The Minarets of the Hilāl Khān Qāzi Mosque, Dholkā

Gujarat was a crucible of Indo‑Islamic architecture during the fourteenth century. This essay focuses on the Hilāl Khān Qāzi mosque at Dhōlkā, built in 1333 soon after the Delhi Sultanate consolidated its power in western India. The author contextualises the monument by noting that it is one of the earliest mosques in Gujarat, predating the larger Jāmi Masjid of Cambay (Khambhat). Although modest in size, the Dhōlkā mosque is celebrated for its elegant proportions and its pair of slender minarets flanking the central dome. Early British archaeologists like Burgess and Percy Brown praised these minarets as among the first true minarets in Gujarat and remarked on their indigenous character: rather than copying North Indian models, the builders fused local temple forms—such as bracketed balconies, richly carved friezes and corbelled cornices—with Islamic cylindrical shafts. The minarets rise in several tiers; each storey is articulated by projecting balconies supported on stalactite‑carved brackets, and the shafts are embellished with geometric and floral motifs. The stairways within the minarets are ingeniously integrated so that they do not disturb the exterior symmetry. The article also examines the social and religious circumstances of the mosque’s construction. Prior to the conquest of 1298, Muslim merchants had settled peacefully in the thriving port of Cambay, where they built small prayer houses. After the conquest, governors like Hilāl Khān Qāzi initiated grander projects to symbolise the new authority. At Dhōlkā they reused some temple fragments but largely relied on new masonry, indicating a desire to move beyond spolia. The minarets may have served both as call‑to‑prayer towers and as visual markers of Islamic presence in a predominantly Hindu‑Jain landscape. Their tapering silhouettes influenced subsequent mosque architecture in Gujarat, including the famous Sidi Bashir ‘shaking’ minarets of Ahmedabad. By analysing plan drawings and historical descriptions, the author concludes that the Hilāl Khān Qāzi mosque represents a creative synthesis of local craftsmanship and imported Islamic ideas.

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