1

Dr. Subhash Parihar

St. # 2, Green Enclave
KOT KAPURA-151204. Pb.

EARLY SUFI TOMBS IN WEST PUNJAB:

AN ARCHITECTURAL STUDY OF THE SUFI

TOMBS AT MULTAN AND UCHCH
SUBHASH PARIHAR

The whole of the West Punjab, the part of Punjab now lying in Pakistan, is studded with
sufi tombs of varying popularity. Some of these, like the tomb of Data Ganj Bakhsh at
Lahore or tomb of Shah Rukn-i Alam at Multan, enjoy the status of the presiding shrines
of the city/town whereas the others are venerated just by local populace. From a survey of
these tombs in the West Punjab, six major centres of Sufism emerge, namely Multan,
Uchch, Pakpattan, Kasur, Lahore, and Gujrat, situated at the angles of an irregular
hexagon, completely covering the region in between the rivers Chenab and Sutlej.

Any architectural study of the sufi tombs is destined to suffer from a dearth of source
material. The most of the shrines have been too much renovated to preserve any
architectural originality. Hardly any of these tombs bear a historical inscription recording
the date of its erection. This paper is limited to the study of the sufi tombs of Multan and
Uch, two of the earliest centres of Sufism in Indian subcontinent. The tombs at these
centres, fortunately some of these being in their original form, are the earliest specimens
of Indo-Islamic architecture which influenced the course of Islamic architecture of the
rest of the subcontinent. The Multan tombs are better preserved probably because Multan
has been an administrative headquarter throughout the medieval period. Its importance
did not wane even during the British and the modern periods.
 2

The bulk of the tombs in Multan, Uchch and their neighbourhood belong to sufis of the
Suharwardi silsila.1 The second largest group of mausoleums belong to the Qadri silsila.
However, the Multan sufis belonged to a greater variety of orders as compared with those
from Uchch. The shrines at both the places were constructed almost during the same time
span. It is strange that the architectural remains of the Sultanate period at Lahore are a
few. This paucity is probably indicative of the lesser significance of Lahore during this
period.

SUFI TOMBS OF MULTAN

The geographical location of Multan, just opposite the Bolan Pass, assigned it a decisive
role in history of the Indian sub-continent. The trade route connecting the sub-continent
with Qandhar and the world beyond, passed through it. And as long as the Bolan served
as the main Pass, the town formed a gateway to India. The Chinese pilgrim Hwen-Tsang
who visited it in 641, gives its name as MU-LO-SAN-P'U-LU or MULASTHANAPURA.2 He saw
the Buddhist sangharamas (monasteries) of the town in ruins. By this time, Buddhism
had been replaced by Hinduism as attested by the existence of eight temples of the
Brahmanical gods, including the "very magnificent and profusely decorated" temple
dedicated to the Sun-god, Aditya.

Along with Sindh, Multan was the earliest part of the sub-continent to have been
conquered by the army of Muhammad bin Qasim, as early as 714. Since then up to its
conquest by Maharaja Ranjit Singh in 1818, it has continuously been under the Muslim
rule. These eleven centuries of Muslim rule have left their mark, most prominently, in the
form of Sufi tombs. The following are the major sufi tombs in the town:

1. Tomb of Shah Yusuf Gardizi (circa 1150)

1
Khurram Qadir, "Architectural Remains of the Sultanate of Delhi at Uchchh and Multan: Indicators of
Political History" in Sultanate Period Architecture (Proceedings of the Seminar on the Sultanate Period
Architecture in Pakistan held in Lahore, November 1990), eds. Siddiq-a-Akbar, Abdul Rehman &
Mumtaz Ali Tirmizi, (Lahore: Anjuman-i Mimaran, 1991), pp. 62-63.

2
Hiuen Tsiang, Buddhist Records of the Western World, trans. Samuel Beal (1884; reprint Delhi:
Munshiram Manoharlal, 2004), p. 274. For the ancient history of Multan, see, Alexander Cunningham,
The Ancient Geography of India (1871; reprint Delhi: Low Price Publications, 1990), p. 194-203; idem,
Archaeological Survey of India Report for the Year 1872-73, vol. V (1875; reprint Varanasi: Indological
Book House, 1966), pp. 114-36.
 3

2. Tomb of Shah Baha al-Haqq or Baha al-Din Zakariya (died 1262)

3. Tomb of Sadna Shaheed or Shahid Shaheed or Shah Dana Shaheed (died 1270)

4. Tomb of Shah Shams Sabzwari (wrongly identified by Cunningham with the renowned
saint Shams al-Din Tabrizi)3 (died 1276)

5. Tomb of Shaikh Abu al-Fath Rukn al-Din, commonly known as Shah Rukn-i Alam
(died 1334-35)

These tombs are the prominent examples of the provincial style of Punjab that flourished
between 1150 and 1325. This style grew independent of the imperial Sultanate style that
developed in Delhi and its surrounding region, before the advent of the Mughals.4

The characteristic features of the Punjab provincial style were determined by the
geological formation of its land. No building stone is available in the plains of Punjab but
its alluvial soil can be easily moulded into fine bricks. Hence brick has been the chief
building material in Punjab since earliest times as evinced even at Harappan sites. To
strengthen the brick walls, these were given a slight camber and occasionally timbers
were embedded in them. Another method of providing stability to structures was by
appending buttresses and towers to their corners.

The plain brick structures would have given a very monotonous look. To add colour to
their monuments, the Punjab builders made use of coloured glazed tiles. It may be noted
here that although the technique of glazing was known in ancient India, but the use of
glazed tiles for architectural decoration was imported from Persia. The region of Multan
and Sindh, due to its proximity to Persia, was the earliest to use this mode of decoration.
Gradually the rest of Punjab became as great a centre of this craft as Sindh and Multan.
And from this region, the use of glazed spread into the rest of the sub-continent.

The earliest of the Multan memorials, the tomb of Shah Yusuf Gardizi (circa 1150), is a
cubical structure covered with a flat roof (Fig. 1; Pl. 1). The entrance to the interior is

3
ASI Report 1872-73, pp. 134-35.
4
The provincial style of Punjab was the earliest of the eight provincial styles, the other seven being those
that developed in Bengal, Gujrat, Jaunpur, Malwa, Deccan, Bijapur & Khandesh, and Kashmir. For
details of these styles, see Percy Brown, Indian Architecture (Islamic Period) (1956; reprint Bombay:
Taraporevala Sons, 1975), pp. 31-83.
 4

provided through an archway placed in a projected bay in the southern wall. The whole of
the exterior of this simple structure has a veneer of painted square encaustic tiles. But
only the tilework in the rectangular panel above the entrance, in the form of low-relief
decoration, appears to be original, the rest dating from some later period.

The next in chronological order is the tomb of Baha al-Din Zakariya (died 1262),
considered to be one of the greatest saints of the Suharwardi silsila (Fig. 2; Pl. 2).
Unfortunately, the building was much damaged in the siege of Multan by the British in
1848.5 Many alterations must be dating from this period of renovation. Moreover,
repeated application of plaster and whitewash obscures much of the details of external
surfaces. But not much seems to have been changed in its broad features which are a
square tomb chamber, surmounted by an high octagonal drum and the whole crowned
with a hemi-spherical dome, all having excellent proportions. The towers at corners of
the building and its octagonal drum give the feeling of some lightness to the structure.
Kamil Khan Mumtaz considers it "the most elegant of the Multan shrines". 6 Percy Brown
also praises that "this tomb has an appearance of purposeful strength combined with a
simple elegance which is noteworthy." 7 Undoubtedly, the tomb of Baha al-Din
established a tomb-type to be followed for many centuries to come.

The tombs of Shah Dana Shaheed (died 1270) (Fig. 3; Pl. 3) and Shah Shams Sabzwari
(died 1276) (Fig. 4; Pl. 4) were built within fifteen years after the tomb of Shah Baha al-
Din. The tomb of Sadna Shaheed is quite austere in its treatment whereas the tomb of
Shah Shams Sabzwari is a highly ornate version of the same. Anyway both of these carry
the style forward.

The provincial style of Punjab reached its apex in the tomb of Shah Rukn-i Alam, the
grandson of Shah Baha al-Din (Figs. 5-6; Pl. 5).8 This magnificent tomb is believed to

5
ASI Report 1872-73, p. 131. The changes of details can also be seen by comparing its pictures in various
books, e.g, Percy Brown, pl. XXIII, fig. 2; Ahmad Nabi Khan, Multan: History and Architecture
(Islamabad: Institute of Islamic History, Culture and Civilization, 1983), pls. 12, 14; Abdul Rehman,
Historic Towns of Punjab: Ancient and Medieval Period (Rawalpindi: Ferozsons, 1997), fig. 5.1.8
6
Kamil Khan Mumtaz, Architecture in Pakistan (Singapore: Concept Media, 1985), p. 44
7
Percy Brown, p. 33.
8
The fourteenth century Moroccan traveller Ibn Battuta, during his travels in India, was recommended by
the pious Shaikh Burhan al-Din al-Araj at Alexandria to meet Shaikh Rukn al-Din at Multan. Ibn Battuta
sojourned at Multan from 5 November 1333 to 27 January 1334. The Rehla of Ibn Battuta, trans. Mahdi
 5

have been erected by Sultan Ghiyas-al Din Tughlaq (reign 1320-24) for himself, during
the period of his governorship of Multan, under the title of Ghazi Malik. 9 But later he is
said to have donated the structure for the burial of the saint, building for himself a new
tomb at Tughlaqabad (Delhi). In many respects, this tomb which Sir John Marshall
considers 'one of the most splendid memorials ever erected in honour of the dead' is a
landmark structure.10

Here it is for the first time we come across an octagonal plan for a Sultanate building
which appeared some fifty years later at Delhi in the tomb of Khan-i Jahan Tilangani. 11
From the point of view of size, it is a monumental structure rising from an octagonal
base, 90 feet [27.4 m] in diameter and the whole soaring to a height of 115 feet [35 m].
The effect of height becomes more pronounced as the tomb stands on the fort mound
which itself rises some 50 ft [about 15 m] higher than the surrounding country.

The tapering walls of its octagonal first storey, having a domed and pinnacled buttress
appended to each corner, impart the structure an appearance of great solidity.

Another prominent feature of the monument is its consummate adornment in a variety of

mediums. Then, there is decoration with cut brickwork forming geometrical and

Husain (Baroda: Oriental Institute, 1976), p. 6.

For a brief biographical account of Shah Rukn-i Alam, see N.K. Singh, Sufis of India, Pakistan and
Bangladesh, vol. III (Delhi: Kitab Bhavan, 2002), pp. 1-5.
9
The closeness between Shah Rukn-i Alam and Sultan Ghiyas al-Din is attested by the fact that the saint
was with the Sultan at the time of the death of the latter. Rehla of Ibn Battuta, p. 55. But nowhere the
construction of the Multan tomb by Ghiyas al-Din Tughalq is mentioned.
10
J. Burton Page, "Tomb of Rukn-i Alam" in Splendours of the East, ed. Mortimer Wheeler (1965; reprint
London: Spring Books, 1970), p. 75. The article is illustrated by very beautiful plates of the tomb.
11
Recently, Shaikh Khursheed Hasan has brought to light an anonymous octagonal tomb at Mithri
(District Karachi), dated by M. Usman Hasan as back as 11 th-12th century. Shaikh Khursheed Hasan, The
Islamic Architectural Heritage of Pakistan: Funerary memorial Architecture (Karachi: Royal Book
Company, 2001), p. 33, pl. IIIa; M. Usman Hasan, "Influence of Central and West Asian Religions and
Culture since 7th Century on Construction and Decoration of Tombs and Graves in Baluchistan and the
Sub-continent", Journal of Central Asia 16(1-2) (Islamabad, July & December 1993), pp. 251-52.
Interestingly, the very first Islamic monument, the Dome of the Rock (completed in 691) at Jerusalem
(Israel) has an octagonal plan. For the plan, section and some excellent plates of the monument see,
Richard Ettinghausen, Oleg Grabar & Marilyn Jenkins-Madina, Islamic Art and Architecture 650-1250
(2001; reprint Ahmedabad: Mapin, 2002), figs. 4-11.
J. Burton Page attributes the octagonal plan to the local genius. p. 75.
 6

calligraphic designs, in relief, giving a rich play of light and shade. However, the richest
in effect are the raised patterns formed with unglazed bricks having its interstices inlaid
with glazed tiles. Cunningham realises the difficulty of this mode of decoration but
praised its increased effect as it united 'all the beauty of variety of colour with the light
and shade of a raised pattern.12 It is strange that this type of glazed tile work was not used
in the rest of Punjab before the seventeenth century.

The interior of the tomb was also originally bore painted decoration of which only a few
traces were extant when Cunningham visited the tomb in 1872-73. 13 The mihrab of the
tomb bears floral and epigraphic ornamentation carved in wood.

As to decorative motifs, the tomb of Rukn-i Alam forms a veritable art gallery (Pl. 6).
Mostly, the designs are geometrical and calligraphic in nature. One motif of particular
interest is the swastika, usually thought to be Hindu motif (Pl. 7A). 14 But in fact, the
swastika motif "was used in the Mediterranean countries and the Near East from c. the 3 rd
millennium B.C. and remained one of the commonest decorative devices except possibly
in Egypt, Babylon and Assyria."15 This motif also appears in the cut brick decoration of
the tomb of Baha al-Din Zakariya (Pl. 7B).16

The architectural features observed in the Multan tombs persisted in the monuments of
the Punjab even during the Mughal period when the whole of the empire was following a
single imperial style. Even then the Mughal monuments of the region were able to
preserve their distinctive character.

12
ASI Report 1872-73, p. 133.
13
ASI Report 1872-73, p. 133.
14
Khurram Qadir (p. 70) also considers it an essentially Aryan motif, associated with Hinduism. But his
own hypothesis regarding other geometrical motifs "that the shapes have no definite religious
implication" but are derived directly from the geometric innovation, also holds true about this motif. P.
69.
15
Harold Osborne, ed., The Oxford Companion to the Decorative Arts (Oxford, 1975), p. 753. See also,
Thomas Wilson, The Swastika (The earliest known Symbol, and its migrations with observations on the
Migration of certain Industries in Pre-Historic times) (reprint Delhi: Oriental Publishers, 1973).
16
Ahmad Nabi Khan, Islamic Architecture of Pakistan: An Analytical Exposition (Islamabad: National
Hijra Council, 1990), p. 59, fig. 18.
 7

SUFI TOMBS AT UCHCH

Uchch, situated about 100 kilometres to the south-south-west of Multan, was another
early centre of sufism in Punjab. It was originally situated on the confluence of the rivers
Satluj and Chenab.17 Such locations often give birth to religious centres. Throughout the
medieval period the town of Uchch retained its fame as a centre of religious piety. When
Nabi Khan and his brother Ghani Khan, the Pathans of Machhiwara, after the battle of
Chamkaur (1705) escorted Guru Gobind Singh to the safety of the Malwa region,
disguising him as the Uchch da pir (a saint from Uchch), the reference was to this town.

As already seen at Multan, at Uchch too, two types of tombs are seen: one type having
flat-roofs and the other type domed. The tombs of Abu Hanifa, Syed Safi al-Din Haqani
(died 1007) (Fig. 7; Pl. 8), Jalal al-Din Surkh Bukhari (died 1291) (Fig. 8), Rajan Qatal
(died 1326) (Pl. 9), Jahanian Jahangasht (died 1383; tomb built in 1453) (Fig. 9), are the
prominent specimens of the first type. Each flat-roofed tomb consists of rectangular hall,
sometimes provided with a wooden entrance porch as seen in the tombs of Rajan Qatal
and Jahanian Jahangasht. The timbered roofs of this type of tombs are supported on
slender square, circular or octagonal wooden columns surmounted by carved capitals.
Wooden beams are also embedded in walls. Windows are usually screened with carved
wooden lattices. The wooden columns and ceilings are richly adorned with painted or
lacquered floral designs (Pl. 10). Yellow, green, red and orange colours have been used in
the tomb of Rajan Qatal. But the details of woodwork are characteristic of the domestic
architecture of the region during 19th and 20th centuries. Also these tombs bear
inscriptions of restorations in the nineteenth and the twentieth centuries. So it is difficult
to say that how much of their fabric is original, i.e. belonging to the thirteenth or
fourteenth centuries. Describing the tomb of Syed Safi al-Din Haqani, Dr. Abdul Rehman
writes that 'the walls and beams are original whereas the roof and wooden posts have
been repaired with time.'18 Similar may be the case with some other tombs. The tomb of
Abu Hanifa is considered to be more or less original.

17
Cunningham identifies Uchch with the place Askaland-usah, mentioned by Rashid al-Din (1247-1318),
the author of the Islamic history Jami al-Tawarikh, which according to him was a corruption of
Alexandria Uchcha. He also thinks that Uchch must also be the Iskandar or Alexandria, of the Chach-
namah, which was captured by Chach on his expedition against Multan. Ancient Geography, p. 205.
18
Abdul Rehman, p. 115.
 8

The tombs of Baha al-Halim, also called Baha al-Din Uchchi (built c. 1349-78) (Fig. 10;
Pls. 11-12), Bibi Javindi (built 1499) (Fig. 11; Pl. 13), Ustad Ladla (designer and builder
of the tomb of Bibi Javindi), Bibi Aisha and Musa Pak Shaheed belong to the category of
the domed type.

All the tombs of the domed type are damaged. However, the buildings still preserve their
distinctive character. Each tomb of this type consists of a square or octagonal structure,
strengthened with turrets at corners, surmounted by an octagonal drum supporting a
slightly pointed hemi-spherical dome.

One can trace the development of this domed type of tomb structure from the anonymous
tombs at Mithri and Sibri (both near Karachi) built in 11th-12th centuries. 19 The
anonymous tombs at Lal Mehra Sharif (District Dera Ismail Khan), dated by Taj Ali in
the 11th and early half of the 12th centuries, also stylistically stand very close to the domed
tombs at Uchch.20

The most distinctive feature of the Uchch tombs of both types is their revetment with
white, ultramarine and turqoise coloured glazed tiles, so much so that hardly any part of
their brick fabric is visible. In some cases not only the exterior but the interior is also
ornamented in a similar fashion. The tilework usually takes the shape of horizontal diaper
patterns consisting of geometrical designs sometimes taking the shapes of stars or stylised
flowers. This type of tilework, also seen on some anonymous tombs of Lal Mehra Sharif
in Gomal Valley, is not found in the rest of Punjab where it followed a different course.
In the rest of Punjab, upto the first half of the sixteenth century, only square tiles of
ultramarine and turquoise blue colours were used. During the later half of the sixteenth

19
Khursheed Hasan, pp. 33, 34, pls. IIIa and IIIb.
20
Taj Ali, Anonymous Tombs in the Gomal Valley, and the Beginning of Tomb Architecture in Pakistan
(Bonn: Universitat Bonn, 1987), p. 94, pls. 3, 5, 9, 10a, 13, 14, 15a, 19.
 9

century, tiles of green and yellow colours were also introduced. But the first quarter of
the seventeenth century witnessed a different development. Now, first a design, usually
geometrical, was formed with raised brickwork or unglazed tiles and then the sunken
spaces in the design were inlaid with cut tiles of various colours. This type of work is
seen in the tomb of Rukn-i Alam. But it is strange that this style of tilework took about
two and three quarters of a century to spread in the rest of Punjab. Here it developed still
further and took the form of tile-mosaics of very intricate designs, the type of work never
seen at Multan or Uchch.

Usually scholars regard the architectural style of the monuments at Uchch as an extension
or derivation of Multan style but art-historian Kamil Khan Mumtaz thinks that " the
characteristics of Uchch monuments are sufficiently distinct to be identified as a related
but independent building tradition.21 He adds that "while the brick-domed structures
might well have been inspired by Multan precedents, the reverse might equally be true of
the flat-roofed timbered forms".

___________________________

21
Mumtaz, p. 46.
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APPENDIX
SUFI SHRINES IN WEST PUNJAB

BAHAWALPUR DISTRICT
Muluk Shah
Channar Pir, Cholistan
Khwaja Nur Muhammad
Mohkam Din, Khanqah Sharif

CHAKWAL DISTRICT
Shaikh Abd al-Qadir Jilani, Kalla Kahar
Saidan Shah, village Choa

DERA GHAZI KHAN DISTRICT

Syed Ahmad Sultan (Sakhi Sarwar Sultan)
Khwaja Farid, Mithankot

GUJRAT DISTRICT
Hazrat Shah Daula

ISLAMABAD
Shah Abd al-Latif Kazmi (Barri Shah Latif)

JHANG DISTRICT
Sultan Bahu, Garh Maharaj
Heer & Ranjha

LAHORE DISTRICT
Shaikh Ali bin Usman al-Hajveri (Data Ganj Bakhsh)
Mir Muhammad (Mian Mir)
 11

Shah Husain (and Madho Lal)

MULTAN DISTRICT
Hazrat Baha al-Din Zakariya
Rukn-i Alam
Shams al-Din Sabzwari
Muhammad Yusuf Gardezi
Shaikh Abd al-Hassab (Musa Pak Shaheed)
Shrine of Totla Mai
Shah Ali Akbar

QASUR DISTRICT
Baba Bulle Shah

RAWALPINDI DISTRICT
Pir Mehr Ali Shah, Golra Sharif

SAHIWAL DISTRICT
Shaikh Farid al-Din Masud Ganj-i Shakar (Baba Farid), Pakpattan
Sakhi Ghulam Qadir, Pak Pattan

SHEIKHUPURA DISTRICT
Sher Muhammad, village Sharqpur

SIALKOT DISTRICT
Syed Imam Ali Lahaq

UCHCH SHARIF
Syed Jalal al-Din Munri Shah Surkh Bukhari
Hazrat Jalal al-Din Bukhari (Makhdoom Jahanian Jahanghasht)
Shaikh Saif al-Din Gazruni
 12

Syed Muhammad Ghaus Jilani Hallabi

Makhdum Hazrat Baha al-Halim
Bibi Javindi

[Source: Ubaidullah Baig & A.A.K. Brohi, Journey into Light: An Instant Guide to
Devotional Tours (Islamabad: Pakistan Tourism Development Corporation, no date)]
 13

[Sources for figures and plates: Abdul Rehman, Historic Towns of Punjab: Ancient and
Medieval Period (Rawalpindi, 1997); Ahmad Nabi Khan, Uchchh: History and
Architecture (Islamabad, 1980); idem, Multan: History & Architecture (Islamabad,
1983); idem, Islamic Architecture of Pakistan: An Analytical Exposition (Islamabad,
1990); Kamil Khan Mumtaz, Architecture in Pakistan (Singapore, 1985). However, I
have redrawn some plans afresh on the basis of those published in the above books and
reworked most of the plates in Adobe Photoshop.]
 14

LIST OF FIGURES

1. Multan: Tomb of Shah Yusuf Gardezi, plan

2. Multan: Tomb of Baha-al Haqq Zakariya, plan and section

3. Multan: Tomb of Shah Dana Shaheed, plan and section

4. Multan: Tomb of Shamsh Sabzwari, plan and section

5. Multan: Tomb of Shah Rukn-i Alam, plan

6. Multan: Tomb of Shah Rukn-i Alam, section

7. Uchch: Tomb of Abu Hanifa, plan

8. Uchch: Tomb of Jalal al-Din Surkh Bukhari complex, plan

9. Uchch: Tomb of Jahanian Jahanghasht, plan

10. Uchch: Tomb of Baha al-Halim, plan

11. Uchch: Tomb of Bibi Javindi, plan, elevation and section

LIST OF PLATES

1. Multan: Tomb of Shah Yusuf Gadezi

2. Multan: Tomb of Baha al-Din Zakariya

3. Multan: Tomb of Shah Dana Shaheed (an old view)

4. Multan: Tomb of Shams Sabzwari

5. Multan: Tomb of Rukn-i Alam

6. Multan: Tomb of Rukn-i Alam, various decorative patterns

7. Swastika motif on (A) the tomb of Baha al-Din Zakariya and (B) the tomb

of Rukn-i Alam

8. Uchch: Tomb of Abu Hanifa

9. Uchch: Tomb of Rajan Qatal

 15

10. Uchch: Tomb of Jahaniyan Jahangasht, painted ceiling

11. Uchch: Tomb of Baha al-Halim, exterior view

12. Uchch: Tomb of Baha al-Halim, view from inner side

13. Uchch: Tomb of Bibi Javindi

 16

Labels for Illustrations

Figure 1. Multan: Tomb of Shah Yusuf Gardezi, plan
Figure 2. Multan: Tomb of Baha-al Haqq Zakariya, plan and section
Figure 3. Multan: Tomb of Shah Dana Shaheed, plan and section
Figure 4. Multan: Tomb of Shamsh Sabzwari, plan and section
Figure 5. Multan: Tomb of Shah Rukn-i Alam, plan
Figure 6. Multan: Tomb of Shah Rukn-i Alam, section
Figure 7. Uchch: Tomb of Abu Hanifa, plan
Figure 8. Uchch: Tomb of Jalal al-Din Surkh Bukhari complex, plan
Plate 9. Uchch: Tomb of Jahanian Jahanghasht, plan
Figure 10. Uchch: Tomb of Baha al-Halim, plan
Figure 11. Uchch: Tomb of Bibi Javindi, plan, elevation and section
Plate 1. Multan: Tomb of Shah Yusuf Gadezi
Plate 2. Multan: Tomb of Baha al-Din Zakariya
Plate 3. Multan: Tomb of Shah Dana Shaheed (an old view)
Plate 4. Multan: Tomb of Shams Sabzwari
Plate 5. Multan: Tomb of Rukn-i Alam
Plate 6. Multan: Tomb of Rukn-i Alam, various decorative patterns
Plate 7. Swastika motif on (A) the tomb of Baha al-Din Zakariya and (B) the tomb
of Rukn-i Alam
Plate 8. Uchch: Tomb of Abu Hanifa
Plate 9. Uchch: Tomb of Rajan Qatal
Plate 10. Uchch: Tomb of Jahaniyan Jahangasht, painted ceiling
Plate 11. Uchch: Tomb of Baha al-Halim, exterior view
Plate 12. Uchch: Tomb of Baha al-Halim, view from inner side
Plate 13. Uchch: Tomb of Bibi Javindi