Chapter V Artistic Excellence of Mughal Buildings The genius and artistic approach of the Mughals needs a thorough analysis and appreciation. R. Nath describes the grandeur of Mughal buildings as an incomparable art The buildings are adomed and embellished that sky had not seen on the face of the earth Islamic architecture presents diversity of decorative designs in the temporal and geographic expense from Spain to the borders of China over a period of thirteen hundred years‘, The analysis of the secret of pattern and technique is still in progress to unveil the new aspects of Muslim aesthetic. In the Mughal’s reign modification and innovation in decoration wervon climax, as simple patterns never satisfied them. Mughal buildings based on Islamic elements, in pure white, pale and red sandstone coiour catch attention in thick green vegetation, as full-blown flowers. The rhythmic articulation of different parts in harmonious colours and exquisite compositions evoke an urge for appreciation. Bernier says that he had seen nothing in Europe so bold and majestic” One of the distinguishing features of Mughal monuments is, the spaciousness, inspired from Timur’s constructions, e.g. Dilkusha gardens, Samarkand, 1378", R. Nath says, “Mughals know that lofty buildings evoke a sense of wonder, source of aesthetic experience’, The sky in the background of these spacious constructions defines clearly the stately minarets, domes, graceful line of Chattris and crenellation, ¢g. Badshahi Masjid, tomb of Jehangir, Taj mahal and Jami mosque, Fatehpur Sikri etc In Europe and France these monuments are regarded as “art in action; or fiving architecture that bears magnificence to suit the climate of the region and is practiced on principles which caused its development *” A definite change in design becomes very marked after appearance of Mughals on Indian scene, Red sandstone carvings of Akbar's constructions developed in Jehangir’s time with additton of white marble. The patronage of Mughal rulers for the art of construction ' Mertily, Jerkins, IMamic Art p. 338, on, Brookes, Ganens of® arise, London, 1987, 1.66, *Thid, p. 74 {R. Nath, Same Aspects of Mughal Architecture, Delhi, 1979, p. 152. 4 Brookes, op. eit. p.7. 238culminated in Shahjehan’s reign, projecting marvel of Jehangir’s miniature paintings on the white marble surface. The radiant colours and lyrical movements of flora, as dominant subject, magnify - its grandeur with over refiement, sense of delicacy and elegance in decorative details. The choice of flora for a definite part enhances its splendour, fragrance and grace, whereas the gleaming marble added new dimensions for widespread use of technique. The prominence of flora in Mughal buildings stands unique in the whole world and was adapted according to the climatic conditions without any extemal influence. Patronization and encouragement of Mughal rulers, motivated architects and artisans ¢o create balance in modification and stylization of floral decoration, at varying degrees, as graded below 1. Role of flora in execution of technique 2. Marvel of sculptural flora 3.Multiplication of flora with variation in style. 4, Modification and stytization of flora. 1, Role of flora in execution of technique. ‘The translucency of marble, brilliancy of tile mosaic and scintillating power of mirror work in moonlight, daylight and artificial light fluctuates in different ways with changing hours of day and season'. Thoughtfully entangled floral designs create different effects upon different techniques, The role of light is very prominent in projecting colour, glitter of material and splendour of following techniques: 1, Latticework. ii, Relief: Stone carving, Stucco and Appliqué work. iii, Mosaic vi. Mirror work and Stain glass. v. Inlay and Pietradura. yi. Fresco painting, i. Lattice work, ‘The magnificence of latticework is heightened with thoughtful intermiagting of floral designs, whereas the magic of light is fully utilized to highlight its grace, The light is 2 mystical symbol in Islam, the symbol of Divine unity and presence of God, reminds that “Nat Some Aspects of Mughal Architecture, N. Dethi, 1979. p. 157 239only God is real—all other is illusion’, When light filters through the screen, not only the pattems extend but project further on surface behind and beneath, eg., the tomb of Sheikh Salim Chishti, Fatehpur Sikri (pL3S0A), Different designs show difference of division. The spandrel of arch either bears a single flower or a floral scroll. The huge window of Shish Mahal’s verandah is composed of three sections, with huge stars, filled with tiny geometric flora, In another screen of the same building, realistic and geometric flora is handled very skififully. Filtered light defines the different floral designs. The central larger arch, with an open window is framed with a floral border, having a simple plant in each section (p!.267b). These shapes with modification appear in Scale of Justice, Shahjehanabad, Delhi? (p1.268b). The central rectangular section is open like that of Shish Mahal’s. The flame and upper part of the window is composed of leaf and round shapes, filled with realistic flora in jali-work. The flowering plant enclosed in leaf reappears in the tomb of Mian Mir, Lahore. Brownish screen projects the design with Gifferent effect from the exterior and interior as well (pl.350B). In Mughal monuments this influence transferred from Gujrat. Akbar introduced the iradition of jaliwork, after conquering Gujrat, as he was inspired by jaliwork of ¢hat region, eg, Jaliwork of Sidi Seyyid mosque, Ahmadabad’ (pl.131a&b). The complicated flora in screen of Naulakha pavilion is quite different (p1350C), whereas scrolls of flora in Hava Mahal‘ are more modified, with a central lily plant, enclosed in broad border (pl.269b), In Cairo and Samarkand, such design is noticed in Salik Tala mosque® and in Timur’s mausoleum’, respectively (pl.267c), The exquisite and complex lattiowork decorates Suleimaniya mosque in Istanbul’ (p1.270c). ‘The highly developed screen of Taj Mahal excels in beauty and delicacy, inspired from screen of Timur’s grave" (pl.270a). The inclusion of pietradura with latticework in border of screen enhances its elegance to greater degree (p!.268a). The marble railing of emperor's throne in Shalamer garden, Lahore, is composed of scrolls of lotus and lily * Catherine B, Asher, Architecture of Mughal India, London, 1992, p.133 * tid p.199. pl. 122. * R. Nath, History of Mughal Architecture, vol.ii, New Delhi, 1985, pl. cexiti, “Toid,, ph cL. 5M. Grube, (ed ), Architecture of th: fslamie World, London, 1984, p.152, pl.27. Tid, ph 482, p28. "hid al 22. “ Umuyakov, ©. Samarkand. A guide, Moscow, 1972 240