeated by successive restorers, and though
little of the first fabric is now left, the monument is still an
instructive exemplar of the pre-Mughul style. Its plan is the
orthodox one: a rectangular court closed by colonnades on its four
sides, wherein the familiar method has been followed of screening
the four colonnades from the court by an arched facade and
setting a spacious hall in the middle of each-the hall on the west,
which is the largest, constituting the prayer chamber, and the
other three serving, as usual, for entrance gateways. But though
there is nothing uncommon in the planning of this mosque, great
and exceptional dignity is given to its elevation by the noble pro-
portions of the four halls with their soaring spires, and this dignity
is more than sustained as one enters the interior and gazes up at
the timbered ceilings and lofty columns, each hewn from a single
log, that support it.


## p. 640 (#690) ############################################

640
(CH. xxiit
THE MONUMENTS OF MUSLİM INDIA
A less pretentious but, in its own way, no less pleasing specimen
of the wooden style is the mosque of Shāh Hamadān in Srinagar.
Unlike the Jāmi' Masjid, which is partly of timber, partly of brick
and stone, this mosque is built exclusively of timber, and instead
of being planned on the usual or orthodox lines, consists of nothing
more than a single square hall, thus affording an interesting and
instructive parallel with some of the pre-Mughul mosques of
Bengal, which, as we have already seen, were all but indistinguish-
able from contemporary tombs. The qualities that distinguish
these two mosques—the qualities of digniſied simplicity and
spaciousness on the one hand ; of grace of line and natural
artistry on the other-are far from being peculiar to the Kashmir
school. They are qualities that were common at this epoch to the
whole hody of Indo-Islamic monuments, and are as conspicuous
among those of Delhi as among those of Mālwa, Gujarāt and the
Deccan, or wherever else Muslim genius came to resuscitate and
enrich the older work of the Hindus. Vary as they might in
individual expression, the local schools of Islamic architecture one
and all derived their lineage from a common parentage and betray
in their lineaments a family likeness that is unmistakable. In the
case of Kashmir this family likeness is specially significant ; for
differently conditioned as the Kashmir architecture was, fashioned
out of dissimilar materials and cast in a mould unlike that of any
other school, it would hardly have been surprising if its develop-
ment had proceeded on radically different lines. That it did not do
so ; that it exhibits, on the contrary, precisely the same fusion of
Hindu and Muslim ideals, the same happy blend of elegance and
strength, is eloquent testimony to the enduring vitality of Hindu
art under an alien rule and to the wonderful capacity of the
Muslim for absorbing that art into his own and endowing it with
a new and grandeur spirit.


## p. 641 (#691) ############################################

BIBLIOGRAPHIY TO CHAPTER I
641
CHAPTER I
THE ARAB CONQUEST OF SIND
1. ORIGINAL SOURCES
Ibn Khurdādba. Kitāb-ul-Masālik wa'l Mamālik. Text and translation published
by M. Barbier de Meynard in the Journal Asiatique, 1865.
Masóūdi. Murūj-udh-Dhahab. Text edited by M. de Meynard.
Al-Bilādūri. Futūh-ul-Buldān. De Goeje, Leyden.
Muhammad ‘Ali Kūfi. Chach-nāma.
Mir Muhammad Ma'sūm. Ta'rikh-us-Sind.
Firishta, Muhammad Qāsim. Gulshan-i-Ibrāhīmi. Lithographed at Bombay, 1832.
Nizām-ud-din Ahmad. Tabaqāt-i-Akbari. Bibliotheca Indica Series, Asiatic
Society of Bengal, text and translation.
2. MODERN WORKS
Elliot, Sir H. M. , and Dowson, Professor John. The History of India as told by
Its own Historians. Trübner and Co. , 1867-1877.
Haig, Major-General M. R. The Indus Delta Country, 1894.
Muir, Sir William. Annals of the Early Caliphate. Smith and Elder, 1883.
- The Caliphate, its Rise, Decline, and Fall. Religious Tract Society, 1892.
Raverty, Major H. G. The Mihrān of Sind and Its Tributaries. Journal of the
Asiatic Society of Bengal, 1892.
The Imperial Gazetteer of India. 26 vols. Oxford, 1907-09.
C. H, I. III.
41


## p. 642 (#692) ############################################

642
BIBLIOGRAPHY TO CHAPTER II
CHAPTER II
THE YAMINI DYNASTY OF GHAZNI AND LAHORE,
COMMONLY KNOWN AS THE GHAZNAVIDS
1. ORIGINAL SOURCES
Al-'Utbi. Ta'rikh-i-Yamini.
Baihaqi, Abu-'l-Fazl. Ta'rikh-i-Bihaqi. Bibliotheca Indica Series of the Asiatic
Society of Bengal. Calcutta, 1862.
Budauni, 'Abd-ul-Qadir. Muntakhab-ut-Tawārīkh, text. Bibliotheca Indica
Series of the Asiatic Society of Bengal. Calcutta, 1868.
Translation of vol. 1 by Lt-Colonel G. S. A. Ranking in the same series.
Calcutta, 1898.
Hamd-Ullāh Mustaufi Qazvini. Ta'rikh-i-Guzida, text and abridged translation.
E. J. W. Gibb Memorial Series, No. XIV, vols. I and 11.
Hasan-un-Nizāmi. Tāj-ul-Ma'āsir.
Khvānd Mir. Habīb-us-Siyar.
-Khulăsat-ul-Akhbār.
Minhāj-ud-din b. Sirāj-ud-din. Tabaqāt-i-Nāsiri, text. Bibliotheca Indica Series
of the Asiatic Society of Bengal. Calcutta, 1864.
Translation by Major H. G. Raverty in the same series. Calcutta, 1880.
Mir Khvānd. Rauzat-us-Safā, text. Tehran, 1274 Hijri.
Firishta, Muhammad Qāsim. Gulshan-i-Ibrāhimi. See Bibliography to Chap-
ter I.
Nizām-ud-din Ahmad. Tabaqāti-i-Akbari. See Bibliography to Chapter I.
‘Unsuri. Dīvān. Lithographed at Tehran. No date.
2. MODERN WORKS
Elliot and Dowson. The History of India as told by Its own Historians. See
Bibliography to Chapter 1.
Lane-Poole, Stanley. The Mohammadan Dynasties.
Archibald Constable and
Co. London, 1894.
-Mediaeval India under Mohammedan Rule. (“Story of the Nations"
Series. )
T. Fisher Unwin. London, 1903.
Smith, V. A. The Oxford History of India. Oxford, 1919.
Tate, G. R. Seistan. Calcutta, 1910.
Thomas, Edward. The Chronicles of the Pathan Kings of Delhi. Trübner and
Co. London, 1871.
The Imperial Gazetteer of India, See Bibliography to Chapter 1.


## p. 643 (#693) ############################################

BIBLIOGRAPHY TO CHAPTER III
643
CHAPTER III
MUʻIZZ-UD-DIN MUHAMMAD BIN SAM OF GHOR
AND THE EARLIER SLAVE KINGS OF DELHI
1. ORIGINAL SOURCES
Budauni, 'Abd-ul-Qādir. Muntakhab-ut-Tawārikh, text. Bibliotheca Indica
Series of the Asiatic Society of Bengal. Calcutta, 1868.
Translation of vol. 1 by Lt-Colonel G. S. A. Ranking in the same series.
Calcutta, 1898.
Ghulām Husain Salim. Riyāz-us-Salātin. Bibliotheca Indica Series of the Asiatic
Society of Bengal. Calcutta, 1890.
Hamd-Ullāh Mustaufi Qazvini. Ta'rikh-i-Guzida, text and abridged translation.
E J. W. Gibb Memorial Series, No. xiv, vols. I and 11,
Hasan-un-Nizami. Tāj-ul-Ma'āsir.
Khvănd Mir. Habib-us-Siyar.
-Khulăsat-ul-Akhbār.
Minhāj-ud-din b. Siraj-ud-din. Tabaqat-i-Nāsiri, text. Bibliotheca Indica
Series of the Asiatic Society of Bengal. Calcutta, 1864.
Translation by Major H. G. Raverty in the same series. Calcutta, 1880.
Mir Khvānd. Rauzat-us-Safā, text. Tehran, 1274 Hijrī.
Firishta, Muhammad Qāsim. Gulshan-i-Ibrāhimi. See Bibliography to Chapter 1.
Nizām-ud-din Ahmad. Tabaqāt-i-Akbari. See Bibliography to Chapter 1.
Sayyid Ahmad Khān, Dr. Sir Asār-us-Sanādid. Cawnpore, 1904.
2. MODERN WORKS
Elliot and Dowson. The History of India as told by Its own Historians. See
Bibliography to Chapter I.
Epigraphia Indo-Moslemica, 1911-12. Culcutta, 1914.
Lane-Poole, Stanley. The Mohammadan Dynasties. Archibald Constable and Co.
London, 1894.
-Mediaeval India under Mohammedan Rule. (''Story of the Nations” Series. ).
T. Fisher Unwin. London, 1903.
Smith, V. A. The Oxford History of India. Oxford, 1919.
Tate, G. R. Seistan. Calcutta, 1910.
Thomas, Edward. The Chronicles of the Pathan Kings of Delhi. Trübner and
Co. London, 1871.
The Imperial Gazetteer of India. See Bibliography to Chapter 1.
41—2


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644
BIBLIOGRAPHY TO CHAPTER IV
CHAPTER IV
GHIYĀS-UD-DIN BALBAN, MU'IZZ-UD-DIN KAIQUBĀD,
AND SHAMS-UD-DIN KAYUMARS
1. ORIGINAL SOURCES
For Budauni, Muntakhab-ut-Tawārikh ; Khvānd Mir, Habib-us-Siyar and
Khulăsat-ul-Akhbār ; Mir Khvānd, Rauzat-us-Safā ; Firishta, Gulshan-i-Ibrāhimi;
and Nizām-ud-din Ahmad, Tabaqāt-i-Akbari ; see Bibliography to Chapter 11.
For Ghulām Husain Salīm, Riyāz-us-Salātin and Dr Sir Sayyid Ahmad Khān,
Āsār-us-Sanādid, see Bibliography to Chapter 111.
Barani, Ziyā-ud-din, Ta'rikh-i-Firūz Shāhi. Bibliotheca Indica Series of the
Asiatic Society of Bengal. Calcutta, 1862.
Amir Khusrav. Poems, mss.
2. MODERN WORKS
Elliot and Dowson. The History of India as told by Its own Historians. See
Bibliography to Chapter 1.
Lane-Poole, Stanley. The Mohammadan Dynasties. Archibald Constable and
Co. London, 1894.
-Mediaeval India under Mohammedan Rule. (“Story of the Nations" Series).
T. Fisher Unwin. London, 1903.
Smith, V. A. The Oxford History of India. Oxford, 1919.
Tate, G. R. Seistan. Calcutta, 1910.
Thomas, Edward. The Chronicles of the Pathan Kings of Delhi. Trübner and Co.
London, 1871.
The Imperial Gazetteer of India. See Bibliography to Chapter I.


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BIBLIOGRAPHY TO CHAPTER V
645
CHAPTER V
THE KHALJI DYNASTY AND THE FIRST CONQUEST
OF THE DECCAN
1. ORIGINAL SOURCES
For Budaunī, Muntakhab-ut-Tawārīkh ; Khvānd Mir, Habib-us-Siyar and
Khulāsat-ul-Akhbār ; Mir Khvānd, Rauzat-us-Safā ; Firishta, Gulshan-i-Ibrāhīmi;
and Nizām-ud-din Ahmad, Tabaqāt-i-Akbari ; see Bibliography to Chapter II.
For Ghulām Husain Salim, Riyāz-us-Salātin and Dr Sir Sayyid Ahmad Kbān,
Āsār-us-Sanādid, see Bibliography to Chapter III.
Barani, Ziyā-ud-din. Ta'rikh-i-Firūz Shāhi. Bibliotheca Indica Series of the
Asiatic Society of Bengal. Calcutta, 1862.
2. MODERN Works
Elliot and Dowson. The History of India as told by Its own Historians. See
Bibliography to Chapter 1.
Haig, Major T. W. Historic Landmarks of the Deccan. Allahabad, 1907.
Lane-Poole, Stanley. The Mohammadan Dynasties. Archibald Constable and
Co. London, 1894.
Mediaeval India under Mohammedan Rule. ("Story of the Nations" Series. )
T. Fisher Unwin. London, 1903.
Smith, V. A. The Oxford History of India. Oxford, 1919.
Tate, G. R. Seistan. Calcutta, 1910.
Thomas, Edward. The Chronicles of the Pathan Kings of Delhi. Trübner and Co.
London, 1871.
The Imperial Gazetteer of India. See Bibliography to Chapter 1.
Journal of the Asiatic Society of Bengal. 1895.
Journal of the Royal Asiatic Society. 1909.


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BIBLIOGRAPHY TO CHAPTER VI
CHAPTER VI
THE REIGNS OF GHIYĀS-UD-DIN TUGHLUQ AND
MUHAMMAD TUGHLUQ, AND THE SECOND CON-
QUEST AND REVOLT OF THE DECCAN
1. ORIGINAL SOURCES
· For Budauni, Muntakhab-ut-Tawārīkh ; Khvand Mir, Habib-us-Siyar and
Khulāsat-ul-Akhbār ; Mir Khvānd, Rauzat-us-Safā; Firishta, Gulshan-i-Ibrahimi;
and Nizām-ud-din Ahmad, Tabaqāt-i-Akbari ; see Bibliography to Chapter II.
For Ghulām Husain Salim, Riyāz-us-Salātin and Dr Sir Sayyid Ahmad Khān,
Āsār-us-Sanādid, see Bibliography to Chapter in.
Badr-ud-din of Chāch. Qasā'id. Lucknow, A. H. 1301.
Barani, Ziyā-ud-din. Ta’rikh-i-Firūz Shāhi. Bibliotheca Indica Series of the
Asiatic Society of Bengal. Calcutta, 1862.
Ibn Batūta. Tuhfat-un-Nuzzār fi Gharā'ib-il-Amsār. Cairo, A. H, 1322.
2. MODERN WORKS
Elliot and Dowson. The History of India as told by Its own Historians. See
Bibliography to Chapter 1.
Haig, Major T. W. Historic Landmarks of the Deccan.