CHAPTER 2: SIGNIFICANCE OF JAALI IN ARCHITECTURE

CHAPTER 2: SIGNIFICANCE OF JAALI IN ARCHITECTURE

2.1 INDO- SARACENIC ARCHITECTURE

Indo- Saracenic (from Saracen, an archaic name for Muslims used by the British), also known as Indo- Islamic or Indo- Gothic is a style of architecture which was introduced by British architects in the late 19th century in India. The main idea was to merge British, Indian and Islamic architectural features into one, with the intent of showing how despite being an imperial power, the British in India were part of the Indian milieu. Later phases also combined some elements of Colonial architecture but major elements were taken from Indian and Islamic architecture wherein the spatial organization and composition was British. Before the arrival of the British in India, it was commonly known as the Indo- Islamic style of architecture. The study of Indo- Islamic architecture is conventionally categorized as follows: • THE IMPERIAL STYLE (DELHI SULTANATE)- A.D. 1200- A.D. 1246 The slave dynasty was established by Outb-ud-din Aibak, who had been installed as governer in Delhi. The main building work during this dynasty was done by Outb-uddin Aibak and his son in law Shams-ud-Din Iltutmish.

FIGURE 2.1 FIGURE 2.2 FIGURE 2.3

• THE PROVINCIAL STYLE-

The Provincial Style of architecture encompasses the trends and developments noticed in different provincial capitals in India, but specifically in Punjab (1150-1325 A.D.), Bengal (1203-1573 A.D.), Gujarat (1300-1572 A.D.), Jaunpur (1376-1479 A.D.), Malwa (1405-1569 A.D.), Bijapur (1490-1656 A.D.), and Kashmir (1410 onwards).

FIGURE 2.4 FIGURE 2.5

• THE DECCAN STYLE (BIJAPUR AND GOLCONDA)-

Unlike other Muslim rulers who made full use of indigenous art and architecture in their domains, rulers in the Deccan largely ignored the local art and produced an independent style of their own. Influences in this style come from two main sources: Delhi Style and Persian Style.

FIGURE 2.6 FIGURE 2.7

• THE MUGHAL STYLE (DELHI, AGRA AND LAHORE)-

Mughal Empire was established by Babur in 1526 and this era defines the most sumptuous phase of Islamic Architecture in India, due in part to the wealth and the settled political conditions of the empire and to the aesthetic nature of the emperors. The Mughal architecture flourished under the first five ‘Great Mughals’ of the dynasty, Babur, Humayun, Akbar, Jahangir and Shah Jahan and declined after the rule of Aurangzeb. The major influences came from Persian architecture and architecture styles of Gujarat and Rajasthan. The two most popular builders of the dynasty were Akbar (1556-1605) and his grandson Shah Jahan (1627-1658), with a transitional phase observed under Jahangir (1605-1627).

FIGURE 2.8 FIGURE 2.9

2.1.1 FEATURES OF INDO- SARACENIC ARCHITECTURE

With the coming of Britishers and Muslims to India, many new features and techniques came to be introduced in buildings. The Indo- Saracenic style is neither strictly Islamic nor strictly Hindu or British, rather this style is an ensemble of architectural elements combined from Hindu, Islamic as well as British regions. Due to this, the buildings made in this period exhibit multiple architectural features.

• Onion (Bulbous) Domes : An onion dome is a dome whose shape resembles an onion.

Such domes are larger in diameter at the base on which it rests and the height of the dome exceeds its width. It tapers smoothly to a point. This feature was adopted from Russian style architecture and was improved by the Muslims.

• Overhanging Eaves or Chajjas : Overhang is the edge of the roof which protrudes outwards, beyond the edge of the building. It provides protection to lower levels against the weather conditions. (rainfall, sunlight, snow etc.) It is a common feature in Mughal architecture where it is known as a Chajja.

FIGURE 2.10

FIGURE 2.11

• Vaulted Roof : A vault roof is a self supporting arched form, serving to cover a space, in other words, it is a series of arches forming a roof form. It is commonly known as Muqarna in Islamic architecture.

FIGURE 2.12

• Domed Kiosks or Domed Chhatris : Domed kiosks in Indo- Islamic architecture, is an open circular pavilion consisting of a dome as roof supported by pillars. Majorly it originates as a canopy above tombs and also serves as a decorative element.

FIGURE 2.13

• Minarets : In Islamic architecture, minaret is defined as a tower which is either connected with a mosque or is located close to a mosque and has one or more balconies. From the tower, the faithful are called to prayer five times each day by a muezzin, or crier. The Minaret is largest in size at the base and it gradually decreases with increase in height.

FIGURE 2.14 FIGURE 2.15

• Pierced Open Arcades : It is a passageway formed by a series of arches supported by columns or piers. It is a covered walkway formed between the wall and the arches which also provides access to adjacent spaces. It is a significant feature of Indo-

Islamic architecture.

FIGURE 2.16

• Arches : Arch is a vertical curved structure that spans an elevated space which may or may not carry the load from above. The types of arches which are significant in Indo- Saracenic architecture are Pointed Arches, Cusped Arches and Scalloped Arches.

FIGURE 2.17 FIGURE 2.18 FIGURE 2.19

Visual connectivity via jaali design • Harem Windows or Jaali Windows : It is a type of projecting window enclosed with latticework. ‘Harem’ is a separate part of a Muslim household reserved for women and these windows are provided in those areas since privacy of a woman is an essential aspect of Muslim culture. It is traditionally known as

Mashrabiya in Islamic architecture. Geometry is considered as a sacred art form in Islamic architecture and the latticework done was a result of geometric patterns, therefore use of latticework was not only bound to the windows. It was also used as balcony railings, partition walls, ceilings & ornamentation element.

FIGURE 2.20 FIGURE 2.21 FIGURE 2.22

2.2 CHRONOLOGICAL EVOLUTION OF JAALI

There are Jaalis with intricate work and then there are some with a pattern being repeated or mirrored. The design of a Jaali narrows down to the kind of pattern which is taken as a module, to mould it into the desired size. These patterns are a result of geometrical design, organic and vegetal design, calligraphy, floral designs and animal patterns. The type of Jaali design which is given utmost importance in Indo- Islamic architecture evolved from the geometrical patterns. Geometry in Islam plays a significant role, as geometric pattern was turned into an art form and started being used for ornamentation purposes as well. This happened because the use of human and natural figures had its own constraints in Islamic architecture. These geometric patterns have evolved with the time, the empire and the region.

2.2.1 GEOMETRY IN ISLAMIC WORLD

Circle is the ultimate base of all creation in Islamic geometric figures and it represents the symbol of unity. The natural division and expansion of this figure is the starting point for many patterns. It also gives rise to the three most essential figures; the triangle, the square and the hexagon. • The triangle represents, “human consciousness and the three basic biological functions : ingestion, digestion and excretion.” • Square symbolizes “the universe’s four main elements : water, earth, fire and air.” • The hexagon symbolizes “heaven”.

FIGURE 2.23 FIGURE 2.24 FIGURE 2.25

All the other patterns are based on polygons and after connecting the vertexes of these polygons, fundamental Islamic patterns are formed, known as the star- polygons.

TABLE 2.1

2.2.2 JAALI EVOLUTION THROUGH ISLAMIC DYNASTIES

From the rise of Islam in the 7th century, not many contributions were made in the field of geometry by the Muslims. But by the 8th and the 9th century, expansion of Geometry in Islamic art and architecture is observed. And it was during the 10th century that their contributions became significant in the field of Geometry. The dynasties that made a paramount contribution in development of Islamic art and architecture are : (i) Umayyad Dynasty (661 to 750 CE) (v) Mamluk Dynasty (1250 to 1517 CE) (ii) Abbasid Dynasty (750 to 1258 CE) (vi) Ottoman Empire (1290 to 1923 CE) (iii) Seljuk Dynasty (1038 to 1194 CE) (vii) Safavid Empire (1501 to 1736 CE) (iv) Fatimid Dynasty (909 to 1171 CE) (viii) Mughal Empire (1526 to 1858 CE)

(I) UMAYYAD DYNASTY

The Umayyad architecture was based on the mosques and palaces, which reflects the influences and inspirations drawn from the Byzantines and Sassanian empires construction techniques and ornamentation.

FIGURE 2.26 FIGURE 2.27 FIGURE 2.28

(II) ABBASID DYNASTY

When the Abbasid Empire took over, new techniques and more abstract styles were adopted. Frescos, wood and stone carvings, brickwork, stucco and terracota were extensively used.

FIGURE 2.29 FIGURE 2.30 FIGURE 2.31

FIGURE 2.32 FIGURE 2.33 FIGURE 2.34

(III) SELJUK DYNASTY

During this empire, the focus was more on tombs and madrasas. It brought transformation in geometric motifs and introduced complex patterns.

FIGURE 2.35 FIGURE 2.36 FIGURE 2.37

(IV) FATIMID DYNASTY

During this empire, the use of 6-point star and 8-point stars in seen but it was more isolated or sculptural as the entire form or surface was not covered by them. They were always directed towards a focal point.

(V) MAMLUK DYNASTY

Mamluk period is considered as the second artistic movement. The geometrical motifs were designed more as main focal motifs and less interwoven. 16-point geometrical patterns were a feature of their ornamentation.

FIGURE 2.38 FIGURE 2.39 FIGURE 2.40

FIGURE 2.41 FIGURE 2.42 FIGURE 2.43

(VI) OTTOMAN EMPIRE

Later, the Ottoman Empire was considered as the master builders who took inspiration from Seljuks and Mamluks. Materials used for ornamentation included wood, marble and colored glass. In their works, more floral and vegetal patterns and geometrical ornamentation was limited to doors. 8 and 16 point geometrical patterns were more popular.

FIGURE 2.44 FIGURE 2.45 FIGURE 2.46 FIGURE 2.47

(VII) SAFAVID EMPIRE

During the Safavid period there was a significant growth in art and science. They got the rich architectural traditions and techniques in the legacy. Geometrical ornamentation was used on all building types, on balconies, and ceilings.

FIGURE 2.48 FIGURE 2.49 FIGURE 2.50 FIGURE 2.51

(VIII) MUGHAL EMPIRE

Then came the great Mughals who contributed greatly in the field of geometric patterns. They ruled as a multi-cultural empire and drew inspirations from all great works of art and architecture which ranged from early Islamic, Hindu to Persian style. They preached the significance of geometry in architecture is a universal language of unity and symmetry. The use of 6-point and 8-point geometrical motifs are used in floor patterns and are designed and carved in the window grills (screens or jaali) and balcony railings.

FIGURE 2.52 FIGURE 2.53 FIGURE 2.54 FIGURE 2.55

They avoided complex geometrical patterns in their designs and focused more on proportions and angles while designing the patterns. They used 6, 8, 10 and 12-point patterns over sandstone and marble inlay work. The formation of geometric patterns and its evolution over time shows the strong impact all the empires had. The use of different materials and experimentation of different techniques shows that with the passage of time, the art of composing and repeating a pattern to make a jaali or other kinds of ornamentation, was mastered by the end of the Mughal period. Gradually all the elements like dome, walls, floors, minarets, mihrabs, windows and balconies were used for ornamentation.

FIGURE 2.56

The Table represents the era when a geometric pattern was introduced and how they co-existed in certain eras. The influence and the development of the patterns are visible in this table.

2.3 JAALI IN CONTEMPORARY ARCHITECTURE

2.3.1 SIGNIFICANT FEATURES AND FUNCTION OF JAALI IN CONTEMPORARY PERIOD

Use of Jaali can be defined on the basis of : a)Visual Connectivity/ Separation f) Energy efficiency b)Privacy g) Furniture Design c)Thermal Comfort (control of the level of light, temperature control, control air movement, etc.) d)Protection in wall cladding e)Noise Reduction

Visual connectivity via jaali design Jaali is a multi-functional design element and is considered as a green tool which helps reduce the energy load of cooling and the costs associated with it. In modern-day buildings, jaalis are used as interior partitions which acts as a physical barrier while maintaining a visual connection within spaces. They are also used in furnitures as an aesthetic element, in balconies for railings, as a wall cladding to maintain the micro-climate, as well as in doors and windows. The apertures in the jali efficiently lessen the ingress of heat in the daytime. They also block the entry of direct sunlight, making for pleasant interiors.

FIGURE 2.57 FIGURE 2.58 FIGURE 2.59

FIGURE 2.60 FIGURE 2.61

FIGURE 2.62 FIGURE 2.63 FIGURE 2.64