Islamic architecture part 2

ISLAMIC
ARCHITECTURE
15TH & 16TH CHAPTERS
19261AA001-VASAVI
19261AA004-BHAVNA CHOUDHARY
19261AA007-MEGHANA
19261AA010-SRIJA
19261AA015-JAYESH
19261AA016-ALANKRITHA
19261AA029-POOJA NAIR
19261AA040- SUREANDRA

THERE can be few countries which exhibit more contrasting manifestations of
architecture than the
State of Kashmir
In the first instance there was the classical. aristocratic. and hierarchic development
represented by the stone monuments of the Buddhist-Hindu period which flourished
mainly during the first millennium
this was followed by a period of building in wood. as illustrated by
the more democratic folk architecture which prevailed under
the Mohammedan rule
finally there was a short interval
in the sixteenth and seventeenth centuries. when the Mughul
emperors brought into the State their own style of stone
architecture, as shown by a few examples of unmistakable
character.
But the type of architecture associated principally with the Islamic
domination of Kashmir is that constructed almost entirely of wood
and which assumed a singularly distinctive form.

Although this method of building first comes into view with the Mohammedan occupation of
the country towards the fourteenth and fifteenth centuries. and is the mode that is still largely
used, there is every indication that building in wood in Kashmir. has a very ancient history.
For civic and secular purposes it was no doubt co-existent with the stone architecture of the
first millennium, but on account of its impermanence all examples of such an early
development have disappeared.
In support of its ancient usage there is the evidence of the style of
this wooden architecture itself, which by the manner of its
manipulation. and its suitability to the climate, country, and
the needs of the people all prove that it was a constructional
method that hadlong been in regular use.
no other part of India was serviceable timber available in greater
Quantities or :not readily accessible. and it could therefore be used
in all structural operations without stint. This fact alone conditioned
not a little the methods of the workmen and the character of the
building art, as in such circumstances the matter of economy of
material did not arise.

The technique of the woodwork of Kashmir consisted in the elementary contrivance of laying
one log horizontally on another, usually crosswise in the form of "headers and stretchers" as in
brickwork, not only the walls, but also on occasion the piers for the support.
however. single tree trunks were generally employed. A variety of cedar tree. deodar is the wood
mainly used and is ﬂoated down the rivers in the form of huge balks to its destination.The
simplest method of such log construction may be studied in the series of bridges which span
the river Jhelum at Srinagar
Several of these kadhals as they are called, are still built on the cantilever principle and
illustrate a system of bridge building which has probably been in practice for many hundreds
of years.
The main supports,or piers, take the form of a massive wooden structure, general appearance
resembling an inverted pyramid with its truncated apex resting on a solidly built masonry
cutwater.
Each pier is built up of layers of logs,
in alternate courses placed transversely. at
Right angles, in such a manner as to make it
sufficiently strong to withstand a fair ﬂood
current below. and to carry a reasonable load
above.

Kashmir productions, no struts, trusses, or diagonal
members to secure lateral ~dity. the sole system being
that of a dead weight beanng directly downwards, on
much the same principle as the early stone masonry of
the temples.
Buildings presented provided little stability;
and being further loaded with insertions of brickwork,
it is not surprising that they frequently collapsed.
Fire, also. at frequent intervals has made havoc with
these inﬂammable ediﬁces, many of which on this
account at one time or another having to be rebuilt.
In these circumstances, although the foundations of
several of the more important examples of this wooden
architecture from an early period of Moslem rule,
little of their original structure remains. most of it
consisting of later replacements.

The typical wooden structures of
Kashmir takes the form of either a
mosque or a ziarat (a tomb). In design
both the mosque and ziarat compose
the same main architectural elements.
The main architectural elements are
● Lower cubical structure
● A pyramidal roof
● A slender spire
In larger mosques there is an fourth
element interposed between the apex of
the roof and the base of the spire.(
thales the form of a square open
pavilion.
Here the muezzin makes is call for
prayer.

The MOSQUE OF SHAH HAMADAN in
Srinagar is a typical example of the
wooden architecture of the country
(with some extraneous features)
● On the right bank of the river
Jhelum on an irregular masonry
foundation composed of ancient
temple materials.
● Exclusive of its verandah
extensions, in plan a square of side
70ft and two stories in height (up to
its eave it's nearly 50ft).
● The pyramidal roof surmounted by
the open pavilion for the muezzin,
over which rises the steeple with its
ﬁnial at a height of 125ft from the
ground.

● Most of the walls of the lower part of
the structure is formed of logs,
trimmed square and laid in alternate
courses.
● Under the eave is a heavy corine, also
of logs, corbelled out of the wall-face
on the timbers laid crosswise.
● The superimposed lighter structures
in the form of verandahs and porticos,
their opening ﬁlled with lattice work (
pinjra) and enriched with carved
wooden insertions.
● The pyramidal roof, projecting over the
whole composition, is in three tires.
● Above the open pavilion which crown
the roof, rise like projections at the
foot do the steeple, breaking its
formality with the effective passages
of shadow.

● Out of the two stories of the mosque,
only the interior of the group ﬂoor has
any architectural presentations.
● The upper part of the building being
plain and severely structural.
● The lower hall in plan is rectangular measuring
63ft by 43ft.
● Four wooden pillars of 20ft height forming a
square bay occupy the central area of the
compartments, the walls of which are panelled
wood with an ornamented dado and other
embellishments.
● The interior is an unaffected production
possessing no special structural features.
● With its tapering eight sided pillars having folited
bases and capitals, the arched and recessed
mihrab, its panelled walls stained to a rich brown
, the painted ceiling and the many colored
prayer carpets on the ﬂoor, its whole appearance
while supremely sensuous retains at the same
time an atmosphere of suitable solemnity.

JAMA MASJID
● The most impressive and also the most ‘Architectural’ building in the wooden
style of kashmir is the jama masjid at Srinagar
● It was founded by the ruler sikandar butshikan as early as A.D. 1400 and
enlarged by his son and successor zain ul abidin

● The considerable portion of this
immense mosque is from an early date
have been composed of brick masonry
● In its interior a large amount of timber
work and accordingly damaged by ﬁre
● Later it was renovated by aurangazebe
in a same style and followed the original
plan
● This huge structure contains all the
architectural elements which are the
essential components of the kashmir
type of wooden building
● But it is so disposed as to form a
conception more nearly to that of the
orthodox mosque plan
SRINAGAR

● It consists therefore of a square
courtyard of some 240 feet in diameter
surrounded on all four sides with wide
colonnades.
● The entire area being contained within a
lofty exterior wall making a rectangle of
285 feet side.
● Externally its elevation is composed
mainly of this retaining wall. displaying an
enormous expanse of plain brickwork
averaging 30 feet in height all round the
building which.
● except for the three projecting entrances
in the middle of the north. south. and
east. is relieved only by a series of small
arched openings towards its upper
portion.
● The principal entrance is that on the south
side. and consists of a recessed portico
which leads across the colonnade forming
the southern cloisters into the courtyard of
the interior.

● Around the courtyard a
continuous arched arcade with
a clerestory is carried
● in the centre of each side the
sequence of arches is
interrupted by the imposition
of a large structure of almost
independent appearance.
having a square frontage
containing an archway.
● while above rises a pyramidal
roof and steeple. In other
words in the middle of each
side is interposed an example
of the "ziarat" form of building.
● the structural conﬁguration already
described as typical of the wooden
architecture of the country. Of these
four "ziarat" fonnations those on
three sides resolve themselves into
entrance halls.

● But the real greatness of the conception lies in the
treatment of its manifold pillared aisles and cloisters.
These lofty colonnades extend around the entire
building, four aisles deep on three sides and three aisles
deep on the fourth side.
● They are composed of ranges of pillars each made out
of a single deodar trunk, varying from 25 feet to nearly
So feet in height. as they amount _ to as many as 378 in
number.
● some idea of the slender verticality and elongated
effect of the interior perspective may be gained. While
there is much that impresses in the general appearance
of this immense building.
● principally on account of its stately proportions yet. as
with several of the la.lJer congregational mosques in
India, its almost grandiose dimensions.
● combined with an unemotional architectural character.
invest it with an atmosphere of aloofness not felt in the
lesser and more intimate productions.

● The ascendancy of the Mughals. there are
a few structures dating from the early
Islamic period which indicate that at one
time an effort was made to adapt some of
the existing Hindu remains to Musulman
use
● several of these are of sufficient interest to
merit reference, especially.as the additions
made to them show affinities to the
contemporary brick· and glazed tile
architecture of Persia.
● The principal building illustrating such
a system of conversion is a tomb in
Srinagar known as that of
Zain-ul-Abidin's mother. and was erected
by this Moslem ruler early in his long
reign. from 1420 to 1470.

● One of the oldest Mohammedan buildings
in Srinagar. the basement is obviously that
of a Hindu stone temple of the ninth
century.
● the whole of the upper portion of which
was dismantled to make way for an erection
in accordance with Islamic needs.
● Except for this removal. the temenos of the
shrine remains much as it was originally.
with its low walls and gateways still in situ.
● The plan of the Hindu building was a
square with. rectangular otIsets projecting
diagonally from each of its angles. a
formation which. it may be observed. made
it less difficult to convert into a structure
resembling the conventional Moslem tomb.

● This conversion was effected by carrying up the
shape of the existing basement by means of a brick
superstructure into the form of a tomb chamber and
surmounting the whole with a cluster of nve cupolas.
● one of these being a large and central dome with the
others smaller and attached to its sides.
● In each wall-face a pointed archway has been set.
and there are the remains of ﬂuting and reading in
the tall drums of the domes.
● while the inner doorway seems to have been an
attempt at a rare type of horse-shoe arch.
● The design and execution of this tomb indicate that
it was the production of men accustomed to working
in brick masonry. and in a method implying Persian
inﬂuence.

● Another Moslem tomb in Srinagar. constructed in
much the same manner as the foregoing, is that of Pir
Haji Mohammed Sahib, its plinth and the corners of
the superstructure. together With the enclosure all having
formed part of an earlier Hindu shrine,still in its original
Position.
● Also of a similar nature is the rauza or tomb
and mosque of Madani, in the suburb of Zadibal, an
example more picturesque than architectural, as it is
composed of an aggregation of miscellaneous remains.
● Built on the site of an old temple, the stone plinth of the
mosque is Hindu and the brick walls are Mohammedan.
Some carved temple columns are in the porch of the
mosque. and two similar columns have been used in the
inner chamber of the tomb. while there is a date inscribed
over the doorway of the former building equivalent
to A. D. 1444.
● But the chief attraction is the
tile-work, particularly that in the spandrels. which
in its style. design and execution has every appearance
of being of Persian manufacture. Of mixed construction
also is the Jami Masjid in the town of Pampur,
only the basement of which is composed of tem~
spoils. the upper ~on being in the wood and brick
mode characteristic of the Islamic style as a whole.
Madin sahib tomb

● But the chief attraction is the tile-work, particularly that in the
spandrels. Which in its style, design and execution has every
appearance of being of Persian manufacture. Of mixed
construction also is the Jami Masjid in the town of Pampur, only
the basement of which is composed of temple soils, the upper
portion being in the wood and brick mode characteristic of the
Islamic style as a whole.
● There now remains the effort made by the mughals in the
sixteenth and seventeenth centuries to revive the art of
stone building in the state not however, in its ancient form,
but according to the architectural ideals of this dominating
dynasty.
● The style , mughal emperors introduced into the country was
that which at the time was ﬂourishing with such vigour in all
parts of Hindustan and of a character which is generally so
distinctive that it cannot be mistaken.
● There are 3 such buildings
- Fort of Hari Parbat
- the “pattar” or Stone masjid
- the mosque of Akhun Mulla Shah
All executed in the grey limestone readily available in the
valley
Jami masjid in pampur

Hari parbat fort Hari parbat fort
● Akhun Kulla Shah mosque ● the “pattar” or Stone masjid

● The Akhun Kulla Shah mosque which stands on the scarp of the Hari Parbat Fort
enclosure, and in spite of its very moderate size and dilapidated condition is well worthy
of note. Brieﬂy it may be described as a mosque within a mosque as the sanctuary forms
a separate and detached building standing within a surrounding courtyard.
● Such a structural system so admirably suits the purposes for which it was intended, that
it is surprising it was not copied in larger and more important examples. Here the plan
resolves itself into a relatively large rectangular enclosure containing a tank for
ablutions and bounded by a ranee of compartments for the accommodation of
attendants and devotees.
● At the western of this enclosure is the mosque sanctuary isolated from
its surroundings and consisting of a square building around a square open court, the
front portion forming the entrance, the sides the aisles, and the western end the prayer
hall.
● Constructed of grey granite slabs over a core of brickwork, the proportions of this
building the simplicity of its surface treatment, its architectural character and
manipulation generally, are an most commendable.
● Akhun Kulla Shah mosque

● In addition to the fort and the two m~ues there are other structural
records, mainly in brick masonry , of the Mughul occupation of
the valley, some of these being sumptuous summer resorts, such
as the Pari mahal, or "Fairy Palace," on the hillside overlooking the
Dal Lake, which although interesting in its arrangement of
terraces is of no Special architectural signiﬁcance, and, having
evidently been hastily erected, is mostly in ruins.
● An exception may however be made in one instance, the large
baradari or pavilion in the celebrated Shalimar Bagh, or "Garden
of Bliss," a Loggia of black stone pillars and sculptured brackets,
with every part in pleasing proportion and most artistically
executed. But all such masonry buildings, whether of stone or
brick, were architectural impositions, introduced into the country
to satisfy the requirements of its alien rulers.
● The indigenous style mainly composed of timber, and designed
and constructed according to tradition, took nothing from these
intruding productions,it continued on its course, uninterrupted
unaffected by any inﬂuences from without, either Persian or
mughul.
● Pari mahal
● Shalimar Bagh

● The empire of the Mughuls was founded by Babur
in 1526, but before their rule had been ﬁrmly
established, it was interrupted by the Afghan
usurper, Sher Shah Sur, who seized the throne of
Delhi, and for an interval of ﬁfteen years the Sur
dynasty reigned in the Moslem capital.
● The architectural projects of Sher Shah Sur
resolved themselves into two distinct
manifestations, each produced under diverse
conditions and in two different localities.
SHER SHAH SURI

● The earlier phase emerged during the
period that this accomplished Afghan
adventurer was all-powerful in the Lower
Provinces, the mausoleums that were
erected at his capital seat of Sasaram in
Bihar, illustrating the ﬁnal fulﬁlment of the
Lodi style by which they had been inspired.
● On the other hand the second phase
depicts the building art when, having
wrested the throne of Delhi from the Mughul
emperor Humayun, Sher Shah proceeded by
his active patronage not only to precipitate
the oncoming architectural movement then
in process of formation, but to make it into
what was destined to be a most important
stage in the development of the subsequent
style of the Mughuls.
INSIDE SHER SHAH SURI’S TOMB

● The first of these two architectural Phases-that at
Sasaram, now a small town in the Shahabad district of
Bihar, is represented by a group of tombs , three
belonging to the ruling family, and one a memorial to the
architect who built these; another tomb at Chainpur a few
miles to the west is that of Bakhtiyar Khan, a noble-man of
the time.
● All appear to have been planned, if not partly erected,
during the decade before Sher Shah Sur assumed this
sovereignty at Delhi in 1540, and it may have been some
presage of his imperial ambitions that moved him to
desire those tombs in which he was personaIly concerned
to be of the same order as the royal mausoleums at the
Moslem capital.
● It is somewhat of an irony therefore that the finest
example of what has come to be regarded as the Lodi
type of tomb was produced not in Delhi, but on this
relatively remote site in the provinces, five hundred miles
distant and an appreciable time after the Lodi rule had
come to an end.

● Sher Shah's own tomb at Sasaram, although a provincial monument is so much
superior to anything at the muslim capital that it is cIear there was some
exceptional driving force behind its execution.
● Obviously the explanation is that the Delhi tombs, although good of their
kind, are the expression of a ruling power approaching its decline, while, on
the other hand, Sher Shah Sur throughout his brief career, showed in all his
building projects the vigour and audacity of a fresh and rising personality.
● To insure therefore that the family tombs of the Suris should be true to style,
this ruler procured a master-builder of the name of Aliwal Khan,trained in the
imperial tradition, to carry out his schemes,and his ﬁrst commission at
Sasaram was the construction, about I535, of the tomb of his patron's father
Hasan Khan
● This mausoleum building, which is contained within a walled enclosure
entered by appropriate portals, is a copy of a Lodi tomb of the octagonal
variety already described, and although a composition having undoubted
merit,is hardly equal in its architectural qualities to a number of those that
had previously appeared at Delhi.

● In the ﬁrst place there is no plinth, the building
stands level with the ground without any
substructure, a fact which robs it of some of Its
stature and dignity.
● Then the middle story is merely a bare wall of little
interest, in the Delhi examples this would have been
either fenestrated or screened at intervals by a
series of kiosks. Incidentally, it may be noted, that
in these Sasaram productions, there are no
indications of any inclined walling, although the
"Firuzian slope" still persisted in some of the tombs
being erected at the same time at the northern
capital.
● It is possible that any short-comings in the design
of Hasan Khan's mausoleum may be due to the fact
that this building was partly of an experimental
nature, but what is remarkable, is that the next
tomb produced very soon afterwards of Sher Shah
Sur himself, is so far in advance of its predecessor
as to be in a class by itself, for it is one of the
grandest and most imaginative architectural
conceptions in the whole of India.

Aliwal Khan's trial effort Certainly bore rich fruit. This designer had obviously taken
the Lodi type as his basis, but has so amp1ified the original model that he has
transformed it into a very difterent thing; in other words he has used the Delhi
examples merely as stepping stones leading to an architectural creation belonging
to another and higher plane. Not only has he appreciably enlarged the normal
proportions of his Model so that the Sasaram mausoleum is everal times the
diameter of any Lodi tomb, as it is 250 feet wide, but he has increased the number
of stories, thus producing an immense pyramidal pile of ordered masonry in five
distinct stages, the whole rising to the considerable height of 150 feet. But what
makes this composition unique is its unrivalled setting, as the entire structure
stands foursquare in the centre of a great artificial lake, so extensive that each of
its concreted sides measures as much as 1400 feet in length.

● Those responsible for this masterpiece were unquestionably gifted with
phenomenal vision,for the spectacle of such a ponderous building, solid and
stable in itself yet apparently ﬂoating on the face of the waters,its reﬂections
creating the illusion of movement and at the same time duplicating its bulk is
unforgettable.
● The two comprising the foundations of this island tomb, consisting of a
stepped basement rising directly out of the water, and a tall above, are both
square in plan, the latter being so designed that its upper surface forms an
ample courtyard with a substantial pillard pavilion at each corner.
● Occupying the great space within this courtyard is the tomb building, an
octagonal structure in three diminishing stages, and surmounted by the
broad low dome.The lowest story is in the fonn of a verandah,having triple
arches in each of its eight sides with a projecting eave above, over which rises
a high crenelated parapet

● The second stage is a plain wall similar to that in tomb of Hasan Khan but
here its surfaces have been partly screened by a pillared kiosk at each angle
and there are also projecting window openings between.
● The third stage is the drum of the dome and this also is relieved by a series
of kiosks which actually break into its circular base, thus carrying the eye
along its ascending curves to the massive lotus ﬁnal which crowns the whole.

● Such is the scheme of this building in its bare outlines,but it resolves itself into
much more than a skilful grouping of its major parts, however elegant they may
be,For viewed as an example of architectural expression it is an inspired
achievement, a creation- of sober of massive splendour of which any country
would be proud.
● The proportions of its diminishing stages harmonious transition from square
to octagon from octagon to sphere, the variety and distribution of its tonal
values, the simplicity, breadth and scale of each major element, and,
ﬁnally,the carefully adjusted mass of the total conception, show the aesthetic
capacity of the Indian architect at its greatest and his genius at its highest.
● Passing to the interior arrangements of this mausoleum, the tomb chamber is
entered through the encircling verandah by doorways, one in each side except
that in the west which is sealed to accommodate the mihrab.
● Light is admitted mainly through the doorways, but a certain amount penetrates
into the upper portion of the hall through perforated screens in the triforium
arcade. As a whole, the interior of the tomb chamber is moderately plain, the only
enrichment being inscriptions carved on the qibla wall consisting of graceful
lettering but with little ornamental elaboration.

● This monument is constructed of the ﬁne sandstone obtained from the
historic quarries of Chunar situated only a short distance away, the masonry
being in large blocks laid in rather irregular courses, but the stones are
well-dressed with good joints. As it now appears the building is a uniform grey
mass, presenting a sombre effect in keeping with its solemn purpose, but it is
quite clear that when ﬁrst produced it was intended to convey a very different
impression. For there are sufficient remains of glazed and painted decoration
on its exterior walls to indicate that generous passages of broken colour were
an important part of the scheme.
● As this monument was evidently purposely situated close to that famous highway
now known as the Grand Trunk Road, along which for centuries the never-ending
traffic has passed and repassed between the furthermost limits of the empire,
graphic accounts of its splendour must have spread far and wide

● The Mausoleum of Sher Shah at Sasaram appears to have been built on a
perfectly symmetrical plan but a curious correction in its orientation had to be
affected during the course of its erection.
● It was intended that the building should have its faces opposite the points of the
compass, but on completing the great stepped plinth, it was discovered that
through some miscalculation this foundation of Masonry was eight degrees in
error.
● Another circumstance which seems to have occurred early in the production of
this monument concerned the particular manner in which the central edifice
should be approached from the mainland.
● The character of the stepped platform, the staircase down to the waters edge on
each side. the landing stage on the eastern margin of the lake, and finally the
unconvincing attachment of the causeway to the tomb terrace. all seem to point to
such being the original plan.
● This mausoleum was also located in a large artificial Jake, and the causeway,
although resembling a bridge, contains no arches, but consists of a succession of
piers with the intervening spaces spanned by stone beams having bracket
'Supports, somewhat on the cantilever principle, each pier carrying a kiosk and
projecting balconies. Intended to be larger even than that of Sher Shah's immense
monument, this great work was never furnished as Salim Shah died in 1552, and it
is therefore the last architectural undertaking of the Sur dynasty.

● The second phase of the building art as produced under this
Afghan succession may be now reviewed. No sooner was Sher
Shah Sur seated on the throne at Delhi in 1540, than he
immediately proceeded to initiate an architectural movement fully
expressive of his aesthetic as well as his forceful nature.
● This began by a building project known as the Purana Qila, or "Old Fort," a walled
enclosure of considerable size artd forming the citadel around which Sher Shah
planned his capital, the sixth city of Delhi.
● The Parana Qila when eamp1ete was an impressive concentration of military and
palatial architecture. and the destruction of the palace
halls and pavilions it once contained, probably Ordered
by the lIughal emperor Humayun When he resumed power
in 1550 has deprived posterity not only of some
remarkable examples of the building art at an interesting
stage in its development. but what must have been a rare
grouping of structures of a most romantic and
picturesque order

● There are few fortresses in India which recall more vividly the days of mediaeval
pageantry and oriental ceremony than Sher Shah's citadel at Delhi.
● Its grim gray bastioned walls are strongly built of rough but well bonded rubble
masonry, a distinct contrast in colour and structural texture to the high artistic
ﬁnish of the gateways, formed of smooth red sandstone and white marble with
occasional insets of blue glaze.
● Exceptionally elegant in a robust and forceful manner are the
entrances to this stronghold, particularly the Bara Darwaza, or
main gateway in the middle of the western wall, its architectural
treatment preﬁguring the style of building that was within.
● This style is represented by two structures, one of which, a mosque
known as the Qila-j-Kuhna masjid, is not only the prime example of
the building art as practised at Delhi in the time of the Sur dynasty,
but in itself is a gem of architectural design.

● The Qila-i-Kuhna masjid was the Chapel Royal of the Sur rulers when they
occupied the citadel of the Purana Qila, and was built by Sher Shah Sur about
1542, this mosque with a small structure named the Sher Mandai, standing solitary
and meaningless on the vacant space now formed within the fort waIls.
● In their architectural scheme these(Jama Masjid & Qila-j-Kuhna Masjid) two
mosques are much alike. the facade of each consisting of an arrangement of five
archways, that in the centre being sunk in an arched recess contained within a
pronounced rectangular frontage above, and at the rear of which rises a single
Lodi dome.
● Each interior is fonned of one long hall divided into five bays by lateral arches,
which are repeated as an arcade along the qibla wall, while the various systems of
roof support employed in each building are of the same kind.
● Each architectural feature crudely fashioned in the Jamala mosque has been
refined. improved, or amplified in order to fit it for its place in the finished
production of the Qila-i-Kuhna.
● Sher Shah's Chapel Royal in the Purana Qila represents the culmination of its type.
The Qila-i-Kuhna masjid consists only of the sanctuary of the usual mosque
scheme, and occupies an oblong 158 feet by 45 feet with a total height of 66 feet.

Islamic architecture part 2

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Islamic architecture part 2