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The Present work is an intensive study of the origin and development of the ornament in Mughal Architecture. It is the 'beautiful' which is most distinctive characteristic and the dominating theme of this style and it is this which primarily occupied contemplation of Mughal Builders. This 'beautiful' has not appeared in the Mughal Monuments unconsciously or by chance; this has been brought about with greatest amount of thought and planning through various means and methods.The Mughal Architects from Akbar to Shah Jehan worked out the minutest details of the structure and the surface which he intended to adorn. Mughals adopted almost all the decorative schemes, designs and motifs which were then known in the Orient. They used arch and dome, and also pillars, strut, chhatri and kalasa; inscriptions in Naskhi and Nastaliq characters, arabesque, stalactite and geometricals and also animate designs composed of hastin, makara, hansa, and mayura and symbolic motifs of the ancient Hindus such as kalasa, padma, gavaksa, kirttimukha, svastika, cakra and satkona - to quote some examples of his choice of ornament - is representative of lucid skill and amazing capacity to accept, adopt and assimilate.This book explains scores of obscure and controversial points and corrects the popular misnomers; it brings to light facts which were not known, e.g. the use by the Mughals of fabulous animals, Tantric symbols and Chinese Cloud forms to quote only a few examples. Study of this aspect of Mughal Architecture would help us to present the History of our Medieval culture in its true spirit and correct perspective.This title was published in 1980 and it is its updated second edition. Ajay Nath
This groundbreaking volume examines how the Mughal Empire used architecture to refashion its identity and stage authority in the 18th century, as it struggled to maintain political power against both regional challenges and the encroaching British Empire.
An exquisitely illustrated survey of the decorative motifs and visual themes from one of the great artistic periods in Indian history. Mughal decorative arts delight in arabesque and geometric designs, as well as scenes of nature (flowers, birds, and animals) and human pleasure (music, dancing, feasting, love-making). Master craftsmen at the Mughal and Rajput courts employed a variety of materials and techniques to produce marble panels inlaid with semi-precious stones, sandstone screens perforated with geometric designs, brass vessels inlaid with strips of silver and gold, jade drinking cups, dagger hilts encrusted with rubies and emeralds, and costumes and sashes embroidered with silk and golden threads. No less gorgeous were the vividly toned and exquisitely detailed miniature paintings that portrayed contemporary events as well as epic tales. Drawing on the finest and most representative examples in public and private collections in India, Europe, and America, this stunning survey examines common decorative motifs and themes in Mughal art. More than 300 illustrations amply convey the virtuoso workmanship and the sheer elegance of design common to all objects. It will be an essential reference work for art historians, designers, and anyone interested in the arts and life of India. 300+ color photographs and illustrations.
The buildings of Mughal India constitute one of the world's greatest architectural traditions. Whether it is the Taj Mahal in Agra, the Red Fort in Delhi or the palaces of Fatehpur Sikri, these and other similarly well-preserved monuments of the 16th and 17th centuries testify to the refined taste and unlimited resources of a line of powerful patrons, notably the emperors Akbar, Jahangir and Shah Jahan. Mughal architecture is a remarkable hybrid that fuses building forms, techniques and decorative schemes imported from Iran and Central Asia with long-established Indian materials and techniques. The results are both structurally innovative and aesthetically spectacular, a testament to the genius of Indian masons and craftsmen. The first comprehensive survey of the subject in more than 20 years, this lavish volume documents nearly 100 Mughal sites and monuments in India, Pakistan and Bangladesh. Mughal Architecture and Gardens is enhanced by over 250 stunning colour photographs by Amit Pasricha, one of the most talented architectural photographers working today. His photographs are accompanied by over 80 specially commissioned building plans and site layouts. Sumptuously illustrated with a text by renowned architectural historian George Michell, this book is of interest to students and scholars as well as travellers and general readers. AUTHOR: George Michell is an architectural historian, specialising in ancient Indian architecture. He obtained his PhD from the School of Oriental African Studies, University of London, has directed courses on Asian architecture at the Architectural Association, London, and was co-editor of the journal Art and Archaeology Research Papers from 1972 to 1982. Since the 1980s, he has co-directed an international team of scholars and students at Vijayanagara, the medieval Hindu site in Karnataka. George Mitchell has also lectured at universities and museums throughout the USA, Europe, India and Australia. Among his many publications are The Royal Palaces of India, Islamic Heritage of the Deccan, Architecture of the Islamic World: Its History and Social Meaning and Palaces of Rajasthan. Amit Pasricha lives in New Delhi and comes from a family of photographers. A well-known architectural and social documentary photographer, his work has been exhibited in India, London and New York. His photographs have also been published in several books, including Dome over India: Rashtrapati Bhavan, Horizons: The Tata-India Century and India: Then and Now. Pasricha's most recent publication is the panoramic collector's edition, The Monumental India Book, winner of the Indian Tourism Award, 2008. SELLING POINTS: The first comprehensive survey of the subject in more than 20 years, this lavish volume documents nearly 100 Mughal sites and monuments in India, Pakistan and Bangladesh ILLUSTRATIONS: 270 colour
This Volume Of The Author S 5-Vol Series History Of Mughal Architecture Studies Such Aspects Of The Architecture Of Jehangir S Age (1605-27 A.D.) As Public Works (Roads-And-Sarais), Gardens And Garden-Pavilions, Palatial Mansions And Shikargahs, Picture Wall Of Lahore Fort And Tombs, Each In A Separate Chapter. It Covers 43 Monuments, Extending From Kabul To Allahabad, And Kashmir To Burhanpur, And The Scope Of This Volume Is Much Wider Than The Earlier Ones.That Public Works As Roads, Kos-Minars, Bridges, Sarais, Wells, Baolis And Porters Walls Were Built And Maintained At Government Expense Testifies That The; Mughal State Was Fully Alive To The Welfare Of Its Subjects. Four Masonry Bridges Have Been Specifically Studied. Jehangir Was Greatly Interested In Gardens, And Garden-Craft Received A Distinct Form Under His Patronage. Palaces Were Built Amidst Gardens, Mostly On The Riverbank, With Characteristic Idioms Of The Age. A Unique Building Complex, Which Developed Under Him, Was Shikargah (Hunting Lodge) And Four Representative Examples Have Been Studied. The Glazed-Tiled Picture Wall Of The Lahore Fort Is Unique In Respect Of Its Scale, Scheme And Subjects. Originally, It Covered An Immense Mural Area 500 Yards In Length And 16 Yards In Height, By An Ingenious System Of Panelling Which, Besides Stylized Florals, Arabesques And Geometricals, Depicted Beautiful Figurative Compositions. Architect, Potter, Painter And Glazed-Tiler Collaborated On This Grand Project Which Has No Parallel In The World.Domeless Tomb With A Barahdari With Chaukhandi Roof Or A Plain Chabutarah Was Also A Unique Growth Of This Age And The Most Notable Tombs Of This Class, As Those Of Akbar, I Timad-Ud-Daulah And Jehangir, Have Been Studied In Detail. Development Of Such Distinctive Architectural Features As Dado , Gateway And Minar Also Belongs To This Period, During Which Unprecedented Emphasis Was Given On Ornamentation, Which Is Why This Art-Epoch Is Noted For Colour And Design . This Study Has Been Made In The Context Of, And With Reference To, The Cultural Milieu Which Produced It And This Is Not Only A History Of Jehangir S Architecture But Also A History Of Jehangir S Age And History Of Jehangir S India. It Is A History Of Those Tender Feelings, Sublime Thoughts And Subtle Ideas Which Go To Make A Civilization, Not Of Those Political Intrigues And Feuds, And Military Conflicts Which Destroy It.
The Eleven Studies In This Book Offer A Fresh And Unique Interpretation Of Mughal Art And Architecture And Its Heterogeneous Sources-Central Asian Timurid, Indian, Persian And European-Fused Creatively To Express An Imperial Ideology Of Universal Aspirations.
A survey of spectacular breadth, covering the history of decorative arts and design worldwide over the past six hundred years
- Offers fresh insights into the rich aesthetic and cultural legacy of the Imperial Mughal age in the Indian subcontinent - Essays by 13 eminent international scholars draw comparisons between the Mughals, the Safavids and the Ottomans - Over 159 images of Mughal artifacts, paintings, gardens and monuments illustrate the lasting heritage of the Imperial Mughals Enter the splendid world of Mughal India and explore its rich aesthetic and cultural legacy through fresh insights offered by 13 eminent scholars. Recent scholarship in this field has offered deeper analysis into established norms, explored pan-Indian connections and drawn comparisons with contemporaneous regions of the early modern world. Further studies along these lines were encouraged in a seminar held by the K.R. Cama Oriental Institute, Mumbai, and the formidable scholarship presented by contributors forms the content of this volume. The articles in this book explore varied subjects under the Mughal umbrella, challenge long-held ideas and draw comparisons between the artistic expressions and material culture of the powerful Islamicate triumvirate of the early modern period - the Safavids in Iran, the European-based Ottomans and the Mughals in the Indian subcontinent. Themes as diverse as portraits of royal women, sub-imperial patronage of temples, word-image relationship, the lapidary arts and the Imperial Library of the Mughals, a reconsideration of Mughal garden typologies, murals painted on architectural surfaces, the textile culture of the city of Burhanpur, changes in visual language and content of painting, and Imperial objets d'art have been discussed, challenged and analyzed. The final three articles are groundbreaking comparisons across Ottoman, Safavid and Mughal spheres. This beautifully illustrated book is sure to appeal to c
The buildings erected in the Deccan region of India belonged to a number of pre-Mughal kingdoms that reigned in the Deccan from the middle of the 14th century onwards [to the 18th century]. The monuments testify to a culture where local and imported ideas, vernacular and pan-Islamic traditions fused and re-interpreted, to create a majestic architectural heritage with exceptional buildings on the edge of the Islamic world. Many are still standing - yet outside this region of peninsular India, they remain largely unknown.General publications on Indian Islamic architecture usually devote a single chapter to the Deccan. Even specialist monographs can only cover a portion of the region, due to the sheer number of sites. While it is impossible to encompass the full breadth of the subject in a single volume, this book aims to embrace the visual diversity of the Deccan without sacrificing the rigour of academic study. Structures of historical or architectural significance are placed in their context, as the authors discuss building typologies, civic facilities and ornamental techniques, from plaster and carved stone to glazed tiles and mural painting. A chapter is dedicated to each principal Deccan site, interweaving the rise and fall of these cities with a pictorial journey through their ruins, and each building is accompanied by an overhead plan view.