Documentation of Visual Culture

Fatehpur Sikri Motifs Manoj Singh

documentation of visual culture

fatehpur Sikri Motifs

Documentation of Visual Culture Fatehpur Sikri Motifs

Manoj Singh UG_GD_2013-14 National Institute of Design January 2016

documentation of visual culture

fatehpur Sikri Motifs

content acknowledgement introduction objective of the study strategy of field work details of the field work about the place climate conditions how to reach distance chart architecture of fatehpur Sikri timeline motifs Jali Motifs Restoration work References

documentation of visual culture

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acknowlegement

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am very grateful to Dr. Tridha Gajjar, Coordinator of Graphic design, National Institute of Design, Ahmedabad, for giving us the oppurtunity to have this documentation course. I would also like to thank Mrs. Mona Prabhu for her gudience to carry out the study. She helped me to clarify the conceptual complexity of this study.

I would like to thank my family, who helped in me during this documentation. I would also like to thank my friends for helping me with the stay in Fatehpur Sikri without whom my work would have not been completed.

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INTRODUCTION

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slamic architecture encompasses a wide range of both secular and religious styles from the foundation of Islam to the present day. What today is known as Islamic architecture owes its origin to similar structures already existing in Roman, Byzantine and Persian lands which the Muslims conquered in the 7th and 8th centuries. Further east, it was also influenced by Chinese and Indian architecture as Islam spread to Southeast Asia. The principal Islamic architectural types are: the Mosque, the Tomb, the Palace and the Fort.

From these four types, the vocabulary of Islamic architecture is derived and used for other buildings such as public baths, fountains and domestic architecture.

The present work is focused on the motifs in the Mughal Monument of Fatehpur Sikri. The arch itecture of Fatehpur Sikri is the amalgamation of various religions styles. This will help us understand the differences in designs of different religions.

My selected area of exploration is be the comprehensive and critical study of Fatehpur Sikri’s different motifs, their design principles, significance of using certain motifs like flora, fauna, having geometrical and auspicious significance. The elements of art, design, technique and methods will be studied in detail.

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OBJECTIVE OF THE STUDY To study the various components of Fatehpur Sikri palace, mosque and living spaces of Akbar’s time.

To study and document the motifs used in a variety of stone carvings at the time.

Thearby to get a glimpse of the prevaling visual culture of Akabar’s period.

STRATEGY OF FIELD WORK

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y initial strategy of conducting field work was to first observe the place and people in detail and the next thing was to click the photos of the relavant things.

Apart from this I did informal interviews with people and artisians simultaneously recording them. Direct observing, participation in their activities, collective discussions with a group of workers, analysis.

DETAILS OF THE FIELD VISIT DATE AND TIMINGS December 21 - December 24 10am to 5pm Day1 - Visited the Palaces and observed all the structures and motifs Day2 - Clicked photos of the buildings and motifs Day3 - Talked to people and guides Day4 - Went to the places where the restoration work is in progress

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ABOUT THE PLACE

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atehpur Sikri is a city in the Agra District of Uttar Pradesh, India. The city was founded in 1569 by the Emperor, Akbar, and served as the capital of the Mughal Empire from 1571 to 1585.

Fatehpur Sikri sits on rocky ridge, 3 kilometres in length and 1 km wide and palace city is surrounded by a 6 km wall on three sides with the fourth bordered by a lake. The historical city has many important buildings and structures both religious and secular some of which are Buland Darwaza, Jama Masjid, Tomb of Salim Chishti etc. It is still surrounded by a five mile long wall built during

its original construction on three sides. The modern town lies at the western end of the historical complex. Fatehpur Sikri is one of the fifteen Block headquarters in the Agra district. It has 52 Gram panchayats under it.

CLIMATE CONDITIONS

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he climate in Fatehpur Sikri is referred to as a local steppe climate. There is not much rainfall in Fatehpur Sikri all year long. The average temperature in Fatehpur Sikri is 25.7 °C. April to June exists the summer season. The climate during this season is very hot. From June to September is the Monsoon season. Heavy rain showers are regular during this time. Especially in the month of July when heavy rainfall occurs. Winter season in the city starts from November and lasts till March. The temperature is very cool during this period and reaches upto two degrees Celsius.

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HOW TO REACH

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atehpur Sikri is just 39 km from Agra and is wellconnected by road from Agra and other major cities of the state. Agra has great road, rail and air connectivity making it the base to reach Fatehpur Sikri. Here is how to reach Fatehpur SIkri.

BY AIR Fatehpur Sikri is located at a distance of around 40km from Kheria Airport in Agra. One can get a taxi from airport to the destination.

BY TRAIN Agra Cantt Railway Station in Agra is at a distance of 40kms from Fatehpur Sikri and is well connected with other cities .

BY ROAD The UPSRTC bus service connects the city to Agra and to various other cities of the state. These buses cost a very minimum amount and make it possible for all to commute without much difficulty.

DISTANCE CHART DELHI TO FATEHPUR SIKRI

3 HOURS 18 MINS 222 KM

AGRA TO FATEHPUR SIKRI

49 MINS 37.1 KM

AHMEDABAD TO FATEHPUR SIKRI

13 HOURS 47 MINS 848.9 KM

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ARCHITECTURE

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atehpur Sikri sits on rocky ridge, 3 kilometres (1.9 mi) in length and 1 km (0.62 mi) wide and palace city is surrounded by a 6 km (3.7 mi) wall on three sides with the fourth bordered by a lake. Its architects were Tuhir Das and Dhruv Chawla and was constructed using Indian principles.

The buildings of Fatehpur Sikri show a synthesis of various regional schools of architectural craftsmanship such as Gujarat and Bengal. This was because indigenous craftsmen were used for the construction of the buildings. Influences from Hindu and Jain architecture are seen hand in hand with Islamic elements. The building material used in all the buildings at Fatehpur Sikri, palace-city complex, is the locally quarried red sandstone, known as 'Sikri sandstone'. It is accessed through gates along the 5 miles (8.0 km) long fort wall, namely, Delhi Gate, the Lal Gate, the Agra Gate, Birbal's Gate, Chandanpal Gate, The Gwalior Gate, the Tehra Gate, the Chor Gate and the Ajmere Gate.

TOMB OF SALIM CHISHTI

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white marble encased tomb of the Sufi saint, Salim Chisti(1478–1572), within the Jama Masjid’s sahn, courtyard. The single-storey structure is built around a central square chamber, within which is the grave of the saint, under an ornate wooden canopy encrusted with motherof-pearl mosaic. Surrounding it is a covered passageway for circumambulation, with carved Jalis, stone pierced screens all around with intricate geometric design and an entrance to the south. The tomb is influenced by earlier mausolea of the early 15th century Gujarat Sultanate period. Other striking features of the tomb are white marble serpentine brackets, which support sloping eaves around the parapet.

On the left of the tomb, to the east, stands a red sandstone tomb of Islam Khan I, son of Shaikh Badruddin Chisti and grandson of Shaikh Salim Chishti, who became a general in the Mughal army in the reign of Jahangir. The tomb is topped by a dome and thirty-six small domed chattris and contains a number of graves, some unnamed, all male descendants of Shaikh Salim Chisti.

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JAMA MASJID

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t is a Jama Mosque meaning the congregational mosque and was perhaps one of the first buildings to be constructed in the complex, as its epigraph gives AH 979(A.D. 1571-72) as the date of its completion, with a massive entrance to the courtyard, the Buland-Darwaza added some five years later.

It was built in the manner of Indian mosques, with iwans (rectangular hall or space, usually vaulted, walled on three sides, with one end entirely open) around a central courtyard.

A distinguishing feature is the row of chhatri over the sanctuary. There are three mihrabs (semicircular niche in the wall of a mosque that indicates the qibla; that is, the direction of the Kaaba in Mecca and hence the direction that Muslims should face when praying) in each of the seven bays, while the large central mihrab is covered by a dome, it is decorated with white marble inlay, in geometric patterns.

DIWAN-I-KHAS

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he Diwan-i-Khas or Hall of Private Audience, is a plain square building with four chhatris on the roof. However it is famous for its central pillar, which has a square base and an octagonal shaft, both carved with bands of geometric and floral designs, further its thirty-six serpentine brackets support a circular platform for Akbar, which is connected to each corner of the building on the first floor, by four stone walkways. It is here that Akbar had representatives of different religions discuss their faiths and gave private audience.

DIWAN-I-AAM

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iwan-i-Aam or Hall of Public Audience, is a building typology found in many cities where the ruler meets the general public. In this case, it is a pavilion-like multi-bayed rectangular structure fronting a large open space. South west of the Diwan-i-Am and next to the Turkish Sultana’s House stand Turkish Baths.

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GENERAL PLAN OF BUILDINGS

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IBADAT KHANA Ibadat Khana (House of Worship) was a meeting house built in 1575 CE by the Mughal Emperor Akbar, where the foundations of a new Syncretistic faith, Din-e-Ilahi were laid

by Akbar.

ANUP TALAO Anup Talao was buld by Raja Anup Singh Sikarwar. It is a ornamental pool with a central platform and four bridges leading up to it. Some of the important buildings of the royal enclave are surround by it including, Khwabgah (House of Dreams) Akbar’s residence, Panch Mahal, a five-storey palace, Diwan-i-Khas (Hall of Private Audience), Ankh Michauli and the Astrologer’s Seat, in the south-west corner of the Pachisi Court.

PACHISI COURT A square marked out as a large board game, the precursor to modern day Ludo game where people served as the playing pieces.

PANCH MAHAL A five-storied palatial structure, with the tiers gradually diminishing in size, till the final one, which is a single large-domed chhatri. Originally pierced stone screens faced the facade and probably sub-divided the interior as well, suggesting it was built for the ladies of the court. The floors are supported by intricately carved columns on each level, totalling to 176 columns in all.

BIRBAL’S HOUSE The house of Akbar’s favourite minister, who was a Hindu.

Notable features of the building are the horizontal sloping sunshades or chajjas and the brackets which support them.

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HUJRA-I-ANUP TALAO Said to be the residence of Akbar’s Muslim wife, although this is disputed due to its small size.

NAUBAT KHANA Also known as Naqqar Khana meaning a drum house, where musician used drums to announce the arrival of the Emperor.

It is situated ahead of the Hathi Pol Gate or the Elephant Gate, the south entrance to the complex, suggesting that it was the imperial entrance.

Source: Wikipedia, Fatehpur Sikri page https://en.wikipedia.org/wiki/Fatehpur_Sikri

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TIMELINE MONUMENTS

YEAR OF CONSTRUCTION

PURPOSE

Salim Chisti’s Tomb 1581 CE Sacred Complex Buland Darwaza 1601 CE Sacred Complex Astrologer’s Seat 1572-1575 CE Imperial Complex Turkish Sultana’s House

1572 CE

Royal Complex

Diwan-i-khas 1572-1575 CE Royal Complex Birbal’s Palace 1582 CE Royal Complex Jodhabai’s Palace 1569-1572 CE Royal Complex

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BULAND DARWAZA

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et into the south wall of congregational mosque, the Jama Masjid at Fatehpur Sikri is 55 metres (180 ft) high, from the outside, gradually making a transition to a human scale in the inside. The gate was added some five years after the completion of the mosque c. 1576-1577 as an victory arch’, to commemorate Akbar’s successful Gujarat campaign.

It carries two inscriptions in the archway, one of which reads: “Isa, Son of Mariam said: The world is a bridge, pass over it, but build no houses on it. He who hopes for an hour may hope for eternity. The world endures but an hour. Spend it in prayer, for the rest is unseen”. The central portico comprises three arched entrances, with the largest one, in the centre, is known locally as the Horseshoe Gate, after the custom of nailing horseshoes to its large wooden doors for luck. Outside the giant steps of the Buland Darwaza to left is deep well.

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CALLIGRAPHY MOTIF

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alligraphy is the most distinctive motif in Buland darwaza. The reason behind the maximum use of calligraphu in this place appears to be the face that the Darwaza was a kind of landmark of Fatehpur Sikri. The most remarkable calligraphy was an inscription cut in bold Arabic character in sandstone which reads: His maesty, king of kings, Heaven of court, Shadow of God, Jalalud-din Muhammad Akbar Badshah, the emperor. He conqured the kingdom of Dandes, which was formerly called Khandesh, in the 46th divine year (i.e., of his accession) corresponding to the Hijra year 1010. Having reached Fatehpur he proceeded to Agra” On the opposite side of the archway on the west side is another inscription, in Arabic character, which reads: He that standeth up to pray and his heart is not his duty, exalteth not himself, remaining far from god, Thy best possession is what thou hast given alms; thy best traffic is selling this world for the next”

HIS MGAESTY, KING OF KINGS, HEAVEN OF COURT, SHADOW OF GOD, JALALUD-DIN MUHAMMAD AKBAR BADSHAH, THE EMPEROR. HE CONQURED THE KINGDOM OF DANDES.

CALLIGRAPHY INSCRIPTION, BULAND DARWAZA

CALLIGRAPHY INSCRIPTION, BULAND DARWAZA

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FLORAL MOTIFS

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he jambs are beautifully carved on the front with a continuation floral scroll. There is carved terminal of leaves and lotus bud placed one upon another and spread out like a fan palm over the apex of the arch. At the intersection of the crossing are beautifully chiselled leaves placed back to back, which turn over meet midway each cusp. They are looped together by a narrow band and resemble a tassel. It bears a resemblance of the plam leaf ornament so frequently use in ancient Greek buildings.

The principal portal is known as the horseshoe gate, from circumstance that it is thickly studded all over the lower portion with horseshoes. Some are beautifully chiselled, made out of iron.

PART OF HORSESHOE GATE, BULAND DARWAZA

GEOMETRIC MOTIFS

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he sidewalls of the entrance are ornamented, with elaborate inlaid geometrical patterns, in white marble and red stone.

CALLIGRAPHY INSCRIPTION, BULAND DARWAZA

FLORAL MOTIF ON THE DOORWAY, BULAND DARWAZA

GEOMETRICAL MOTIF, BULAND DARWAZA

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ASTROLOGER’S SEAT

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small but elegant kiosk rising from a small extension of the platform of Ankh Michauli, the treasury, it is known as Astrologer’s seat because it is believed that it used to be the seat of an Indian yogi, whom Akbar often consulted in his political matters. The presence of this kiosk near the treasury suggests that it could have been the place where the emperor could sit occasionally to see the distribution of copper, silver and gold coins to the deserving people and his subordinate officers. This kiosk is 3 sq m in area and supported on four pillars. These pillars have octagonal tops and square base adorned with semi-circular patterns.

The astrologer’s Seat represents a small chhatri in the style of architecture used to a great extent by the jains during the 11th and 12th centuries CE under their domes, These remarkable ornament are derived from Jain architecture. Examples are found in the temples of Vimala Saha at Mount Abu and in the temple of Girnar in Kathiawar. They were used too in the ceremonial Hindu doorways called toranas; a row of them perhaps of 1800 CE date, stands outside the principal palace at Udaipur in Mewar.

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The leaf designs grace the roof. The dome is square with interlocking tulip pattern and crowned by an inverted lotus.

These brackets are composed of two separate pieces of red sand stone that were later joined to give the complete structure.

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AUSPICIOUS MOTIFS

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he serpentine motif used in here is believed to be an opportune symbol. The serpentine form motif is also known as the Makara which is a mythical animal representing an alligator. This motif was always correlated with Goddess Lakshmi in Hindu Mythology. In Jain religion this motif symbolizes prosperity and wealth and is a frequently used motif in Jain architectural construction. The fine example are seen in the temples of Vimala saba on Mount Abu at Girnar and Chittorgarh.

The motifs are depicted in a manner that in the outline the struts are of the serpentine form and are in three twists, each twist ends on the sides of a paneled and broken square terminating at the top and bottom in molded bell like knobs. The face of each strut is stepped out in parallel tiers and is elaborately carved. The motif in it is represented by a flower of four petals arranged in a form of rhombus. Another motif found in the astrologer’s seat is referred as Gavaksa depicted on the lower part of the four pillars the chhatri.

The pattern was crudely carved out in the low relief. The depiction of the motifs is as such that the lotus motif were freely carved along with the geometrical and floral designs with a balance.

THIS MOTIF WAS ALWAYS CORRELATED WITH GODDESS LAKSHMI IN HINDU MYTHOLOGY.

IN JAIN RELIGION THIS MOTIF SYMBOLIZES PROSPERITY AND WEALTH AND IS A FREQUENTLY USED MOTIF IN JAIN ARCHITECTURAL CONSTRUCTION.

SHAFT CARVED IN THE FORM OF MAKARA, ASTROLOGER’S SEAT

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Floral Motifs

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loral motifs used in the astrologer’s seat is very less. The pillars are plane and only the middle part and the base had some floral designs on them. The above image shows the floral motifs as a part of the gavaksa depicted on the base of the four pillars supporting the roof. On the roof or the chhatri there is a continuous pattern of foliage and leaves.

Geometric Motifs

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eometrical motifs are used in decorating the serpentine motifs shaft. All the Makara motifs were carved out in geometrical patterns which had motifs like the circle, the square and beads.

FLORAL MOTIF CARVED ON THE PILLAR, ASTROLOGER’S SEAT

GEOMETRICAL MOTIFS CARVED ON MAKARA MOTIF, ASTROLOGER’S SEAT

FLORAL DESIGN CARVED ON THE ROOF, ASTROLOGER’S SEAT

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SULTANA’S HOUSE

FOREST SCENE, INNER DADO, TURKISH SULTANA’S HOUSE

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he Turkish Sultana’s House is one of the most highly ornamented buildings in Fatehpur Sikri. It is one of the richest, the most beautiful and the most characteristic of all Akbar’s buildings. This palace consists of a small chamber surrounded by a veranda, built in red sandstone. The interior of this house is as richly carved as the exterior and hardly a square inch of space has been allowed to remain unattended. The motifs seen here are geometrical, floral, fauna and auspicious motifs.

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FLORAL MOTIFS

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loral motifs were carved on the exterior and the interior walls, ceilings, pillars and the floor of the palace. Floral motifs were integrated with geometrical motifs. The lintels are richly ornamented by deep leaves carved in the form of creepers within the soffit which portrays an orchard. The plants and shrubs are depicted in full bloom, and in the center is the cypress tree partly hidden by the branches of other trees. On the corner portion of the composition, two coconut trees are carved out. The other photo shows a jungle scene where we see the date palm and sheltered beneath it amongst other plants is the banana plant, a portion of the border along the bottom of the panel is found to be unfinished.

The other scene represents a forest scene where the plants and shrubs are in full bloom and the center is the cypress tree partly hidden by the branches and almond tree, which occupies the major part of the panel. The carving of the foliage is Persian in appearance and attention is directed to the peculiar manipulation

ORCHARD SCENE, INNER DADO, TURKISH SULTANA’S HOUSE

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GARDEN SCENE, INNER DADO, TURKISH SULTANA’S HOUSE

ORCHARD SCENE, INNER DADO, TURKISH SULTANA’S HOUSE

of two of the branches laden with flowers, which are bent downwards almost at right angles to the branch, to fill up what otherwise would have been a bald, bland and unsigned space. The treatment is definitely peculiar and highlights the rich individual characteristic of the carving of that period.

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he other scene represents another replica of an orchard. In the center of the panel, a tree is carved out which is supporting a vine laden with grapes. All the trees depicted here are no similar to each other. The sculptor was skillful to show different textures in such a limited space, in the below image a garden scene where in the middle part of the panel an ornamental flower vase is depicted.

This can also be treated a fountain in the middle of a garden. On the right a pomegranate tree is depicted and to the left a typical shrub is carved out with birds shown sitting on the branches.

GEOMETRIC MOTIFS

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eometrical motifs were also consistently carved along with other motifs in the palace. The walls on the exterior are divided into smaller parts and are enclosed by a borders and has a geometrical pattern. In the interior we can see jail work with geometrical star pattern.

FRUIT MOTIFS

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he outer columns forming the veranda and portico are ranged inro eight paris, on the opposite each of the corners of the walls of the reception room, while at the south east and north-east angle are single square pillars. Each side of the pillar is elaborately carved in replication of the pomegranate, grape and melon.

GEOMETRICAL MOTIFS, EXTERIOR WALL, TURKISH SULTANA’S HOUSE

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DEPICTIOIN OF POMEGRANATE AND GRAPES, EXTERIOR PILLAR, TURKISH SULTANA’S HOUSE

EACH SIDE OF THE PILLAR IS ELABORATELY CARVED IN REPLICATION OF THE POMEGRANATE, GRAPE AND MELON.

DEPICTIOIN OF POMEGRANATE AND GRAPES, EXTERIOR PILLAR, TURKISH SULTANA’S HOUSE

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DIWAN-I-KHAS

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iwan-i-khas or Hall of Private Audience is situated in the northeast corner of the royal complex with a huge and richly carved pillar in the center. The central platform attached to the pillar was the seat of the emperor while the diagonal galleries are believed to be the seat of ministers and nobles that were entertained here. However, since the galleries were too narrow to accommodate all ministers of the court at once, some people think that this building was actually the storehouse for the gems and jewels of the royalty and emperor used to come here only to inspect his jewels.

According to Abul Fazl, Akbar had three treasuries that were close to each other and one of them was used to store gems and jewels only.

Since, this building is also close to Ankh Michauli or the treasury for gold and silver, it is quite probable that this place is used as a treasury for jewels. This square red sand stone building has four double-storied faรงades. Though, there is no superstructure or dome here, the four beautiful kiosks at each corner of the building that are octagonal in shape and have a circular dome with an inverted lotus on the top, providing a superlative altitude to the building. The main hall has a most elegant capital composed by joining 36 brackets arising from the pillar in three tiers, in a circular shape.

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AUSPICIOUS MOTIFS

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nside the hall, at the middle of the columns the opportune motifs are depicted in a unique manner. The motifs of the column can be divided into five parts, where each part is represented by a different religious art. The lower portion in the image is the chevron which appears to have a Persian influence and just below the patter is a design which represents an architectural compositions.

GEOMETRIC MOTIFS

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eometrical motifs are placed individually and combined with flora and fauna motifs. The windows are carved purely with geometrical interlace design. On the outside of the building there is jali work on windows. Geometric railing is also carved on the exterior railing as shown.

JALI WINDOW, INTERIOR, DIWAN-I-KHAS

MIDDLE COLUMN, INTERIOR, DIWAN-I-KHAS

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FLORAL MOTIFS

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he floral motif was also part of the decoration of this building and it is combined with geometrical or auspicious motifs. The gavaksa motif is depicted in the column of diwan-i-khas.

GAVAKSA MOTIF, PART OF THE COLUMN, DIWAN-I-KHAS

FLORAL MOTIF, PART OF THE COLUMN, DIWAN-I-KHAS

FLORAL MOTIF, PART OF THE COLUMN, DIWAN-I-KHAS

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JALI MOTIFS

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RESTORATION WORK

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urrently the work of restoration is going on two places near hira minar also known as elephant tower and a mosque next to Tehra Gate. These restorations are done in order to restore and maintain the beauty and grace of the monument. The first steps in a restoration to the historical standards is to study the building and choose a time period for the restoration. The new use of the building is to be consistent with the original use or at least with the time period of the restoration. Materials which are added after the chosen time period are documented and then may be removed while preserving and repairing the appropriate materials. Materials missing are reconstructed to match the old in design, color, texture, and, where possible, materials which are evidence based. They use marble and red stone which was originally used to build it. The artesian are very skilled to restore the motifs and the damaged structures. When they start the restoration work, they first study the entire structure and find the spots where there is significant damage.

SOME OF THE RESTORED WORK

RESTORATION WORK IN PROGRESS, MOSQUE NEAR THERA GATE.

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A big block of red stone is broken into pieces according to need and then are put in the damaged spots. Some of the motif work is carried out on the spot. The aim of these restoration works are to make the structure same as possible. The workers there use various types of tools to carve the stone. These tools include hammer, chisel of different types, drilling machines, L square, nails etc. These tools combined with the skills of the workers gives one of the finest works in modern times. Training in conservation of cultural heritage for many years took the form of an apprenticeship, whereby an apprentice slowly developed the necessary skills to undertake their job.

SOME OF THE TOOLS USED FOR THE RECONSTRUCTION WORK

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OTHER TOOLS USED FOR THE RECONSTRUCTION WORK

BIG BLOCK OF RED STONE

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REFERENCES https://en.wikipedia.org/wiki/Visual_culture https://en.wikipedia.org/wiki/Islamic_architecture https://en.wikipedia.org/wiki/Fatehpur_Sikri https://en.wikipedia.org/wiki/Field_research http://en.climate-data.org/location/422484/ http://www.goibibo.com/travel-guide/india/destination-fatehpur-sikri/weather/ http://www.agraindia.org.uk/fatehpur-sikri/royal-complex/astrologers-seat.html http://www.360cities.net/image/tehra-gate-the-back-gate-to-fatehpur-sikri-overview-of-town Book: Aesthetics of the Time: A View of Fatehpur Sikri Motifs by Meghali Goswami (Author)

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