Chaurasi Khamba Mosque

Situated in Rajasthan, a region known for its rich cultural diversity, specifically on its border near Mathura, the Chaurasi Khamba Mosque exemplifies syncretism by standing alongside Hindu temples and other historical monuments. This coexistence underscores Rajasthan's tradition of harmonizing various religious and cultural practices. Over the years, conservation efforts have been undertaken to preserve this architectural gem, ensuring its historical and cultural significance is maintained for future generations. Today, the mosque attracts tourists and history enthusiasts worldwide, inviting them to explore its splendor and learn about the rich heritage it represents. Through its enduring presence, the Chaurasi Khamba Mosque continues to be a testament to India's diverse cultural legacy and the Ghurid empire's architectural brilliance.

Patron
The Chaurasi Khamba Masjid ranks among the earliest royally-sanctioned mosques in northern India, dating from the late 12th century to the early 13th century (1190-1210 AD). Constructed following the conquest of northern India by the forces of Mohammad Ghouri, it is believed to have been erected on the remnants of pre-existing Hindu temples. The Chaurasi Khamba Mosque was patronized by Baha Al-Din Tughrul. His patronage of the mosque aligns with his role in consolidating Muslim rule in northern India during this period. Some features of this mosque suggest that it was significantly altered during Mughal times, or possibly by the British, to give it a Mughal feel; it has a more "finished" and uncluttered appearance, and the wrap-around sloping canopy with small parapet above is a prominent Mughal-era design element.

Naming and usage
Given that the masjid was claimed to be found on the remains of a hindu temple, it is embellished with 84 finely carved pillars, a symbolic number that is repeated throughout Kaman: 84 ponds, 84 temples, and 84 hectares of land split into 84 little water pools. However, what lends an air of intrigue to Chaurasi Khamba is its mysterious count. Its name, translating to "84 pillars," highlights the grid-like arrangement of pillars that form a stunning colonnade within the structure. This mosque not only reflects the architectural grandeur typical of the Ghurid era, with its intricate carvings, domes, and arches but also serves as a significant cultural and religious landmark. It provided a sacred space for worship and community gatherings, fostering spiritual unity among Muslims in the region.

Plans
The masjid consists of 2 floor plans: the ground plan and the first plan (upper level). The masjid follows a hypostyle plan with 84 columns. Upon the main entrance gateway, there is a lobby met by stairs leading to the upper floor level. The lobby directly leads to an open-to-sky courtyard (sahn) surrounded by porticos. The Qibla wall with the domed mihrab is located opposite the entrance lobby. The upper floor level has only a minbar for the masjid, in addition to a royal gallery with its own access flight, separate from the upper-level leading stairs. The colonnade of the mosque is enclosed with thick stone walls on the western side and the southern side, in addition to the north-west corner of the northern wall to enclose the royal gallery and the prayer hall.

Entrances
The main entrance is projecting outwards forming an entrance lobby. The entrance follows the skyline of the eastern facade which does not make it a pishtaq entrance. The upper part of the entrance lobby in addition to the roof were added later to the mosque and were designed forming two shallow four-centered arches (some historians date them to the late 16th or 17th century), which is considered one of the Mughal Empire architectural characteristics. The direct entrance to the mosque is opposite to the entrance lobby with stonework decorating the area around the entrance. The decorative stonework is carvings mentioning Baha al-din’s name. Signifying the mosque’s doorway are two reused monolithic slabs carved to form miniature shrines.

Wall decorations
The southern walls of the masjid feature three rectangular-shaped niches on the interior side, however, the eastern and northern sides feature unusual designs since they are placed at a higher level compared to the southern side due to a raised platform they share. Eave stones decorate the upper fragments of the walls with stone-clad panels covering the parapet and featuring carved battlements.

Columns
Columns used across Chaurasi Khamba masjid are reused from Hindu temples. Accordingly, they feature defaced-human figures and decorations related to the Hindu culture. The reused columns were used to support the mosque after the human figures had been defaced to respect Islamic traditions and match the context. Besides the human-defaced figures, the columns’ bases feature animal figures like elephants. The reused columns were placed differently in Kaman mosque; initially, the figures at one end of the columns were towards the capitals of the columns, however, the columns were flipped in Kaman mosque, and the figures were placed at the base of the columns.

Main Mihrab
The main mihrab is centered on the Qibla wall. The mihrab is surrounded by an inscription band featuring the opening verses of Surat Al-fath, framing a two-centered arch in the middle of the mihrab. Given that the mosque was constructed in the early period of the conquest, Surat Al-Fath was highlighting the victory of the conquest. The vase-shaped capitals that were resting on pillars supported the two-centered arch, which was carved with a border with a perforated scroll design (the pillars are no longer there). Shahada (Muslim Profession of Faith) is engraved on the spandrels on the upper side of the two-centered arch. The mihrab's stones have been sculpted to resemble an arch with pilasters and a fringe with piercings. The carvings of the mihrab were original and specifically designed for it, which makes the mihrab the focal point of the prayer hall.

Mezzanine Mihrab
No additional mihrabs exist in Kaman Mosque except for one small auxiliary mihrab on the upper level. The adoption of the practice of placing a single mihrab in the Qibla wall was common in western Khurasan and Iran, as evidenced by the remnants of previous mosque construction in Central Asia. During this time, Northern India's lone mihrab mosques had clear connections to Persian design.