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The Book Studies Inlay Art That Developed In Mughal Architecture Indigenously, From Humayun To Shah Jehan (C. 1535 To 1658 Ad). Mughal Inlay Is Architectural And To Brand It Pietra-Dura , Which Was A Florentine Picture-Art Used On Wooden Furniture, Is A Misnomer. This Book Also Reveals That Orpheus Plaques Which Led The Colonial Historians To Florence To Trace The Origin Of Mughal Inlay Were Imported Ready-Made And There Is No Other Example Of Florentine Pietra-Dura.
This is study of the INLAY art as it developed in Mughal Architecture, from Humayun to Shah Jehan (c. AD 1535-1658) indigenously, and independent of any extraneous inspiration or influence, landmark examples whereof have been cited with illustrations (64 b&w and 16 colour plates). It is wrong to brand it: pietra-dura or pietre-dure which misnomer was pasted upon it by nineteenth and early twentieth century colonial historians who suffered by a sense of inherent superiority of European culture and art, and who could not believe that the Indian people, whom Macaulay fondly called 'semi-savage' could develop such a fine and exquisite art as this, which even the classical Greeks and the Romans, who also worked in marbles, could not do!
Like the Mughal INLAY Art (v. Pachchīkārī; Per. Parchīnkārī) (for full details whereof, see Prof R.Nath, Mughal Inlay Art, Amazon.com, Mughal JĀLĪ Art is a STONE ART which was developed to perfection, indigenously, by the Imperial Mughals (from Akbar to Shah Jehan, 1556 to 1658 A.D.). And, like their Inlay Art, their Jālī Art is also unique in the whole range of architectural ornamental schemes of ancient and medieval civilizations of the world, so much so that such wonderful jālīs are not available anywhere else!Mughal jālīs have been carved in stone (both in red sandstone and in white marble) in infinite variety of designs (in different shapes and forms, composed of stars, trigons, squares, pentagons, hexagons, octagons, decagons and other motifs), in incalculable numbers, with precise spatial adaptability, unprecedented fineness and exquisite aesthetic effect.With thorough historical background, both from indigenous and exotic sources, the Mughal jālīs have been studied here with 200 illustrations which have been selected from 800 digital images. I believe, this shall be of use and interest, not only for students, scholars, historians and architects, academically, but also for builders and artisans of handicrafts, practically.Though Jālī (from Sanskrit "Jāla' and "Jālaka') has been described in ancient architectural texts, it owes its growth and development, to this magnificent scale and stature, to the Mughals and it belongs to the 16th and 17th century stone-art of India. It is an essential element of Mughal Architecture.In fact, there is no equivalent word in English and "perforated screen‟ is just a workable substitute used by English authors like Percy Brown. Jālī is not lattice.Red sandstone and white marble jālīs have been universally used in Mughal monuments, on edges of platforms, causeways and terraces (as railings, with balusters), and also on the edges of the projecting chhajjas, jharokhas and gaukhs (balconies); and along with chhatris. Jālīs are also used gorgeously to close window and door openings for purdah (veil) and for effect. While they admit free air, they temper sunlight and eliminate its glare. Jālīs are used as excellent ventilators in private inner rooms, toilets and on drains. Essentially a useful architectural accessory, the Mughals made it a work of art.The Mughals have mostly used geometrical jālīs, both with straight and curved lines. Mughal artist‟s ingenuity knew no bounds and the number of Mughal jālīs is legion and variety unlimited. They have also used floral, arabesque and stylized designs.Jālīs have been used in different shapes and forms, and are square, rectangular, circular, triangular and arched. The arched form, owing to its unusual effect, is most popularly used. Jālīs have been used vertically as well as horizontally, the distinction being almost imperceptible.The space on which jālī is used is as important as is its design. The meaning and purpose, as much as its artistic effect, can not be fully understood and appreciated without knowing the place where it is used, like a gem in its casket. Exquisitely carved jālīs, beautifully placed on appropriate space, create an atmosphere of mystery and grace.As jālīs in Mughal Architecture are mostly in geometrical designs, a study of Mughal geometric workmanship, with a thorough historical background, is essentially needed, in this context. (A Chapter is here on this subject)
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.
Jewelry as an art form in Mughal India has probably never been surpassed by any other civilization in the history of the world.
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.
Discover the timeless elegance and meticulous craft of metal inlay and overlay with "The Art of Metal Inlay and Overlay," an essential guide for both novice artisans and experienced metalworkers. Unlock the secrets behind this exquisite art form through a comprehensive exploration that spans historical context to contemporary applications. Begin your journey by diving into Chapter 1, where you'll uncover the rich history and versatile applications of metal inlay across various cultures and periods. As you move forward, gain expert knowledge on selecting the perfect type of metal (Chapter 2) that best suits your creative vision, and gather insights into the essential tools and materials required for your projects (Chapter 3). With an emphasis on safety (Chapter 4), this guide ensures that you master the craft responsibly. From basic techniques for beginners (Chapter 5) to advanced methods for seasoned craftsmen (Chapter 6), each chapter builds your expertise, guiding you through step-by-step processes for preparing surfaces, cutting, shaping, and securing metal inlays with precision. Expand your design prowess with principles that help balance intricacy and simplicity (Chapter 7), and learn how to work with various base materials including wood, stone, and ceramic (Chapter 8). Explore the delicate art of metal leaf inlay (Chapter 9) and gain proficiency in preparing and overlaying metal sheets (Chapter 10). Master the fundamentals of soldering (Chapter 11), and discover techniques for chemical etching and applying patinas to achieve stunning effects (Chapter 12). Sharpen your engraving skills (Chapter 13), and ensure flawless finishes with buffing, polishing, and protective coatings (Chapter 14). Face challenges head-on with practical solutions to common problems (Chapter 15), and draw inspiration from classic case studies and interviews with master craftsmen (Chapter 16). Venture into the business side of metal inlay (Chapter 17), and connect with vibrant inlay communities both online and offline (Chapter 18). Finally, explore metal inlay's place in contemporary art (Chapter 19) and continue expanding your skills with advanced resources and workshops (Chapter 20). "The Art of Metal Inlay and Overlay" is your definitive guide to mastering this intricate and rewarding craft, providing you with the knowledge and inspiration to elevate your artistry to new heights.
The well-illustrated story of the building of the Taj Mahal, one of the world's most beautiful monuments, and the Mughal dynasty in India whose 5th emperor built it.
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