Академический Документы
Профессиональный Документы
Культура Документы
SIKH ARCHITECTURE
Architecture of Golden temple
The major dates known for construction and reconstruction are as follows:
! The first construction took place sometimes between 1588 and 1604A.D.
! Subsequent reconstruction took place between 1764 and 1776A.D., following attacks by Ahmad
Shah Abdali.
! Renovation, and perhaps a major change in the design and fabric, was done by Maharaja Ranjit
Singh starting from 1802 and continued through 1839A.D
! The decorations are strictly mural paintings with floral patterns interspersed with animal motifs.
! The boundary line of the pool was laid in AD 1570. The tank was named Amritsar and the town also
came to be called by the same name.
! The solid foundation was laid on a level higher than the bottom of the tank with lime and bricks.
! Broad walls were built. A bridge connecting the temple with Darshani Deorhi (entrance gate) was
constructed over the support of Surang Duraries (aqueducts) mehrabs and dats (arches).
Page 1
HOA-IV
! Instead of building the Hari Mandir on a higher level, it was built on a level lower than the
surrounding ground.It has doors facing all four cardinal sides.
! The main structure rises from the centre of the sacred pool on a square platform that is 67ft square.
! The structure is 40.5 ft square and is approached by a causeway that is 202 ft in length and 21 ft
wide.
! Functionally and technically a three stories structure. An archway on the western side of the pool
opens on to the causeway bordered with balustrades of fretted marble, and lamps set at close
intervals on the marble columns.
! The building has the lower part in white marble, but the upper part is covered with plates of gilded
copper.
! The ground floor interior is where the Guru Granth Sahib is placed under a gorgeous canopy,
studded with jewels.
! The second storey above it is known as Shish Mahal or the Mirror Room. It is designed so as to have
just a square opening in the center to view the ground floor, with a narrow circumambulatory around
the square opening.
! The interior of the Shish Mahal is ornamented with pieces of mirror in various shapes and sizes,
skillfully inlaid on the walls with mostly floral designs.
! Above the Shish Mahal is another very small square pavilion, surmounted by a low fluted golden
dome, lined at its base with a number of smaller domes.
! The walls of the two lower stories, forming parapets, terminate with several rounded pinnacles.
There are four chhatris or kiosks at the corners.
! The combination of large, medium and miniature domes of gilded copper create a dazzling effect.
The first plate on the temple was fixed in 1803.
! The archway under the Darshani Deorhi was also embellished with sheets of gilded copper by
Sangat Singh, the Raja of Jind.
! The decorations are strictly mural paintings with floral patterns interspersed with animal motifs.
There are about 300 different patterns on the walls, which look like Persian carpets.
! The only mural depicting human figures is on the wall behind the northern narrow stairway leading
to the top of the shrine, representing Guru Gobind Singh on horseback.
Page 2
HOA-IV
! In addition there is work in embossed copper, gach, tukri, jaratkari and ivory inlay. Most of the
exterior upper portions of the walls of the Golden Temple are covered with beaten copper plates,
heavily gilded.
! The raised decorations are mainly floral and abstract, but there are some panels with human figures.
Gach, a sort of gypsum, was treated to a paste and applied on the wall like lime. Then it was
fashioned with steel cutters and other implements.
! Gach work is inlaid with coloured glass known as tukri work and is seen on the second story of the
Shish Mahal.
! Jaratkari work involved inlaying of coloured cut-stones in marble and is found on the lower portion
of the exterior walls of the temple. Also called pietra dura work, which consists of inlay work in
semi-precious stones, such as lapis lazuli and onyx.
! The ivory inlay work is seen only on the doors of the Darshani Deorhi. The doorframe of the arch is
10ft in height and 8 ft 6 inches in breath.
! The gate is made of shisham wood, the front is covered with silver sheets and the back is inlaid with
ivory in geometrical and floral patterns. Some of the ivory inlay is coloured green and red. Today
many paintings by Mahant Ishar Singh have been covered over with marble slabs.
! The causeway is connected with a 13 ft wide circumbulatory path. It runs around the main shrine and
it leads to the to the Har ki Pauri -steps of God. On the first floor here the Granth Sahib is read
continuously.
! Most of the painters and craftsmen, who worked in various branches of mural arts and its
appurtenances in the Golden Temple, remained unknown. A good deal of the old work, particularly
mural in character, has disappeared.
! Sri Harmandir Sahib, also know as the Golden Temple in
Amritsar is the holiest shrine of the Sikh religion. Also known
as the Shri Darbar Shaib, it is in the center of the old part of
Amritsar.
! The Golden Temple sits on a rectangular platform, surrounded
by a pool of water called the Amrit Sarovar from which the
City is named.
Page 3
HOA-IV
! The entrance to the Golden Temple complex is through an ornate archway with intricate inlay work.
Verses from the Granth Sahib are inscribed on the doorway.
! The main north entrance is under a Victorian clock tower. Known as the Darshani Deori, the
entrance is up a flight of steps and down again to the temple and holy tank. The temple is a two
storey marble structure reached by a causeway known as Gurus Bridge.
! The lower storey is in white marble with the walls decorated with inlaid flower and animal motifs in
the pietradura style of the Taj Mahal. The architecture of the golden temple is a blend of the Hindu
and Muslim styles.
! The upper storey is gold plated, crowned with a dome (the Golden Dome) shaped like an inverted
lotus.
! With the first light of dawn, the reflection of the temple in the tank gives an ethereal atmosphere to
the complex. As the sun shifts, the temple presents myriad views, each magnificent and captivating.
! The Golden Dome (said to be glided with 100 kg of pure gold) is supposed to represent an inverted
lotus flower, pointing back to earth to symbolize theSikhs concern with the problems of this world.
Page 4
HOA-IV
The
Akal Takht, next to the Golden Temple, is the seat of the Shiromani Gurudwara Prabandhak
larger platform having one hall underneath, with only one opening in the northern side.
The hall is flanked by stairways on its northern and southern side leading to the first floor.
The faade has an attached pillared marble portico, cusped arch opening on a raise plinth in its
central part.
Divided into three parts. It consists of a central hall and rooms on both the northern and southern
sides.
The faade of the central hall has three openings formed by two pillars.
Page 5
HOA-IV
On both the sides of this central opening, there are two chambers having openings to the east and to
the central hall.
It has same rooms in the south and a gallery in the form of a rectangular room on the northern side.
The facade of this floor is in the form of a gallery formed by side chambers and central pillared
openings of the type similar to that of the lower storey
The faade terminates into projected eave, supported by decorative brackets & is surmounted by
parapet.
A large hall formed by cusped arches and square pillars, and galleries on all sides.
The faade terminates into a projected eave supported on pairs of decorative brackets.
Two beautiful octagonal minarets, each supporting an octagonal kiosk surmounted by domes are
there on N-E and S-E corner of the floor.
It is an extension of the lower central hall and has three foliated arched openings on each of its
sides.
The room is decorated with a projected ornamental eave and a kiosk on each corner.
Finally, there springs a graceful fluted dome with lotus petal base on a circular drum. It is
surmounted by an inverted lotus which supports a big Kalasa.
Page 6
HOA-IV
The Gurudwara Baba Atal is basically a smadh (cenotaph) to the memory of Baba Atal, the revered
son of the sixth Guru, Har Gobind. It is located to the S-W of the Golden Temple, Amritsar.
The monument of Baba Atal is the highest building in the city of Amritsar. It is 150 feet high.
It is constructed on an octagonal plan. A larger octagonal structure encloses another structure of the
same plan upto the sixth storey, thus leaving circumambulatory path in between.
The inner sanctuary, where the Holy Granth is enshrined rises upto
Ninth storey surmounted by the fluted gilded dome.
The outer structure has four rectangular gates, one in each alternate side. The exterior walls are
relieved by various decorative patterns.
There are 2 stairways on northern and southern walls leading upto the sixth storey.
The most interesting feature is the projected balconies supported on brackets throughout the exterior
walls.
Page 7
HOA-IV
The top of the 6th storey is in the form of an open octagonal space guarded by balustrade supported
on number of pairs of decorative brackets and surmounted by an iron railing.
The 7th stage does not have any opening on the exterior excepting a perforated screen throughout.
The 8th stage has one arched opening on each of its sides
The 9th stage has one arched opening in each of its alternate facets, the remaining ones have
windows or projected balconies.
Finally, there springs the graceful fluted dome with the inverted lotus supporting Kalasa in the
centre.
Within the premises, there is a large tank named Kaulsar, in the west, and also the mausoleums of
Nawab Kapoor Singh, S.Jassa Singh and of other sardars.
Page 8
HOA-IV
RAJPUT ARCHITECTURE
Amber Fort is located in Amber, 11 km from Jaipur, Rajasthan state, India. It was the ancient citadel of
the ruling Kachhawa clan of Amber, before the capital was shifted to present day Jaipur. Amber Fort is
known for its unique artistic style, blending both Hindu and Muslim (Mughal) elements, and its ornate and
breathtaking artistic mastery.[1] The fort borders the Maota Lake, and is a major tourist attraction in
Rajasthan.[2]
Structure
Page 9
HOA-IV
! Just prior to the palace entrance is a narrow staircase leading to the Kali Temple, also known as the
Shila Devi Temple, made popular for its
enormous silver lions.
!
The origins and purpose of these large lions is
still unknown. The Kali Temple is known for
its silver doors with raised reliefs. According
to legends, Maharaja Man Singh I had
worshiped Kali for a victory over the rulers of
Bengal. The legend says that Kali appeared in
the Maharaja's dream and ordered him to
recover her statue from the Jessore seabed
(now in Bangladesh) and place it in an
appropriate temple.
!
The accuracy of the legend has not been
verified. However, it is said that the Maharaja
recovered the statue from the bed of the sea
and created the temple. A tourist curiosity is
an image of Ganesha at the temple entrance,
carved entirely from a single piece of coral.[6]
1.
2.
3.
Suraj Pol
Jaleb Chowk
Shiva Devi Temple
4.
5.
6.
DiwanDiwan-i-Am
Jess/Jai Mandir
Ganesh Pol
7.
8.
9.
Sukh niwas
Baradari
Zenana
Page 10
HOA-IV
The fort has 4 sections; each with the premises and one has to climb up through the imposing stairway
or else the broad aisle, where one can ride on the elephant back for royal feel. The main gate Surajpol
that leads to the Jaleb chowk, which is the main courtyard from where one can walk up the stairway, that
leads to the palace. Jaleb Chowk was also the area where returning armies were welcome and they
would
display
their
war
earnings
to
the
population
at
large.
Before you enter the palace just towards the right is a sleep aisle and a narrow staircase reaching up to
Kali Temple also called Shila Devi Temple famous for its mysterious history and the huge silver lions. It
is a gorgeous temple featuring silver doors with raised relief. According to a legend, Maharaja Man
Singh I had worshiped the Goddess for a victory over the rulers of Bengal. The Goddess appeared in the
Maharaja's dream and ordered him to recover her statue lying under sea near Jessore (now in
Bangladesh) and install it in a befitting Temple. True enough, after subjugating the enemies the
Maharaja recovered the statute from the bed of the sea. The temple is called after Shila Devi, "shila"
meaning stone slab. Like all temples this too has an image of Ganesha on the doorway, but carved from
a
single
piece
of
coral.
Getting back from the temple the main stairways lead to the second courtyard of the fort. Here situated
is the imposing Diwan-I-Aam, the hall of public audiences where the Maharaja received the populace
and their petitions. This is a pavilion of double row of columns each capped by an elephant shape. There
is
lattice
gallery
also.
Behind the exquisite and fabulous Ganesh Pol, "pol" meaning gate are located in the residential
apartments of the Maharaja. The Jai Mandir, the Hall of Victory is famous for its inlaid panel and
dazzling mirror ceiling. Much of it had deteriorated with neglect and is under restoration.
On the other side is Sukh Niwas, the residence of pleasure or pleasurable residence. The palace has an
ivory inlaid sandalwood door. A channeled laid for flow of water is an inventive system of cooling. The
water flowing from the channel wasn't wasted as it was allowed to flow in the garden. From there you
can also take pleasure in viewing of the fort rampart and its reflection in the Moata Lake.
The Zenana or the palace of the women is in the fourth courtyard. The rooms are though connected
through a common corridor are cleverly designed to give each room privacy.
History of architecture and culture IV UNIT 5
Page 11
HOA-IV
1. Mubarak Mahal
4. Diwan-I-Khas
2. Sileh Khana
3. Rajendra Pol
6. Chandra Mahal
7. Diwan-I-Am
Page 12
HOA-IV
The City Palace of Jaipur in Rajasthan or the main palace of Jaipur is an imposing blend of traditional
Rajasthan and Mughal architecture.
City Palace of Jaipur forms one of the most famous tourist attractions and a major landmark in Jaipur of
Rajasthan. The beautiful palace was built by Maharaja Sawai Jai Singh during his reign.
City Palace complex of Rajasthan covers a huge area, which is divided into a series of gardens, courtyards
and buildings. Initially, Raja Jai Singh built the outer wall occupying a huge area.
Architecture and Layout of the City Palace of Jaipur in Rajasthan
! The City Palace complex of Rajasthan houses several palatial structures like Chandra Mahal of
Rajasthan, Mubarak Mahal of Rajasthan, Mukut Mahal of Rajasthan, Maharani's Palace of
Rajasthan, Shri Govind Dev Temple of Rajasthan and the City Palace Museum of Rajasthan.
Nakkarkhana-ka-Darwaza, the imposing gateway of the City Palace of Rajasthan guarded by stone
elephants, is monumental.
! In the first courtyard is the 'Mubarak Mahal' of Rajasthan, built by Maharaja Madho Singh II in the
late 19th century to entertain his guests. It has a beautifully carved marble gate with heavy brass
doors on either side of this gate.
! Today, the Mubarak Mahal of Rajasthan, or the Auspicious Palace is converted into a costume
gallery, which displays royal attires of the Kings.
! After crossing the first square, there is a magnificent gateway with a grand door in brass opening to a
stately courtyard. There lies the Diwan-I-Khas or 'Hall of Private Audience'- an open hall with a
double row of columns with scalloped arches.
! On display are the two largest silver vessels in the world figured in the Guinness Book of World
Records. These were used for carrying water from the holy Ganges for personal use, by Madho
Singh II on his journey to England.
! Across the paved square, with its intricate decorations in deep red and gold, Afghan and Persian
carpets, miniature paintings, astronomical manuscripts in Persian and Sanskrit lies the 'Diwan-EAam' or the 'Hall of Public Audience'.
! These paintings bring forth some very capturing displays like Ramayana theme, etc. also worth
History of architecture and culture IV UNIT 5
Page 13
HOA-IV
seeing are the elephant saddles called "haudha" and the beautifully painted ceilings of the building.
At the other corner is the gateway Ridhi Sidhi Pol, with four small doorways decorated with motifs
depicting the four seasons.
! To the north-west is the graceful seven storeyed 'Chandra Mahal', or the Moon Palace of Rajasthan,
home to the present Maharaja of Jaipur of Rajasthan; Bhavani Singh, providing a fine view of the
gardens and the city of Rajasthan.
! One can also have a look at the exquisite peacock in the courtyard outside the palace of Rajasthan.
Paintings, floral decorations, mirror walls and ceilings in the traditional style adorn the palace.
! Each storey has a distinctive name and is a place of sheer beauty and luxury. The topmost story is
known as Mukut Mahal of Rajasthan. The wonderful architecture of this Palace of Rajasthan with
delicate paintings, mirror work on walls and floral decorations.
! The ground and first floor of the Chandra Mahal of Rajasthan form the Maharaja Sawai Man Singh
II Museum.
! 'Sukh Nivas' or Hall of rest holds the drawing and dining room of the Maharaja, furnished with
Mughal miniatures, European silver, glass dining tables and peep holes decorated with gold leafs, for
ventilation.
! On the fourth floor of the 'Chandra Mahal' is the 'Shobha Nivas' or Hall of Beauty with mirror
encrusted walls having exquisite blue tiled dadoes and glittering gold leaf and mica decoration.
! When the room was lit after dark the Maharajas could enjoy a breathtaking spectacle of the room
bursting into a thousand flickering images.
! The Shobha Nivas and the Sukh Nivas is still occupied by the present Maharaja. The fifth floor is the
'Chhavi Nivas' or Hall of Images, the maharajas retreat in the rainy season, with a polished floor of
eggshell stucco and blue and white painted walls.
! The sixth floor with its mirrored ceiling and stucco floor has rows of double columns through which
one can have a magnificent view of the rugged hills. The uppermost storey is called the 'Mukut
Mahal' or the Crown Building.
! Opposite the Chandra Mahal of Rajasthan lies the 'Badal Mahal' of Rajasthan. The Govind Devji
Temple stands in the middle of the Chandra Mahal and the Badal Mahal.
! A delightful system of fountains is placed in the middle of the paved path between the Chandra
Mahal and the Badal Mahal of Rajasthan.
Page 14
HOA-IV
Hawa Mahal: "Palace of Winds" or Palace of the Breeze), is a palace in Jaipur, India.
! It was built in 1799 by Maharaja Sawai Pratap Singh, and designed by Lal Chand Usta in the form of
the crown of Krishna, the Hindu god.
! Its unique five-story exterior is also akin to the honeycomb of the beehive with its 953 small
windows called jharokhas that are decorated with intricate lattice work.[1]
! The original intention of the lattice was to allow royal ladies to observe everyday life in the street
below without being seen, since they had to observe strict "purdah" (face cover).[1][2][3]
! Built of red and pink sandstone, the palace is situated on the main thoroughfare in the heart of
Jaipurs business centre. It forms part of the City Palace, and extends to the Zenana or women's
chambers, the chambers of the harem.
! That becomes clear if one were to view this unusual structure from the rear side. There is a total lack
of ornamentation on the inner face of the building. The chambers are plain and more mass of pillars
and passages leading to the top story.
! Built at a time when royal ladies observed very strict purdah (covering the faces), it is widely
believed that this interesting palace, with its screened balconies, provided the ladies of the zenana
(royal household) an opportunity to watch processions and other activities on the streets below
without being observed themselves.
! The openings here are almost like peepholes, partially block by fine latticework in lime plaster, and
some with plain wooden windows.
! Hawa Mahal of Rajasthan lives up to its name as one climbs up to the balconies and is almost swept
away by the cool breeze. The royal ladies not only enjoyed the view but also did so in great comfort
and style.
! Today, Hawa Mahal of Rajasthan provides the visitor with some excellent views of the old palaces
and houses of the city and a bird's eye view of the Jantar Mantar (a medieval observatory and an
important tourist place in Jaipur) of Rajasthan.
! The palace is a five-story pyramidal shaped monument that rises to a height of 50 feet (15 m) from
its high base.
! The top three floors of the structure have a dimension of one room width while the first and second
floors have patios in front of them, on the rear side of the structure.
! The front elevation, as seen from the street, is like a honeycomb web of a beehive built with small
History of architecture and culture IV UNIT 5
Page 15
HOA-IV
portholes. Each porthole has miniature windows and has carved sandstone grills, finials and domes is
a veritable mass of semi-octagonal bays, which gives the monument its unique faade.
! The inner face on the back side of the building consists of need-based chambers built with pillars
and corridors with least ornamentation, and reach up to the top floor.
! The interior of the Mahal has been described as having rooms of different coloured marbles,
relieved by inlaid panels or gilding; while fountains adorn the centre of the courtyard.
! Built in red and pink coloured sand stone, in keeping with the dcor of the other monuments in the
city, its colour is a full testimony to the epithet of Pink City given to Jaipur.
! Its faade depicts niches with intricately carved Jharokhas (some are made of wood) is a stark
contrast to the plain looking rear side of the structure.
! Its cultural and architectural heritage is a true reflection of a fusion of Hindu Rajput architecture and
the Islamic Mughal architecture; the Rajput style is seen in the form of domed canopies, fluted
pillars, lotus and floral patterns, and the Islamic style is evident in its stone inlay filigree work and
arches (as distinguished from its similarity with the Panch Mahal - the palace of winds - at Fatehpur
Sikri).
! The entry to the Hawa Mahal from the city palace side is through an imperial door. It opens into a
large courtyard, which has double storeyed buildings on three sides, with the Hawa Mahal enclosing
it on the east side.
! The cooling effect in the chambers, provided by the breeze passing through the small windows of the
faade, was enhanced by the fountains provided at the centre of each of the chambers.[9]
! The panoramic view from the roof of the Mahal is stunning. The bazaar (the Seredeori Bazaar or
market) on the east resembles avenues of Paris.
! Green valleys and mountains and the Amer Fort form the scenario to the west and north. The Thar
deserts interminable line of undulating vapour lies to the east and south.
! Views of the Jantar Mantar and the City Palace can also be witnessed from the top floor of the
monument.[11]
! The top two floors of the Hawa Mahal are accessed only through ramps. The Mahal is maintained by
the archaeological department of the Government of Rajasthan.[8]
Page 16
HOA-IV
Page 17
HOA-IV
VIJAYANAGARA ARCHITECTURE
Lotus Mahal
! Lotus Mahal is a two storied very symmetric structure exhibiting a fine example of Indo-Islamic
architecture.
! The base of the structure depicts a Hindu foundation of stone just like in the temples, typical of
Vijayanagara Architecture while the upper superstructure is Islamic in architecture with pyramidal
towers instead of regular dome shapes, giving it a Lotus-like look, originating in the name.
! Also, this is one of the very few buildings that have the plaster intact though it is defaced at several
places due to wear and tear, especially; the dampness on the walls is very visible.
! The exemplary carvings on the pillar arches including those of birds and delicate art work can be
very mesmerizing, especially with the Makara Torana on top of these arches that can still be seen on
some of them.
! The best preserved courtly structure in the Royal Centre of Vijayanagara, the Lotus Mahal owes its
fanciful name to British visitors in the 19th century.
! Rather than being a pleasure pavilion, as its name might indicate, the pavilion probably served as a
History of architecture and culture IV UNIT 5
Page 18
HOA-IV
meeting place of the emperor and his closest advisors. Indeed, it is referred to as a council
chamber on the first map of the site prepared in 1799.
! The Lotus Mahal stands near to the middle of a high walled compound in the northeast corner of the
Royal Centre. This enclosure also contains a vaulted structure of uncertain purpose and the remains
of two palaces and various water features.
! Octagonal and square watchtowers with balconies are built into the compound walls. A small
doorway to the east leads to the elephant stables, suggesting that the Lotus Mahal enclosure was an
abode of men rather than a zenana, or womens quarter, as is sometimes believed.
! The Lotus Mahal is symmetrically laid out, with equal projections on four sides. It has two storeys,
both with lobed arched openings in multiple planes surrounded by elaborate plaster designs.
! Curved eaves that run continuously around the building protect the walls from the sun and rain.
Eight pyramidal towers rise over the central and corner bays of the building; a ninth tower above the
central bay is similar but higher.
! The staircase tower in one corner is a later addition.
! It is also believed that the Mahal or Palace was air-cooled and maintained its temperature during
summer. The proof of this can be seen in the pipeline work above and between the arches.
! The courtly architecture generally show secular styles with Islamic influences. Examples are the
Lotus Mahal palace, Elephant stables, and watch towers.[17] Courtly buildings and domed structures
were built with mortar mixed with stone rubble.[2]
! One of the most representative examples of the Vijayanagara courtly style, the Lotus Mahal is a
successful fusion of temple-like elements (curved eaves, pyramidal towers) with sultanate elements
(lobed arches, plaster designs).
! Much of its original decoration has been lost. Recent restoration has also altered the colour and
finish of the outer surface.
Page 19
HOA-IV
Elephant Stables
Page 20
HOA-IV
! This imposing building is the best preserved and largest in the Royal Centre. In spite of attempts
by some scholars to assign it a different purpose (imperial offices, barracks, etc.), its unusual
design does indeed seem to indicate that it was used to house elephants.
! The stables comprise a long line of eleven chambers, all with lofty arched doorways opening
onto a large open space. This must have served as a maidan, or parade ground for the imperial
troops and animals.
! Domes on corner squinches roof ten of the chambers, exactly in the manner of a Muslim tomb.
The central (eleventh) chamber has a flat roof since above this sits an open gallery probably once
used by musicians and drummers.
! Its temple-like roof has long ago collapsed. The other chambers are roofed with plain or fluted
domes that alternate with twelve-sided pyramidal vaults. Both domes and vaults are arranged
symmetrically about the central gallery.
! While the arched openings and domed chambers of the elephant stables are obviously sultanate in
origin, in accordance with the general features of the Vijayanagara courtly style [link], the
building as a whole is an original creation.
! It testifies to the creative spirit of the Vijayanagara builders. When exactly the stables were built
and for which emperor remains a mystery, though it is likely to be a Sangama period construction
of the 15th century.
! The purpose of the neighbouring building on the north side of the maidan is another mystery,
though its raised open arcade seems to suggest that it may have served partly as a grandstand,
where the emperors and their commanders could review the troops and animals
! The open hall in the interior, surrounded by a raised loggia, may have been the site of martial
entertainments, such as boxing and wrestling matches.
Page 21
HOA-IV
OUDH ARCHITECTURE
! The Great Imambara is classified as Nawabi architecture -this last phase of Mughal architecture indicating the demise of an empire and its cultural product.
! Nawabi architecture is divided into two phases: the first towards the end of the eighteenth century is
characterized by grandiose and stylistic buildings; the second in the nineteenth century is
distinguished by the incorporation of European elements.
! The Great Imambara created in the first period of Nawabi architecture, is one of the few buildings in
Lucknow devoid of European elements. Nawabi architecture resulted in a period of political flux
when the Nawabs of Avadh had disassociated themselves from Delhi but fell under British control.
Though they were reinstated as rulers, the British held real authority.
! The nawabs, however, relieved of all serious responsibilities as rulers were able to lavishly patronize
architecture. As a result, the Great Imambara was built to grandiose scale, but in some aspects
suffered from superfluous use of ornamentation.
! The Great Imambara is part of the Asaf-ud-daula Imabara complex that contains a mosque,
courtyards, gateways and a 'bawali' or step-well used as a summer palace. It was built as part of a
famine relief program following the famine of 1784.
! The complex is one of the earlier attempts in Lucknow to imitate a Mughal complex and
incorporates high-arcaded battlements even when security was not a concern.
! The complex is entered through the Rumi Darwaza while leads into a courtyard that connects to the
main courtyard through a triple-arch gateway.
! The Great Imambara is on axis with the triple arch gateway and occupies the southern extreme of the
main courtyard while the Asafi mosque takes up the western.
! The imambara is a unique architectural form that is used for ceremonies performed by Shia Muslims
to commemorate the death of Hussain, grandson of Prophet Muhammad, at Karbala in 680 A.D.
! It is a rectangular brick and mortar structure and in plan is divided into nine chambers. The central
chamber is the largest and measures 164 feet by 52 feet (50 by 16 meters) and is over 49 feet (15
meters) high.
! The eight chambers surrounding the central bay are considerably smaller in both area and height and
are more for circulatory purpose.
History of architecture and culture IV UNIT 5
Page 22
HOA-IV
! The long central chamber has a concrete vault while the remaining bays are treated in a variety of
roofing techniques. The arched roof of the central vault is built without beams, making it one of the
largest concrete shells in the world.
! The central chamber contains the grave of Nawab Asaf-ud-daula and is the only imambara that has
six entrances into the central bay as opposed to the conventional five.
! The exterior faade of the imambara is problematic due to its monumental scale. The central bay and
two flanking bays rise above the surrounding bays resulting in a stepped faade.
! The first level has arched openings and blind niches with octagonal towers marking the internal
division of the bays on the exterior faade.
! The second level tries to break the scale of the faade by having a series of undersized arched
openings, arches with latticework at the parapet, guldastas (ornamental minarets) and chattris (small
kiosks).
! The disproportionate scale between the two levels renders the ornamentation of the faade as weak,
and combined with the stepping back of the levels serves only to emphasize the ostentatious scale of
the building.
! The numerous openings, however, have made it possible to create a unique feature in the form of a
labyrinth. The imambara is popular for the 'Bhool Bhooliya' or labyrinth that is formed by the many
balconies and passages that branch off from 489 identical doorways
Rumi Gate
History of architecture and culture IV UNIT 5
Page 23
HOA-IV
Page 24
HOA-IV
Page 25
HOA-IV
Page 26
HOA-IV
! The rectangular structure at the side constitutes the main Imambara with a central hall and narrow
halls at the rear with recessed Shahnashins.
! The roof of the hall is topped by a fluted dome, with an inverted lotus crowned by a pot-finial and
crescent. Both the dome and the finial are embellished in gold.
! The brick building is covered with fine white lime plaster. The facade has white calligraphic
ornamentation on a black surface.
! The Shiite Durud and other religious texts are represented here in the Arabic, Naskh, Thuluth and
Tughra scripts.In the central hall of the Imambara lie the graves of Muhammad Ali Shah and his
mother Malika-i-Aliya.
! The graves are fenced with silver railings and covered with a small embroidered Shamina.
The most attractive aspect of the Imambara is its interior, which is furnished with rare and colourful
chandeliers, Qandils and Kanwals (globe-shaped lamps).
! There are also large European mirrors, and ornamental metallic and glass candle-stands.
! These objects are painted in gold to match the bands of relief work and the arched opening, which
are lavishly embellished in gold.
! The fluted pillars, pilasters and their capitals are also painted in gold. On one side of the hall is the
Mimbar covered with ornamental silver work.In the courtyard, there can be seen the emblem of
Awadh and a large brass fish installed to indicate the direction of the wind.
! The western area is occupied by a graceful mosque.Another attractive aspect of this historic
building is the replica of the Taj Mahal, built in bricks and covered with chaste white plaster, giving
the effect of marble.
! This small but attractive building is raised on a square platform, with arched openings and a central
dome flanked by cupolas and four independent minarets. The building houses the tomb of one of
the princesses and is better known as Shahzadi-Ka-Maqbara.
! Opposite this is an identical structure, which was made to balance the entire plan. The domes are
decorated in plaster with geometric designs in bold relief.
! The central domes are crowned with the Kalash (pot), which forms the base of the finials. Such
finials were popularly used in the domes of the royal buildings and Jami Masjid of Rampur.
Page 27
HOA-IV
ENTRANCE GATEWAY
Page 28
HOA-IV
Page 29
HOA-IV
walls, but General Havelock destroyed them after crushing the freedom-fighters on 25 September
1857. The elegant marble tank is now buried under the metalled road built by the British.
! The palace was occupied by several members of the royal family of Awadh, including the
favourite Begums Malka Zamani, Kudsia Mahal and Malka Kishwar, mother of the last king,
Wajid Ali Shah. After 1857, the British stripped the palace of all its costly furniture, decorations
and hangings, which they sent to England.
! They converted the palace into the United Services Club with a library for senior British officials.
Since 1950, the palace has been used by the Council of Scientific and Industrial Research and the
Central Drug Research Institute.
Page 30
HOA-IV
MYSORE PALACE
Architectural style of Mysore palace is hybrid. That is, its design is a mixture of various schools of
architecture. The palace is made in a style collectively called Indo-Saracenic Revival style.
The Islamic power in India by the turn of 12th century has a brought a new style of architecture (
largely central Asian style ) to India.
A large number of Islamic structures in India during the Mugal era were build in the Sassanian (
Persia ) style. So the name Saracenic.
That style when merged with the native Indian styles , gave rise to a hybrid style called IndoIslamic style or Indo-Saracenic style.
Elements of Hindu styles and Islamic styles merged to form unique school. One good example of
this style is the Akbars abandoned capital Fatehpur Sikri in Uttar Pradesh.
Many centuries later by the turn of 19th century India came under the colonial powers. That
brought rise to a further new hybrid style called Indo-Saracenic Revival style. Here the IndoIslamic style is further blended with the Gothic style (,that was the flavor of Victorian rulers) .
Mysore Palace is made in this later style. In other words , one can see the elements of Hindu,
Islamic and Gothic elements in its design and construction.
The domes for example is an element borrowed from the Islamic school of architecture. There are
many deep pink marble domes projecting at the corners of the palace structure.
To understand the hybrid style, look at the tallest tower of the palace. This is a five storied tower
measuring about 145 feet (45 meters) at the center of the palace.
This projects up from the rest of the roof-line of the palace like a tower of a Gothic cathedral.
However on top of it is a large dome, a very typical feature of Islamic/Persian style structures.
However it is metal gilded.
Further on top of this dome is a domed Chhatri. That is, a smaller dome supported by slender
pillars projecting up from the large dome.
History of architecture and culture IV UNIT 5
Page 31
HOA-IV
Page 32
HOA-IV
On the southern and northern extremities of the palace has protruding balconies. These resemble
that of the jharokha one find in the Rajasthani architecture.
The balconies appear three-storied from outside. There are three rows of tall windows one over the
other on the balconies.
Top of the balcony is with deep pink stone, that forms a semi dome, while the bottom is supported
by a structural feature in the form a lotus.
Mysore Palace
! Though each of these features are cut and paste from various types of architectures, on the
whole this does not look like a hotchpotch design at tall. On the other hand this hybrid
tower adds to the very character of the aesthetics.
! The palace building is entered through a smaller verandah located at the southern side of
the palace.
! Looking the palace from the facade, one can see the big central archway, which is the main
entrance to the palace building. On either sides of this large archway are two smaller
arches. Further on either sides are 6 arches (3 each on either sides).
! The arches are cusped and of Sassanian in origin. These are supported by massive pillars.
History of architecture and culture IV UNIT 5
Page 33
HOA-IV
The main archway mentioned above opens to a wide passage (elephant gate) that finally leads to
the expansive central court. The elephant gate is typically kept closed, baring for the ceremonial
functions in the palace.
The court mentioned above is open to the sky and an enclosed verandah runs around this court. At
regular intervals are giant window opening to the court.
Also at the three sides of the open court are porches to enter the verandah. The porches and the
windows are good enough to get a view of the porch.
The whole court is netted at the top to prevent birds messing the inside. Interesting items seen in
this court (flanking the porch) are a set of giant lion images casted out of brass.
Just south of this court is the massive marriage hall (Kalyana Mantapa). This octagonal open hall
is brightly decorated.
Especially noteworthy are the floor tiles, the balconies , the slender cast iron pillars and the tinted
glass ceiling. Ceiling fans here (Mysore city got its first electricity supply in 1908 ).
The whole superstructure of this octagonal shaped ceiling and the pillars were specially made by
the legendary Scottish foundry Walter MacFarlane & Co. Ltd. The tinted glasses making a peacock
theme over the ceiling were brought from Belgium.
Page 34
HOA-IV
The walls facing this open hall are painted with large oil paintings depicting the Mysore Dasara.
Each of the 26 paintings theme is a function or ceremony related to Dasara .
The images are properly labeled and one can get the idea of pomp with which it was held. Probably
that was the very idea of including such paintings in the palace. That is, to show the kings guests
to the palace during those days the details of the festival.
In the ground floor of the palace, there are pillars, the squinch (where the pillar meets the ceiling
) and the domical ceiling above the verandah. a great deal of plaster work on the ceiling, the
capitals are beautifully carved with hard granite. This too is a present blend of native and gothic
styles.
One of the many features where the local tradition of craftsmanship is shown at its best is in the
woodwork. You can easily notice this in the massive doors carved out of teak (yellow-brown) and
rosewood (coffee colored).
On the rosewood doors, frames and lintels with finely done inlay work. At first it may look like
intricate painting on the door. If looked closer, these are ivory chips embedded onto the surface of
the rosewood.
To protect tampering (by doubtful visitors!) such inlay works are protected with transparent
perplex overlay.
Ceiling in the room showcase a row of silver and glass chairs. So is the ceiling around the Durbar
Hall in the first floor. This woodwork in teak are one of the massive, bold and intricate found in
any palace in India.
First floor has the Durbar lift. This was operated by mechanical means installed at the roof.
On the first floor there are two major halls. One is for the public hall and the other is a private
audience hall.
Durbar Hall (the Diwan-e-Am) is a huge open hall along the width of the palace on the first floor.
The eastern side is open and gives a panoramic view of the garden in front of the palace.
The rows of massive pillars are the special attraction of this hall. On the south and north of the
eastern portion are the galleries for the courtiers.
History of architecture and culture IV UNIT 5
Page 35
HOA-IV
On the western wall of the Durbar Hall is a row of paintings. Most of it is mythical themes from
Hindu pantheon.
The private audience hall called Ambavilasa ( the Diwan-e-Khas ) is the most decorative of all the
areas in the palace. This is where the golden Throne of Mysore is positioned. It is unlikely that one
would find the thrown in the hall unless it is visited during the days of Dasara festival. Otherwise
the throne is kept in safe custody.
This rectangular hall has an intricately designed tinted glass ceiling. This illuminates the hall
lavishly. These light plays do wonders on the otherwise brightly painted pillared Durbar Hall.
On the floor , between the pillars are the embedded inlay work Pietra dura- that is popularly
known as Agra work. Various bright semiprecious stones are embedded on the marble flooring to
create interesting motifs. On can see a great deal of this work on the Taj Mahal of Agra ( hence the
name Agra work).
Like mentioned earlier , the ceiling around this portion has some massive and boldly executed
woodwork in teak.
Another important architectural feature of the palace is its gateways and the walls. The one located
at the east is the largest of the four gateways. Between the gateways and the palace is a sprawling
garden.
Also number of temples can be dotted around the palace campus. The living palace where the
family lived is located right behind the main palace. This too is a museum exhibiting a number of
artifacts used in the palace. This is made in a more human scale, a lot traditional and can give a
great insight into the life of those times.
Page 36
HOA-IV
Page 37
HOA-IV
History
The Nayaks of Madurai ruled this former Kingdom from 1545 till 1740s and Thirumalai Nayak (16231659) was one of their greatest kings that line notable for various buildings in and around Madurai. During
the 17th centuries the Madurai Kingdom had Portuguese, Dutch and other Europeans as traders,
missionaries and visiting travelers. Tirumala Nayak is believed to have recruited the services of an Italian
architect, (apparently one of the many unknown European adventurers who swarmed these regions before
the advent of British) for the construction of his Palace.
Page 38
HOA-IV
Courtyard
Upon entering into the gates of the palace, the visitor enters into present days huge central courtyard
measuring 3,700 sq.m (41,979 sq.feet). The Courtyard is surrounded by massive circular pillars. Now it has
a circular garden.
Interior
The palace was divided into two major parts, namely Swarga Vilasam (Celestial Pavilion) and Ranga
Vilasam. The royal residence, theatre, shrine, apartments, armory, palanquin place, royal bandstand,
quarters, pond and garden were situated in these two portions. The courtyard and the dancing hall are the
major center of attractions of the palace. The Celestial Pavilion (Swarga Vilasam) was used as the throneroom and has an arcaded octagon covered by a dome 6070 feet high. The pointed ceiling or dome in the
centre is supported by stone ribs is held up by massive circular columns topped by piers and linked by
pointed scalloped arches, with an arcaded gallery opening into the nave above the side aisles.
Page 39
HOA-IV
Materials
The structure was constructed using foliated brickwork and the surface details and finish in exquisite stucco
called chunnam using chunnam (shell lime) and (Mixed with egg white) to obtain a smooth and glossy
texture. The steps leading up to the hall were formerly flanked by two equestrian statues of excellent
workmanship.
The pillars supporting the arches are 13m tall and are again joined by foliated brickwork that carries a
valance and an entablature rising up to a height of 20 m. The decoration is done, (shell lime). The pavilions
topped with finials that were covered with gold are on either side of the courtyard.
Page 40