Mughal architecture seizes its inspirational and par excellence position in the world history, with its gigantic, mammoth-like, exquisite, awing, durable and incredibly unbelievable structures. The Mughals are known to have been heavily influenced from both Islamic and non-Islamic sources while building those motivating pieces in India. The non-Islamic sources of Mughal architecture have been strewn with perfection from those Hindu temple or fortress wonders, lying hidden in the outlands or wildernesses of any given region.
Mughal emperors have always diversified their architectural beauties, concentrating first in the centre, fanning out towards diversification. Architectures have been triggered by imperial penchant, rarely capricious, but engrafted in political and cultural ideology. It has always so happened that any given ruler is not often exclusively responsible for construction outside central urban areas; on the other hand, it is the nobility, mostly high-ranking, wealthy and refined and the chic, who are responsible for building in such places. This group of `nobility` had often extravagantly, erected, on their landholdings that were granted in place of salary, even though these lands were shifted approximately every two years to prevent the establishment of menacing or intimidating power bases. And this very factor had heavily impressed upon the non-Islamic sources of Mughal architecture, with most of the noble sections, coming from a Hindu household.
The non-Islamic sources of Mughal architecture began to mostly flourish around the period of 1300 A.D. and possibly culminating in 1500 A.D as Hindu and Jain architecture continued to be erected in north India during this time. For instance, at least three temples in Bihar are either dated or dateable to the Delhi Sultanate period. One of them, in the Hindu pilgrimage city of Gaya, even assumes an inscription extolling the Muslim overlord, Feroz Shah Tughlaq from Tughlaq Dynasty, a ruler conventionally deemed to be hostilely anti-Hindu. Some temples of this period can be witnessed to be of a domed strategy, as designated by paintings illustrating a 1516 Aryanyakaparvan. As such, domed architecture cannot be considered exclusive to the Muslims, but, with proper non-Islamic referential sources under Mughal architectural shadow.
`Secular architecture` constructed also during this time under Hindu patrons, has had a satisfying impact upon subsequent secular buildings, notably those of the Mughals. One such instance of non-Islamic source in Mughal architecture, a magnificent one, is the Man Mandir palace built in Gwalior, approximately in 1500 A.D. by Raja Man Singh Tomar. Amongst the few buildings admired by Babur in India, the palace is rightly regarded as having influenced Akbar during the designing of his own palaces. Positioned atop the high flat plateau of the ancient Gwalior fort, the palace`s facade is marked with a series of circular buttresses, each surmounted by a high domed chattri and the facade is ornamented with tiles, glazed predominantly in blue or yellow. While the Gwalior palace`s exterior had influenced the inlaid mosaic facade of the Delhi Gate in Akbar`s Agra Fort, the interior of this palace bore an even greater impact of Non Islamic source on Akbar`s architecture. Like subsequent Mughal palaces, the Gwalior palace, always considered a significant non-Islamic source to Mughal architecture, have made excellent use of animal brackets supporting the gallery eaves (chajjas). These chajjas probably were ultimately modelled upon torana motifs that have been skillfully utilised both as wall ornamentation as well as operative and useable devices. While Man Singh`s `Hindu palace`, not far from Agra and Fatehpur Sikri, had an apparent impact on Islamic `Akbari architecture`, it is also wrong to deem the Gwalior palace uniquely Hindu in form. On the other hand, it belongs to a type of domestic non-Islamic architecture that late during the Delhi Sultanate period was verily utilised by both Hindus and non-Hindus.