Islamic Architecture in India
The diversity has always been a distinguishing cross-cutting feature of the whole mankind. Consequently, the modern world has always been a multicultural one since the dawn of times and it is absolutely impossible to establish particular borders between the cultures, as such phenomena as cross-cultural communication has existed during the whole timeline. On this point, it is important to mention that the emerging of any culture first of all depends on the location of its carriers. In other words, it strongly depends on the geographical matters. That is why such rapid cultural differentiation appeared, which has manifested, first of all, in art: architecture, paintings, calligraphy, etc. This statement leads to the mind that each and every culture all over the globe is unique in its own way, keeping its specific features. In this case, the most effective way to analyze those features of some particular culture is to analyze its architecture.
Architecture is considered to be a face of the culture, its appearance. By the way temples, houses and other construction complexes were built we may talk about some specific aspects of the religion, politics and social situation within the cultural group. Surely, as it was mentioned above, it is impossible to find the pure culture, which has never been influenced by any other ones. Due to the globalization, we may find some similar features between any cultures. Considering this fact, the appearance of two centuries-old cultures is going to be discussed in this
Before getting deeper into the topic, it is worth mentioning that first of all, the initial purpose of any architectural building was to serve for the religious matters. Whenever it comes to this point, the image of Indian culture appears, as an example of the most unique religious construction complexes. Nowadays, we may find a number of Islam buildings on the territory of India, due to the historical causes that have led to emerging of Indian cultural features in the Islam architecture. This Indo – Islamic architecture appeared during the Mughal Empire, which lasted from 1526 to 1764. Such coexistence of two cultures has left its marks both on the Indian and Islam architecture. So for now, it is important to define some specific aspects of both architectures, in order to represent their uniqueness. As the Mughal architecture appeared on the basis of Indian culture, this one is going to be discussed first.
The specifics of the Indian architecture are in its basic elements: colors, shapes and ornamentations. Colors mean a lot in the Indian culture; consequently, artists use a wide range of colors while their painting: from gold ones to dark and dusty ones. For example, the white color represents purity and divinity. (Mishra, 78) Generally speaking, all colors are important and carry their own hidden symbolism. In the case with the Indian culture, colors are tightly connected with the religion and gods, people believe in. For example, Ratnasambhava is yellow, Akshobhya with his family are blue, Vairochana is white, Amoghasiddhi is green and Amitabha is red. Each of these colors is a part of the special mystic atmosphere of the Indian religious symbolism and in this case the golden color plays the prominent role. The golden color relates to Buddha, as a symbol of the resplendent spirituality. (Śaśibālā, 60)
Talking about shapes, it is worth mentioning that there is a variety of them, starting with the octagonal shape, which is one of the most used ones, to the hemispherical shape, which
represents the cosmic mountain, like the Sanchi Stupas. (Pruthi, 4) Generally speaking, the simplicity of the buildings is compensated by the lush ornamentation, which is another key element of the Indian culture. (Pruthi, 69) The ornamentation can be seen both – from the outside and the inside. But the initial purpose of the ornamentation was to give the building its special humanity, rather than turn it into the box of rock. (Chakrabarti, 94) The temples are always ornamented, usually with carved elements.
On the contrary, the Islam culture has its own specific features of art. First of all, it is about the coloring. In Islam culture color plays an important role, as it supplements the general appearance of the building, despite on the fact that the most of the decorations are reserved for the interior sections of the buildings. However, the variety of colors may be seen on the entrances to the building and on the domes. While decorating the building, artists use the whole specter of colors. Each of the colors has its own special meaning and carries its own hidden symbolism, tightly connected with the religion. (Ghasemzadeh, Fathebaghali, and Tarvirdinassab, 72)
For example, the green color is considered as the most sacred and the most important one, as this color has become the prominent one during the lifetime of the Prophet, as He always wore a green turban. On the other hand, the green color can be also associated with the nature: fertility and leafage and environment, as it symbolizes life. Another meaning of the green color may be referred to Eden – the Heaven Garden. (Abu Bakar, n. d.) The white color also plays an important role in the Islam culture. It claims about the purity, clearness and divinity. This color represents brotherhood and harmony the in the world of human beings and between our world and Heaven. (Abu Bakar, n. d.) The black color represents holiness, despite on the fact that we used to consider this color as a symbol of evil. In Islam, black color may also allude to the sufferings of Husain, the caliphate Ali son’s. Despite on the fact that there no prohibitions in
Islam, concerning colors, due to the cultural progress some colors appeared to be restricted, such as red, yellow and saffron. It is believed that these particular colors were used by the first primitive communities while building their temples to worship idols. (Abu Bakar, n. d.) Generally speaking, the specific of the color usage is that it is present all over the building from the inside: on the walls, on the entrances, on the dome, etc. That is why the ornamentation in the Islam culture is so unique – it is bright and evident, its purpose is to be shown to others.
Despite on the information, represented above, these two cultures are different. Of course, they have some similar elements: the architecture of both cultures is predominately religious; each and every color has its own meaning and its own place; the ornamentation of monuments and temples is lush and wealthy. The interesting point appears that the differences between Indian and Islam cultures are represented through the same aspects. First of all, it is all about the usage of colors and the attitude towards them. Indian culture seems to be more loyal in this question, as there are no prohibitions, in terms of the usage of some particular color or confermenting it a specific negative association. Unlike with the Islam culture, where there is a strict prohibition against usage red, yellow and saffron colors. Second of all, it is all about ornamentation. It is hard to imagine Indian culture without paintings and carvings on the walls, depicting and embodying some scenes from gods’ life and the daily routine of people. Sometimes, those pictures represent intimate scenes of people making love. On the contrary, in Islam culture it is strongly prohibited to depict any type of animate ornament. Third of all, if we look on the initial ancient Indian architecture, we will hardly find any traces or signs of the inscriptions of Indian calligraphy on the buildings – only ornamentations, sculptures and paintings. Only since the twelfth century first signs of Persian calligraphy appear on the Indian monuments. In the contrast, the calligraphy has always been an irreplaceable part of the Islam architecture. These are words from Quran – verses, carved on the walls of mosques. Especially, every mihrab must bear Quranic inscriptions, as mihrab is the archway, which directs on the way
Despite of these meaningful differences, these two cultures has become one unite at some point. As it was mentioned in the beginning of the paper, Indo – Islamic architecture appeared during the Mughal Empire, which lasted from 1526 to 1764. It emerged due to the merging of two absolutely different cultures, because of some particular historical events. Islam culture has influenced Indian, and, on the other hand, has borrowed some features, transforming it. Not only Indian borrowings may be noticed in the Islam architecture, but also the Byzantine and Roman ones. The Byzantine borrowings are represented mostly through the domes of the mosques. The Roman borrowings are represented mostly through the arches and the way they stylized. For instance, after the so – called Mughal architecture formed, new style of calligraphy and ornamentation appeared in Islam culture: the plants and flowers have become more lush and wealthy; the artists started to use red, yellow and many other colors in their work and they have become more intense. But the biggest change has happened in terms of decorations: the animate motifs emerged. Such motifs appeared during the reign of Akbar and can be noticed in large number in Agra and other places. (Parihar, 145)
In order to get better idea of what the Indo – Islamic architecture is, it is important to analyze in details one of the greatest monuments of all times, considered as one of the seven wonders of the world – Taj Mahal. This is also the finest example of the Mughal funerary, as it was built for such purpose. (Petersen, 276) The constructing process started in 1632 and was finished in 1658 by the work of thousands of craftsmen. It was erected in the memory of Shah
Jahan’s beloved wife Mumtaz – I – Mahal, who died after giving birth to the fourteenth child. (Poulin, 34)
The design of Taj Mahal has been inspired by the architecture of the Mughal’s central Asian homeland, buildings of the earlier Muslim rulers of India and the ancient Indian architecture itself. (Tillotson, 46) It is important to analyze Taj Mahal by its main components: dome, minaret, spandrel space, calligraphy, arch, and finial. The grouping of domes of Taj Mahal is its visit card. All five of them are of the natural, smooth form and of hemisphere shape. The biggest dome is surrounded by four smaller domes over pavilions of the octagonal shape. It is crowned by the bronze finial, which was golden till 1800s. This is typical Persian and Hindu element of decoration; however it is topped by a moon of the typical Islam motif, which indicates on the Islam architecture, inspired by Indian. Generally speaking, such domes are a frequent component of the Indo – Islam architecture of tombs since the fifteenth century. However, such domed pavilions take their origins from the ancient India. (Tillotson, 58) Consequently, we may state that this is an example of Indian influence on the Islam architecture.
Another element of the Islam architecture is a minaret a tower, from which the muezzin announces about the time for prayer. It is also present in Taj Mahal – the tomb is surrounded by four of them and in the case with Taj Mahal they do not serve any practical matters. All these four minarets are absolutely ornamental. (Tillotson, 59) However, their presence also indicates on the fact how much influenced got the Islam architecture by Indian.
Arches are also another key element of the Taj Mahal’s architecture. There are a number of arches in this monument. The biggest one is located right beneath the biggest dome, surrounded from the both sides with four smaller arches. Also, arches are present all over the interior of Taj Mahal. For example, eight pishtaq arches define the space at ground level. (Tillotson, 117) All arches are spandrel, ornamented with wealthy floral motifs that represent
flowers and vines. Arches are considered as another perfect example of the Indian influence on the Islam culture. Moreover, it also claims about the strong influence of the ancient Roman culture and architecture, in specific, as the arches are mostly coming from the Roman Empire from their temples and ancient India from the caves and niches in the walls.
The last but not least in the list of examples of the emerging of Indian and Islam cultures is the calligraphy. As it was mentioned previously, the Indian architecture, before Islam came on the Indian lands, did not know any carvings on the walls, in terms of words and quotes from the Holy Readings. In the case of Taj Mahal, the appearance of the calligraphy states about the strong presence of the Islam in India. The inscriptions of Taj Mahal are all signed, as the great value was given to the art of the calligraphy. It is believed that these inscriptions were created by the Mughal court's Persian calligrapher, Amanat Khan. It is the jasper inlay on the white marble panels. (Tillotson, 80) This is another example of how Islam architectural traditions have got influenced by the Indian and Persian ones: in the case with Taj Mahal, the calligraphy also plays not only the role of the Holy Readings, but also a highly decorative role, in other words – ornamental.
As a conclusion, it is important to state that indeed the Islam architectural traditions have got influenced by the Indian ones. Such strong influence is represented through the new shapes and forms of the monuments – they have become wealthier and richer. Some particular elements of the building have lost their initial practical purpose and were turned into the simple ornamental constructions, as it happened with the minarets. However, it is also worth mentioning that the Indo – Islam culture or architectural tradition has not emerged on the combination of the pure cultures. This fact proves the statement, represented on the beginning of the paper: the eternally developing globalization has caused the co – existence of the cultures and the ways they influence each other.
Works cited:
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