Category Archives: Mughal motifs

Mughal glass – delicate images of elegance

Ever laid eyes on a delicate piece of glass with floral motifs worked out in goldwork and other colours? Most probably it would be an object from the Mughal times. The Mughal empire has ruled India 1526 to 1858 A.D. They have left an indelible mark on the country’s art history. Their designs still fascinate and remain etched as part of Indian art and architecture. The art was included in objects of utility and function too. They had special karkhanas or workshops where artisans worked.

Though glass has been in use since prehistoric times in the Indian subcontinent the Mughlas seem to have taken it to another level. It was used mostly to make beads, bangles and trinkets. The opulent era of the Mughals changed that by using the medium to make luxury tableware and huqqa bases (hubble bubble).

Mughal huqqa base, glass, Muisee Guimet, Paris.

During the rule of Emperor Jahangir (1605 to 1627) and Emperor Shahjahan (1628 to 1658) and Aurangzeb(1658 to 1707), the fashining of Mughal glass and trade flourished. Paintings of the Mughal era depict the courts and royal spaces used by the emperors and the nobility. One can spot the vessels and cups for pouring liquids like sherbets and the wine cups and ”huqqas” or water pipes.

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An enthroned Mughal prince with four attendants, glass objects and vessels can be seen, Walters Art Museum, Maryland, U.S.A, Mughal miniature painting.

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Mughal huqqa base, glass, LACMA, USA.

Different varieties of glass were present at the Mughal courts. Venetian, Spanish, English,Persian et al. Other than imports glass items were manufactures in India too. The Ain-i-Akbari by Abul Fazl mentions that glass was manufactured at Bihar and Alwar in Rajasthan. Glass bottles were also made in English and Dutch factories in Patna and at Gujarat during the 2nd half of the 17th century. The early 18th century saw more manufactories being started. Mughal glass vessels are found in many museums and private collections across the world.

Mughal huqqa base, clear glass with gilding,over shaped appliqué glass pieces and blue glass insets, 1700s, LACMA, U.S.A.

Mughal cups, cobalt blue glass with gilt floral decoration, early 18th century, V and A Museum, London.

Mughal gilt glass bottle, Gujarat, 18th century.

India, Mughal empire, translucent glass with molded and wheel-cut decoration, 1700s, LACMA, U S A.

References :

Markel, Stephen(1991), –Indian and ”Indianate” glass vessels in the Los Angeles County Museum of Art’‘, Journal of Glass Studies, Corning Museum of Glass, New York.
Images are from Wikimedia Commons and http://www.christies.com (gilt glass bottles), miniature painting image from https://www.flickr.com/photos/medmss/5852866027(Digital Walters)

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Soma Ghosh

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Floral forays : glimpses from the Taj

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Much has been written about the Taj Mahal, India’s iconic Mughal monument. A testament to love as it is believed, made by an emperor, Emperor Shahjahan for his favourite queen, Mumtaz Mahal or Arjumand Bano Begum. One is awestruck on seeing the Taj made from marble from Makrana which depicts so many elements of art and architecture. One can see domes, arches, minarets, windows, ceiling designs, parchin kari or pietra dura, calligraphy, Islamic geometry. Also jaali or trellis work. The finial on top of the biggest dome is also very ornate. Different views from the Taj show the beautiful embellishment and the exquisite use of marble to create this awesome wonder of the world. This mausoleum or rauza is one of the finest monuments of the world.

This famous edifice is at an important Mughal city, Agra on the banks of the Jamuna river. Agra also has an awesome fortress, the tombs of Emperor Akbar, his consort, Jodha Bai and Vizier I’timad-ud-daulah of Emperor Jahangir. The chief architect of the Taj was Ustad Ahmed Lahori. The design is a synthesis though the Persian element is predominant.

Taj Mahal, image, 21st century.

The Taj Mahal

Aye, build it on these banks,” the monarch said,
“That when the autumn winds have swept the sea,
They may come hither with their falling rains,
A voice of mighty weeping o’er her grave.”

They brought the purest marble that the earth
E’er treasured from the sun, and ivory
Was never yet more delicately carved :
Then cupolas were raised, and minarets,
And flights of lofty steps, and one vast dome
Rose till it met the clouds : richly inlaid
With red and black, this palace of the dead
Exhausted wealth and skill. Around its walls
The cypresses like funeral columns stood,
And lamps perpetual burnt beside the tomb.
And yet the emperor felt it was in vain,
A desolate magnificence that mocked
The lost one, and the loved, which it enshrined.

……………..Letitia Elizabeth Landon

The Taj Mahal is situated a mile distant from the Agra Fort at a bend of the river Jamuna. The Taj was built on a large square area out of Raja Jai Singh’s garden. The Taj is considered a place of pilgrimage because Mumtaz Mahal had died during childbirth, ie. it is both a rauza and urs, hence it was designed keeping in mind the needs of both. there is designed place for pilgrims to stay, poor to receive food and gift of clothes etc. The Taj has a forecourt and gardens. The charbagh, mosque and tomb were built in the larger portion, ending in an open platform and raised terrace with the river in view. The mausoleum was placed on this terrace. The gateway at the southern end was the public entrance. The gateway at the northern wall of the forecourt is a three storeyed gateway.

Floral arabesques on spandrels, Taj Mahal, image, 21st century.

The Taj unfolds as one walks through the monument. The outer gateway opens to a large quadrangle surrounded by arcaded rooms and adorned by four gateways This monument took 22 years to build. A broad pavement leads to a gateway made of red stone and inscribed with verses from the Holy Quran. As one moves on, one can see beauty and embellishement. There are the jaalis, pietra dura works as beautiful arabesques. Some views here are testimony to some splendid floral designs at the Taj.

Floral arabesques on spandrels,Taj Mahal, image, 21st century.

Floral arabesque in border and plant motifs on a dado, Taj Mahal, image, 21st century.

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The flowers which are depicted in the precincts of the Taj including the interiors and exteriors show floral compositions. Some of them resemble the iris flower if one looks closely or probably inspired by this flower ! Some patterns resemble the fuschia too.

Chevrons and vegetal motifs, Taj Mahal, image, 21st century.

Petals, inverted, Taj Mahal, image, 21st century.

Vegetal and floral arabesques,Taj Mahal, image, 21st century.

Taj Mahal, image, 21st century.

Vegetal scroll, Taj Mahal, image, 21st century.

Taj Mahal, image, 21st century.

Floral scroll, Taj Mahal, image, 21st century.

Ornamental scrolls, vegetal design, Taj Mahal, image, 21st century.

Detail, Taj Mahal, image, 21st century.

Detail, Taj Mahal, image, 21st century.

References:

https://www.poetry.net/
Wikipedia.org
Images are from Wikimedia Commons

Posted by –

Soma Ghosh

©author

Arabesque in architecture : glimpses from Mughal India

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The arabesque holds a special meaning. The Cambridge dictionary says that it is ‘a type of design based on flowers, leaves, and branches twisted together, found especially in Islamic art’. The architecture of Mughal monuments in India offers many examples of arabesque art. The Taj Mahal, tomb of Emperor Akbar, tomb of I’timād-ud-Daulah, the Fatehpur Sikri, the Agra Fort, the Red Fort and several others. The arabesque has also been defines as a vegetal design consisting of full and half palmettes as an unending continuous pattern in which each leaf grows out of another. It is symbolic of the unity of faith of Islam.

The beautiful and striking designs created on many Mughal monuments are actually a combination of the arabesque-vegetal, geometric patterns and Islamic calligraphy. Islamic art is diverse and made up of stunning patterns, due to the absence of figures which could make it an object of worship, which is prevented in Islam. However the core of the art is symmetry and harmony. There is an effort to convey the structure of everything through pattern. Geometry is an important element, it is sacred geometry with an inner and outer meaning.

Arabesque art depictions, mostly combined with geometry and calligraphy have two types, the first is about the principles that govern the order of the world. Geometric forms have a built in symbolism.The principles include the basics of what makes objects structurally sound yet pleasing to the eye. The square has equal sides and represents the important elements of nature, earth, air, fir and water. The physical world is symbolised by a circle that inscribes the square and would collapse upon itself without any of the four elements. The second type is based on the flowing nature of vegetal froms, representing the feminine life giving force. The third type is the mode of Islamic calligraphy. it is also called the art of the spoken word. Many proverbs and passages from the Holy Quran can be seen in arabesque art. The coming together of these three forms create the arabesque in its entirety. The art is not just mathematically precise but beautiful and symbolic. Many Islamic designs are based on squares and circles, interlaced to form complex patterns. A common motif is the 8 pointed star made of 2 squares, one rotated 45 degrees with respect to the other. Another basic shape is the polygon, mostly pentagon and octagon. Islamic artwork is found in jaali work or trellis tilings, woodwork, kilims or rugs, leather book bindings, metalwork, ceramics and ceilings.

A glimpse into this fascinating world of visual art includes images from two important tombs in Agra, North of India, both from 17th century Mughal era.

Tomb of Emperor Akbar

Emperor Jalalluddin Akbar was the third Mughal emperor, born in 1542 A.D, who ruled from 1556 to 1605 A.D. Akbar’s reign significantly influenced the course of Indian history. During his rule, the Mughal empire tripled in size and wealth. Akbar promulgated Din-i-Ilahi, a syncretic creed derived mainly from Islam and Hinduism, Zoroastrianism and Christianity. His tomb is at Sikandra, Agra, a structure with ornate and stunning Islamic art and architecture.

Tomb of Emperor Akbar, main entrance with artwork, 17th century, Agra.

Emperor Akbar, miniature painting, 17th century, MFA, Boston, U S A

Related image Tomb of Emperor Akbar, 17th century, Agra.

Detail, tomb of Emperor Akbar, 17th century, Agra.

Ceiling detail, ”muqarna”, tomb of Akbar, 17th century, Sikandra, Agra.

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Ceiling detail, ”muqarna”,tomb of Akbar, 17th century, Sikandra, Agra.

Inlay panels on South Gate, tomb of Akbar, 17th century, Agra.

Jaali work, tomb of Akbar complex, 17th century, Agra.

Tomb of I’timād-ud-Daulah

Mirza Ghiyas Beg also known by his title of I’timad-ud-Daulah was a vizier in the Mughal empire, whose children served as wives, mothers, and generals of the Mughal emperors.He was the father of the famous ‘Nur-Jehan’ and grand father of ‘Mumtaz-Mahal’ of the Taj Mahal fame. He was made ”Vazir” after Nur Jehan ‘s marriage with Jehangir in 1611.

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