various islamic patterns

is
01 - AGRA

Agbar's Tumb

Taj Mahal

Agra Fort

Tughlaq Dynasty

Tughlaq Dynasty reigned from AD 1320 to 1414. Its Sultanate style brought some unique characteristics of using rubble and mortar in construction. Pointed arches for doorways, adaptation/adoption of domes and pointed vaults were also introduced.

As one of the Muslim builders, Tughlaq developed a more control over the surface ornament than the previous Muslim builders. The surface, more geometric with vegetal and epigraphic ornaments (not the native figural decoration) was articulated around the architectural elements such as doors and windows. The incorporating indigenous elements as pillars, beams, and brackets and the Islamic architecture, such as arches, vaults, and domes together are shown in their buildings.

One of its most famous styles is the use of straight or sloping vertically inward solid walls with the apertures, which are defined by the arch. This gives the feeling of inflexibility and heaviness. Small niches, usually in base or high relief, sometimes helped also to convey the characteristic austerity and solidity of the façades that were often decorated with calligraphic carving in relief and the occasional floral motif.

One of the Tughlaq’s buildings that we have visited is the tomb of Ghiyas-ud_Din, the first ruler of this dynasty. There is a use of sloping walls and also shows the attempt of combining the two architectures by using both arches and lintel. Each doorway displays a combination of arcuate and trabeate traditions. The bracketed lintel reinforces the arch at its spring. A single dome built of white marble is crowed by a ribbed finial, which consists of a fruit and water pot motif of Hinduism symbolizing the meaning of fertility and good fortune. When looking from its exterior, the tomb, located on the rich green grass, surrounded by the simple colored stone, looks outstanding with its rich red sandstone and pure white marble. The leaning walls make the building looks almost like it keeps stretching towards the sky, growing taller and endless. That kind of space perhaps was meant to emphasize the importance of the rulers, making them memorable and intimidating to viewers.

Another Tughlabad’s place we have visited was Tughlaqabad. Its was perhaps the best example of Tughlaq’s introduction to the use of rubble and mortar. The sloping rubble-filled walls in reality look nothing like pictures. Its enormousness drew me in with amazement. It creates a whole entire new sphere I could not have imagined. The underground tunnel was stunning and also the gigantic reservoir. Though the city has almost nothing left, I believe that everyone could feel its power and the remaining spirituality (:

The History of Indo-Islamic in India:

By Thanapha Temjaroen Neen

India is a multi layers and strand of cultural influences country. One of the fascinating layers is how the influence of Islamic gave birth of Indo-Islamic, whereas outstanding among the others. Islamic belief has come in very early roots for the purpose of trading and didn’t engage in attempts to bring about any large-scale conversions to Islam until Twelfth century.

The representation of natural forms is prohibited by Islamic usage, whereas the walls of the temple in Hindu were decorated with imagery and decorative letters.
Though, the two conditions have a huge gap in term of similarity, in course of time common ground was gradually forms. Result in use of shapes, geometry, inscription art and colorful marble or brightness tiles. One of the places that could express this idea is Akbra Fort, which the emperor combine all the religious elements to express the thought of multi-religious, which similar to the flexibility idea of Islamic. Along with Humayun Tomb, where decorative craft are placed on the surface, gave richness in detail in the place.

The important of Geometry and believe in Islamic apply to the design in many aspect. i.e. Octagonal plan refer to the eight path way of paradise, which believed to be the highest shape of the geometry. The water channels control the nature to give the impression of symmetry to the building.

The other aspect I found beside the pronounced architecture itself is the concept behind the great architecture. The way of expressing what are important to the rulers, the secure of the place through the forth and the love of their life though the Mosque. Beside the function of each place itself, the architecture also imply who was the ruler of India at the time. i.e. the dominant of Persia architecture during the Mugal period.
Although, emerging of the two styles weren’t that clear but rather just the decorative for the place. I personally appreciate how Islamic could emerge with the existing cultural pattern and behavioral condition. One couldn’t exist which out referring to the past.

hirun's homework submission

A Reflection on Chandni Chowk and Shahjahanabad

Visited June 30, 2011

This essay is a reflection based on a visit to Old Delhi and Chandni Chowk in accordance to a report of the history on the particular place written earlier for INDA.

Chandni Chowk is still today, one of the busiest and most significant street market in Old Delhi. With the changes that occurred during the shift in political power in 1857 (British seizer) and 1947 (Indian Independence), the boulevard became more crowded and civic; used to be the surrounded by private haveli’s, the decline of the amir led to disintegration of the mansions, thus open up what used to be private-enclosed space to the merchants. The four-lane boulevard stretched from the old Red Fort to the Fatehpuri Masjid is now crowded with moving rickshaws, small cars typical to modern India (mostly Tata and Suzuki), coolie dragging pushcarts and wheel barrow, and pedestrian crossing and stopping along the rich and crowded community of the old city. On the sides of the boulevard shopfronts now fill the spaces between the religious monuments (Jain Temples, Masjids, and Hindu Temples) that was once the street barrier of the aristocrat’s residential haveli’s. Tourist stopped to shop for silverwares, electronics, indian snacks and dishes, fabrics, spices, minerals, jewelries, and etc. on the foot path connered with piles of trashes and animal feces. Either the sound of car honking, people shouting, Indian music, prayers, animals, or traffic movement is always negotiating in the air.

Inside the interconnecting alleyways along the boulevard the trace of once a single complex of haveli is hardly recognizable; facade of the, once continuous haveli boundary, is now divided into small cubicles of shops (with the space enough to fit just the merchant and two to three customers). These shops since bought out by the shop owners are now redesigned and renovated independently, the elements and facade extrusion of adjacent shops are varying along the narrow alleyway, undulating in and out as the owner wishes.

The result of the city originally planned for many big housing complex, after the transformation, gave the impression of typical asian dense community, almost a slum formation. The alleyways are mazed through the existing path between the original haveli’s and the interior of the disintegrated haveli’s to make ways into the interior of the complex that is now small residential units and shophouses. Modernization brought in the need for electricity and plumbing; evident by the unorganized bundle of electrical wire that jumps from one rooftop to the adjacent. Piping infrastructure became part of the unorganized systems, flowing along the floor, wall, and roof, of the urban fabric.

Sketches of the architectural elements and ornamentations inside the Jain temple

Residential alley way

Commercial alley way

Side walk of the main Chandni Chowk market road

Map description of Chandni Chowk boulevard indicating zones and landmarks