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Hilal Khan Ghazi Mosque (also known as Bahlol Khan Gazi's Mosque) is a monumental mosque located at Dholka, Gujarat, India. It is considered to be the oldest mosque at Dholka. It was erected by the general Hilal Khan Ghazi in 1333 during the Tughlaq period. The mosque is considered one of the most significant mosques of that period in its architectural style and artistic decorations, standing as a testament to the rich Islamic architectural heritage of Dholka, Gujarat. The mosque not only showcases the architectural and artistic ingenuity of its era but also reflects the historical significance of the region.

Dholka
Dholka
Coordinates: 22°43′N 72°28′E / 22.72°N 72.47°E / 22.72; 72.47
Country	India
State	Gujarat
District	Ahmedabad
Taluka	Dholka

Hilal Khan Mosque is located at Dholka, in the Ahmedabad District of Gujarat, India. It is a city with a rich historical and cultural heritage. Dholka was called Dhavalakapura. People say it might be the same place as Viratnagar from the time of Mahabharata. Nowadays, there are three Jain temples in Dholka. Dholka has a rich Islamic history, with many ancient mosques and shrines located in the city. The Khan Masjid, a rare brick structure, the Jumu'ah Masjid, also known as the Friday prayer mosque, are among the notable mosques in Dholka, in addition to the Hilal Khan mosque. There are other well-known Muslim shrines, including the Hazrat Shah shrine and Najmuddin Chisti's shrine in Lilajpur. These historical sites reflect the significant Islamic influence in the region and contribute to the cultural and architectural heritage of Dholka.

The mosque was erected by Hilal Khan Ghazi in the open courtyard style, which was popular in this period. According to the foundation inscription at the upper part of the main mihrab of the mosque, the name of the founder is mentioned as Mofakhr al-Umra Muqarrab ad-Daulat Wa'd-din Hilal, which was under the authority of Muhammad bin Tughluq. The inscription mentions the foundation date, 27th Ḏū al-Ḥijja from 733 Hijri / April 23, 1333 CE.

The mosque is built by stone, which was popular in this period. The mosque is designed with a large open courtyard, typical of Islamic architecture of the period, which measures 32 meters across. The prayer hall, 10 meters deep in the Qibla wall, located on the western side of the courtyard, is divided into three aisles parallel to the qibla wall covered by five domes, with the central aisle being the largest and capped by a higher dome featuring a jali screen for light and ventilation.

The prayer hall is divided into three aisles parallel to the Qibla. The central aisle is the largest, roofed by five shallow domes of the same height except for the one in the middle. It rises about 2 meters higher than the other distinguished by a jali (a stone grille) screen in the square area; the domes stand on eight pillars in the central aisle. The jali screen in the pendentive area of the central dome allows sunlight to enter the area of the mihrab, in addition to serving as a ventilation and air purification mechanism. The Qibla wall contains five mihrabs, the one being in the center of the qibla wall. Only the three mihrabs have buttresses outside the Qibla wall. The mihrabs are distinguished by their intricate micro-architectural decoration, which is unique among surviving mosques in Western India. The mihrabs feature miniature copies of the mosque's central mihrab above the entrance door. The mosque had inscriptions that filled the panels over the mihrabs, but all of them have disappeared, except the foundation inscription at the top of the main mihrab, which contains the name of the patron and the name of the ruling Sultan in Delhi, the capital of the Sultanate. The foundation inscription is of surprisingly poor calligraphy. The inscription also mentions the architect of the mosque, ‘Abd-al-Karim Latif.

The northern section of the Qibla portico is separated from the other parts by a jali, specifically designated for the patron and his family, known in Indian architecture as a muluk-khana (royal area). This separate section is elevated 7 meters above the mosque floor and also has a separate entrance from the outside, along with a window overlooking the northern side. The muluk-khana has its own special mihrab. On the other side, the southern dome has fallen.

The façade of the Qibla portico has a Pishtaq which has three arches of equal size. The architectural pishtaq block is connected to the central dome, explaining why the dome structurally differs from the other domes covering the Qibla portico. The prayer hall is separated from the courtyard by the three arches of the pishtaq and two large windows in the other two side sections of the portico, but the window of the muluk-khana is decorated by a jali. The façade has two small decorative towers that rise 15 meters above the roof of the mosque. They have solid shafts carved with vertical flutes, divided into various tiers by horizontal moldings, and have eaves supported by serpentine corbels. The towers or turrets are placed over the central arch of the prayer hall façade and are interpreted as renderings of the towers as viewed from ground level. The corbelling of the first set of eaves is a distinctive feature that strikes the viewer the most. These towers are considered examples of micro-architectural elements that mimic the real tower towers of much earlier structures. The roof of the prayer hall has three remaining small pavilions, each located at a corner. The collapsed northern side also probably had one.

The mosque has one minbar (pulpit) in stone which is located beside the central mihrab. It is considered one of the finest in India. The minbar has seven stairs, each one of which has a different pattern. The sides are decorated by a small square with a variety of geometric designs. The minbar is influenced by Hindu aesthetics, as seen in its four sturdy pillars adorned with robust bracket capitals, supported by elegant struts. Above, the flat ceiling of the minbar is decorated with carved bosses.

There is a platform whose function is unknown in front of the minbar. This kind of platform is noticed in several mosques in Gujurat and the Deccan plateau, but there is no interpretation of its function yet. However, residents speculate that it was designated for mosque patrons to sit on during Friday prayers.

The mosque has three entrances, two of main ones on the southern and eastern sides and a subsidiary one located in the northern wall for the muluk-khana, which has its entrance. The other two entrances are located on the southern and eastern sides. The main entrance, featuring noticeable Hindu motifs, is on the southern side, opposite the qibla. It is accessed via stairs leading to a dome supported by thirty-two pillars. The dome is adorned with intricate a jali in small squares, each with unique designs. The eastern entrance has a smaller dome.

The Hilal Khan Mosque is distinguished by its jalis delicately perforated stone screens, typically adorned with intricate patterns either of calligraphy or, more usually, of geometric motifs. This architectural embellishment finds widespread application in Hindu temple architecture, Indo-Islamic Architecture, and more broadly within the realm of Islamic Architecture.

The jali has evolved notably in Gujrat, but it manifested uniquely in the Hilal Khan Mosque, showcasing significant artistic and aesthetic distinctiveness. This element is one of the mosque’s most distinctive artistic features. It can be observed in the massive dome of the entrance on the southern side, as well as in the latticework on the northern side of the prayer hall, and it is also present in the main dome covering the mihrab area in the prayer hall. This element served multiple purposes, allowing sunlight to filter into enclosed areas, and casting soft rays that lend an aura of reverence and grandeur, particularly in areas like the mihrab and prayer hall. Additionally, it served to separate the prayer rooms for the patrons’ families in the mosque from the rest of its spaces. The Hilal Khan Mosque is one of the most important mosques in that historic region of India, serving as a cultural and artistic link during a vital period in India’s long and layered history. With its exquisite artistic details and craftsmanship, from the design of the mosque itself to the intricate details of the minbar and decorative mihrabs, and finally to the architectural elements within the mosque, it stands out. The mosque now forms an essential part of the fabric of the community in Dholka, with residents visiting it from time to time, highlighting this characteristic.