While both structures share the intriguing name "Chor Gumbad" (Dome of Thieves), the monuments in Narnaul, Haryana, and Gulbarga, Karnataka, are products of distinct regional Sultanates and centuries. Their differences in architectural style, materials, and historical context illustrate the diverse evolution of Indo-Islamic design across the Indian subcontinent.
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| Chor Gumbad, Narnaul, Haryana flicker.com |
The Chor Gumbad of Narnaul was commissioned by an Afghan noble, Jamal Khan, during the reign of
Firoz Shah Tughlaq in the 14th century. Built as a tomb, though now empty of graves, it exemplifies the
Tughlaq style. It is a square, single-chambered structure characterized by a low-profile dome and thick, sloping walls. Externally, it appears as a two-story building due to an open veranda that encircles the structure, supported by arches. The construction primarily utilizes local stone and lime mortar, finished with a rugged, utilitarian aesthetic typical of the North Indian Sultanate period. Its name is attributed to its long period of abandonment on an isolated hillock, which eventually turned it into a haven for highway robbers.
In contrast, the Chor Gumbad of Gulbarga belongs to the 15th-century Bahmani period of the Deccan. It is significantly more massive, with its dome soaring to a height of 100 feet. Unlike the Narnaul structure, which features a veranda, the Gulbarga monument is defined by its verticality and "victory monument" status, likely built by Sultan Ahmad Shah to celebrate his ascension. Its design is quintessentially Deccani, featuring four corner turrets topped with kiosks and walls decorated with ten arches arranged in two tiers. The interior is noted for its sophisticated stucco work and a "whispering gallery," a feature absent in the simpler Narnaul building. The materials here lean toward the dark trap stone common in the Deccan, and the internal corridor—intended for the zenana (royal women)—reflects a more complex social and defensive function.
Ultimately, the Narnaul Gumbad is a fine example of Tughlaq-era sobriety and Afghan influence in the North, while the Gulbarga Gumbad represents the grand, experimental scale of the Bahmani Sultanate in the South. While both reclaimed their glory through recent government restoration efforts, they remain distinct anchors of their respective regional histories.
K.N.Jayaraman
