cross culture influence

8/16/2019 cross culture influence

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! 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.


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! 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 insemi-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.


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! 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 Guru´s 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 theSikh´s concern with the problems of this world.


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The Akal Takht, next to the Golden Temple, is the seat of the Shiromani Gurudwara Prabandhak

Committee, the religious governing body of the Sikhs.

The building of Sri Akal Takhat is a five storeyed structure with a dome at the top. The façade of the

monument consisting of four stories including the basement has a semicircular orientation.

Architecturally speaking the monument is quite complicated in its details of composition and layout.

The ground floor

• 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 façade has an attached pillared marble portico, cusped arch opening on a raise plinth in itscentral part.

• The first floor

• Divided into three parts. It consists of a central hall and rooms on both the northern and southern

sides.

• The façade of the central hall has three openings formed by two pillars.


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• On both the sides of this central opening, there are two chambers having openings to the east and to

the central hall.

• The second floor

• Repeats the same scheme of the first floor.

• 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 façade terminates into projected eave, supported by decorative brackets & is surmounted by

parapet.

• A flight of steps spirals in the western wall upto the top• The third floor

• A large hall formed by cusped arches and square pillars, and galleries on all sides.

• In the façade, there are nine cusped arched openings

• The façade 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.

• The fourth floor

• It is an extension of the lower central hall and has three foliated arched openings on each of its

sides.

• Each of its four corners has a pilaster.

• 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.


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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.


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• 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.


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Amber Fort is located in Amber, 11 km from Jaipur, Rajasthan state, India. It was the ancient citadel ofthe 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

An interior view of a room in the palace covered in thousands of tiny mirrors.

! The structure which is known today as "Amber Fort" was initially a palace complex within theoriginal fort of Amber that is today known as Jaigarh Fort.

! Connected to Amber via fortified passages, Jaigarh Fort is located on a hill above the Amber

complex, and is constructed of red sandstone and white marble. It overlooks Maotha Lake, and wasreputed to be the treasure vault of the Kacchwaha rulers.

! Like the entire fort complex, Amber Fort is also constructed of white and red sandstone. The Fort isunique in that its outside, an imposing and rugged defensive structure, is markedly different from its

inside, an ornate, lavish interior influenced by both Hindu and Muslim (Mughal) styles of

ornamentation.

! The walls of the interior of the fort are covered with murals, frescoes, and paintings depictingvarious scenes from daily life. Other walls are covered with intricate carvings, mosaic, and minute

mirror work.[5]

! Amber Fort is divided into four sections. Each is accessible via large staircases from a central

location, or from a broad pathway leading to each of the sections.

! The pathways are currently used to transport tourists via an elephant ride. The main entrance ofAmber Fort, Surajpol, leads to the Jaleb chowk, the main courtyard of the Fort where the staircase to

the palace is located.

! In ancient times, Jaleb Chowk was the area where returning armies were paraded back home.


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! Just prior to the palace entrance is a narrow staircase leading to the Kali Temple, also known as theShila Devi Temple, made popular for itsenormous silver lions.

! The origins and purpose of these large lions isstill unknown. The Kali Temple is known forits 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 Maharajarecovered the statue from the bed of the sea

and created the temple. A tourist curiosity isan image of Ganesha at the temple entrance,

carved entirely from a single piece of coral.[6]

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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 theMaharaja'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 a 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.


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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-E-

Aam' or the 'Hall of Public Audience'.

! These paintings bring forth some very capturing displays like Ramayana theme, etc. also worth


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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 withdelicate 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 maharaja’s 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.


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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 ofthe 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

Jaipur’s 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 animportant 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


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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 façade.

! 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 décor of the other monuments in the

city, its colour is a full testimony to the epithet of “Pink City” given to Jaipur.

! Its façade 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

façade, 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

desert’s “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]


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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 severalplaces 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


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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 women’s 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.


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Elephant Stables

Plans, Section and Elevation of Elephant Stables


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! 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 abo e 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.


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.+/$ &'($")*()+'*

! 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 fluxwhen 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.


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! 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 façade 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 façade.

! The first level has arched openings and blind niches with octagonal towers marking the internal

division of the bays on the exterior façade.

! The second level tries to break the scale of the façade by having a series of undersized archedopenings, 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 façade 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

!"#$ &'()


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26/40

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Chhota Imambara, Monument of Lucknow

Chhota Imambara was built by Muhammad Ali Shah in 1840. It is rather remarkable in its architectural

style. The Jami Masjid, the largest Nawabi mosque in Lucknow, stands to the south-east of the Chota

Imambara.

! The Chhota Imambara occupies a rather distinguished position among the Imambaras of Awadh.

Even though it is smaller than the Bara Imambara, it is quite outstanding in its architectural

setting, its finish, its elaborate and harmonious design and its lavish ornamentation.! The Imambara complex has a remarkable ground plan. Entrance is gained through two successive

gateways.

! A water channel with a hanging bridge and ornamental waterfalls of yellow and black stones runs

through the centre and up to the Imambara.

! On either side of the channel are symmetrical gardens in which stand two graceful replicas of

the Taj Mahal.

! Located to the south-east of the Imambara is the Jami Masjid, the largest Nawabi mosque

in Lucknow. This impressive mosque rises above a platform.

! From the six-storied minarets crowned by graceful cupolas, it is possible to get a panoramic view of

the historic city of Lucknow. However, entry into the minarets is no longer allowed.

! The main entrance to the first enclosure of the Imambara has three arches and faces the Rumi

Darwaza. The second gateway is notable for its three-storied design in which the central arch is

balanced by a symmetrical arrangement of smaller arches.

! The structure is crowned by a graceful pediment and conical turrets. This gate is certainly a replica

of the magnificent gate of Dargah Hazrat Abbas, built by Nawab Saadat Ali Khan.

! The Imambara is erected on a rectangular platform. The facade is remarkable for its projecting

portico, which has five graceful arched openings.

! The central arch bears a white marble slab on which the date 1837 is inscribed in the Nastaliq

script.

! The two tiered parapet is decorated with miniature arches and solid domes while the square turrets

are crowned with cupolas.


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! 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.


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Elevation of chota imambara ENTRANCE GATEWAY


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Chhatar Manzil, Monuments of Lucknow

Chhatar Manzil is a Nawabi Palace complex in Lucknow. It has been constructed in a kind of hybrid style

and includes both Indo-Muslim as well as European elements in its architectural style.

The construction of the Chhatar Manzil was begun by Nawab Saadat Ali Khan and finally completed by

Ghazi ud Din Haidar.

! Chhatar Manzil complex, also known as them Farhat Baksh complex, is constructed in the style

of the later Nawabi architecture in Lucknow.

! In the second phase of Nawabi architecture, constructed from 1800-1856, are those monuments

which belong to the first half of the nineteenth century, before Awadh was annexed by the British.

! These monuments are characterised by a hybrid style, incorporating Indo-Muslim and European

elements. The Chhatar Manzil is a Nawabi Palace complex completed by Ghazi ud Din Haidar. It

was earlier built by Nawab Saadat Ali Khan in memory of his mother, Chhatar Kunwar.

! The complex consisted of the Greater and Lesser Chhatar Manzils, the Kothi Farhat Baksh built by

Claude Martin, the Lal Baradari, Gulistan-i-Iram and Darshan Vilas.

! The Chhatar Manzil complex essentially comprised of a series of European houses with a central

arden and smaller buildings like Baradaris and pavilions, covered passageways, gateways and

walled areas.

! The Gomti River and the Khas Bazar formed the northern and southern edges of the complex.

Ghazi ud Din Haidar completed the unfinished palace on the right bank of the Gomti, near Kothi

Farhat Bakhsh.

! The palace was crowned by a golden pinnacle in the form of an umbrella. The unique feature gave

its name to two palaces- the Ban Chhatar Manzil and the Chhoti Chhatar Manzil - built opposite

one another.

! This pinnacle became so popular that almost all the later domed buildings were decorated with an

umbrella in the form of the crown of Awadh, particularly Kothi Kaisar Bagh, Kaisar Pasand and

Lakhi Darwaza.

! The Iranian carpets, wall paintings, mirrors, portraits and chandeliers which once adorned the

palace are now missing.

! Both the Chhatar Manzils and the surrounding gardens were originally enclosed within boundary


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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.


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MYSORE PALACE

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Mannar Thirumalai Nayakkar Mahal

Main Inner Corridor of Thirumalai Nayakkar Mahal

Palace

Thirumalai Nayak Palace is a 17th century palace was built by King Thirumalai Nayak, one of the

Madurai Nayak rulers in 1636 AD in the city of Madurai, India. This Palace was built with the help of an

Italian Architect and is a classic fusion of Dravidian, Islamic and European styles. The building, which can

be seen today, was the main Palace where the king lived. The original Palace Complex was four times

bigger than the present structure. In its heyday, Tirumalai Nayak Palace at Madurai was considered to be

one of the wonders of the South.[1]

King Thirumalai Nayak Palace Entrance way


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HistoryHistoryHistoryHistory

The Nayaks of Madurai ruled this former Kingdom from 1545 till 1740’s and Thirumalai Nayak (1623-

1659) 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.

Kings Courtyard and Royal Residence

Design and constructionDesign and constructionDesign and constructionDesign and construction

Built in 1636, as a focal point of his capital at Madurai, Thirumalai Nayak intended the palace to be one of

the grandest in South India. The design and architecture is a blend of Dravidian, Islamic and Europeanstyles. It is the Interior of the Palace surpasses many of its Indian contemporaries in style and details while

the exterior is minimalistic by comparison. Madura beats Indo Saracenic Dravidian,Architecture


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45&%6+(%7

Upon entering into the gates of the palace, the visitor enters into present day’s huge central courtyard

measuring 3,700 sq.m (41,979 sq.feet). The Courtyard is surrounded by massive circular pillars. Now it hasa circular garden.

Architectural Excellence of Nayak King Couryard

3869%$5%

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 throne-

room and has an arcaded octagon covered by a dome 60–70 feet high. The pointed ceiling or dome in thecentre 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.


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Palace Auditorium/ Dance Hall

-(69%$():

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 glossytexture. 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.

cross culture influence

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