Rajeel Arab Architecture in Translation Workshop

During the Mughal invasion in India, the early Islamic architecture that we are familiar with is almost despotic in terms of being self-imposing from the mosques to the tombs; for example the prominent Qutb’uddin Aibak’s Qutab Minar complex itself. Where two distinct styles in architecture (Hindu and Islamic) were unmistakably clear, almost dividing the structure into two halves. Since the Invasion in 1100’s Early Indian temple structures were desecrated to show the dominance of power when conquered, this initial Mughal or Islamic style architecture that emerged during this time was more or less built on the remnants of Indian Hindu temples or structures. Hence the base and columns remained predominantly of Hindu architecture in origin, some still bearing idols and cravings of the deities and the rest Mughal Islamic.

This picture is of the fresco at the Amer Palace more popularly known as the Amer fort, built by Raja Man Singh 1592 AD. As popular history claims that Jodhabai (debatable), daughter of Raja Man Singh married the Mughal Emperor Mohammed Akbar who reigned India since he came to power in 1556 AD until his death in 1605 AD and bore him, his first son Jehangir, though the marriage was a political alliance, she is said to have had influenced a multi-religious tolerance within the empire.

This fresco is fascinating because here we start seeing a shift not only between culture, religion and power within the empire; but that of the integration and culmination and acceptance of the identity, culture and religion. The shift here is steadily becoming more dominant and that it is now being openly expressed through architecture; not only in a way of translation and adaptation of one culture into another but also in the form of a strong visual expression and identity in Art and Architecture. What makes this shift even more engaging is that it has not been suggested by the Mughals but by the Hindu Rajputs. The essence of the picture lies in the Hindu God Ganesha at the centre being surrounded by traditional Islamic decorative elements like the motifs of the leaves and flowers, geometric patterns and inlay work (Which is one the most prominent feature of the Taj Mahal built almost 30 years after the death of Akbar) all in all enclosed in a traditional Islamic arch. This fresco on the Ganesh Pol Entrance is just one aspect of the Amer fort which gets its reddish pink colour from the local sandstone, the fort is enveloped in Islamic motifs, patterns, mirror work and arches, latticed screens and domes.

By Rajeel Arab