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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)
For the first time a book on Mughal Handicrafts is brought out, and superbly so. After a general discussion on the social, political and economic conditions in Mughal India, the author goes on to expound the sources of Mughal decorative arts and the designs of decoration and finally describes the various forms of Mughal handicrafts illustrating them with works found on archaeological sites in India and select objects preserved in museums and private collection all over the world.
Since precious few architectural drawings and no theoretical treatises on architecture remain from the premodern Islamic world, the Timurid pattern scroll in the collection of the Topkapi Palace Museum Library is an exceedingly rich and valuable source of information. In the course of her in-depth analysis of this scroll dating from the late fifteenth or early sixteenth century, Gülru Necipoğlu throws new light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the tenth and sixteenth centuries. Her text has particularly far-reaching implications for recent discussions on vision, subjectivity, and the semiotics of abstract representation. She also compares the Islamic understanding of geometry with that found in medieval Western art, making this book particularly valuable for all historians and critics of architecture. The scroll, with its 114 individual geometric patterns for wall surfaces and vaulting, is reproduced entirely in color in this elegant, large-format volume. An extensive catalogue includes illustrations showing the underlying geometries (in the form of incised “dead” drawings) from which the individual patterns are generated. An essay by Mohammad al-Asad discusses the geometry of the muqarnas and demonstrates by means of CAD drawings how one of the scroll’s patterns could be used co design a three-dimensional vault.
This Book About The Jaina Kirttistambha Of Chittorgadh Studies The Idea Behand The Stamble And Its Form. Has 4 Chaptersits Architecture, Epigraphical Data, Architectureal Derivation-Meaning And Symbolism. Reference-Appendices-Sanskrit Texts, Commentaries And Translations, Tables An Ancient Pillars And Structure, Bibliography, Figures And Plates.
Family guide, Dazzling details in folded front cover.
Presents works of art selected from the South and Southeast Asian and Islamic collection of The Metropolitan Museum of Art, lessons plans, and classroom activities.
This book explores the great diversity and range of Islamic culture through one of the finest collections in the world. Published to coincide with the historic reopening of the galleries of the Metropolitan Museum's Islamic Art Department, it presents nearly three hundred masterworks created in the rich tradition of the Islamic faith and culture. The Metropolitan's renowned holdings range chronologically from the origins of Islam in the 7th century through the 19th century, and geographically from as far west as Spain to as far east as Southeast Asia.
The main focus of this unique book is an in-depth examination of the polygonal technique; the primary method used by master artists of the past in creating Islamic geometric patterns. The author details the design methodology responsible for this all-but-lost art form and presents evidence for its use from the historical record, both of which are vital contributions to the understanding of this ornamental tradition. Additionally, the author examines the historical development of Islamic geometric patterns, the significance of geometric design within the broader context of Islamic ornament as a whole, the formative role that geometry plays throughout the Islamic ornamental arts (including calligraphy, the floral idiom, dome decoration, geometric patterns, and more), and the underexamined question of pattern classification. Featuring over 600 beautiful color images, Islamic Geometric Patterns: Their Historical Development and Traditional Methods of Con struction is a valuable addition to the literature of Islamic art, architecture and geometric patterns. This book is ideal for students and scholars of geometry, the history of mathematics, and the history of Islamic art, architecture, and culture. In addition, artists, designers, craftspeople, and architects will all find this book an exceptionally informative and useful asset in their fields. Jay Bonner is an architectural ornamentalist and unaffiliated scholar of Islamic geometric design. He received his MDes from the Royal College of Art in London (1983). He has contributed ornamental designs for many international architectural projects, including the expansion of both the al-Masjid al-Haram (Grand Mosque) in Mecca, and the al-Masjid an Nawabi (Prophet’s Mosque) in Medina, as well the Tomb of Sheikh Hujwiri in Lahore, and the Ismaili Centre in London – to name but a few. He is committed to the revitalization of Islamic geometric design through the teaching of traditional methodological practices. To this end, in addition to publishing, Jay Bonner has lectured and taught design seminars at many universities and conferences in North America, Europe, North Africa and Asia.
"Examine the principles of geometric design that are the basis for the beautiful and intricate patterns in the art of the Islamic world. Includes a brief overview of Islamic art, an introduction to related works in the Museum, and a series of pattern-making activities (including reproducible grids) for use in the classroom. Teachers can readily adapt these materials to create exciting lessons in art, culture, math, and geometry"--Metropolitan Museum of Art website.