FINAL TERM PAPER.pdf

7/27/2019 FINAL TERM PAPER.pdf

1/14

History of Architecture (AP313) | Term Paper | 2013

Page 1of 14

Comparison between the Pre 1857 Colonial Architecture to Post

1857 Colonial Architecture

Term Paper for History of Architecture (AP131)

Nitya Bali

Roll Number: 24

Sushant School of Art and Architecture

ABSTRACT

The paper discusses about the long relationship between the peoples of one of the great ancientcivilizations of the East, largely Hindu but part Muslim, and the representatives of a vigorous Western

trading nation which, faced with the dissolution of Mughal Empire and how it developed in the courseof time, i.e. from Company to crown.

The paper enquires about the differences between the pre 1857 and post 1857 architectural styles. Itdetails out the styles in terms of function, construction materials, styles and the cause or purpose of the

difference. Below is a brief on the two styles:

PRE 1857-

The period focuses on the Mughal rule on the Indian subcontinent followed by the British Raj. It brieflydiscusses about the Mughal style The major pioneer being Barbur, Humayun, Akbar, Jahangir and Shah

Jahan, and the BRITISH style: Architecture under early British rule in India was primarily mastered

under east India company with the coastal towns with facilities being major targets e.g. Surat (EastIndia Companys factory- the earliest British architecture), Bombay (Cathedral of St.Thomas), later

Madras (Fort St.George) the purpose being trade requirements. The paper also briefs about the Britisharchitecture in India- from using features of Mughal and Hindu architecture (influence of local

architectural style on colonial) to importing European styles like Gothic, Roman, etc. and incorporatinga blend style of the two, i.e. Indo-Saracenic style. E.g.: Taj Mahal, Dargah of Bakhtiyar Kaki, ChepaukPalace, etc.

POST 1857-

Architecture under later British rule in India was more of creating supremacy over the native countryand to demarcate their power. The buildings were more based on performance and created a socialdisparity. As the purpose changed, so did the functions like colleges, hospitals, government buildings,

railway stations, etc. What had begun in the early days as utilitarian architecture like forts andmilitary buildings was now being transformed to solid forms. E.g.: The General Post office, The RoyalInstitute of Technology, Princes Dock Custom House, etc.


2/14


Page 2of 14

PAPER

PRE 1857

A Brief Introduction to Mughal Period:

In fifteenth century appeared on the Indian scene the empire of the GREAT MUGHALS. Staged

amidst an environment of surpassing splendor, under the patronage of this Mohammedan dynasty the

building art in the northern India attained its most sumptuous form. It was relatively late phase of the

Islamic movement as a whole, and typifies its most important final manifestation; the monuments

therefore produced during this period may be regarded as representing an Indian summer of Muslim

art and architecture. And it was a summer of more than ordinary brilliance and fertility. During the

early years of the Mughal domination the country was too unsettled to produce any work of distinction,

but gradually a form of the building art emerged expressive of this ruling dynasty, and which in the

course of time developed into one of the most important architectural styles in India. The type of

building thus evolved was no provincial or even regional manifestation. It was on the contrary an

imperial movement, affected in a moderate degree by local influences, as it displayed the same

uniformity in its architectural character as well as its structural principles in whichever part of the

empire it was introduced. The five rulers of the Mughal dynasty which were associated with the

development of architecture of this period are- Barbur, Humayun, Akbar, Jahangir and Shah Jahan(Taj

Mahal). The Mughal dynasty resolves itself into two main phases; an earlier phase when buildings

where constructed of red sandstone during the reign of Akbar and a later phase when white marble

was largely used by Shah Jahan. On reaching to the later phase, Akbars robust buildings were

replaced with lighter and delicate structures. Major transformations are- trabeated construction made

way for arched structures, Persian domes were preferred to the hemispherical domes, carved pilasters

were replaced with tapered shafts resting on foliated bases, etc. The older forms were given new

meanings, the features once associated with royalty were now associated with Islam (more of religious-

mosques, dargah, tombs, etc.). As the British rule began in 17 th century, the influence of European style

and forms were seen in the Mughal style in 18 th century. While the nawabs of few cities adapted

European style and forms, as a look to the future, the vision of the last Mughal was to the past.

Religious structures were built in the end as a desire to revive the mughal culture.

TAJ MAHAL, PURELY MUGHAL STYLE: The Taj Mahal in Agra is indisputably the most famous example

of Mughal architecture. Described by Rabindranath Tagore as "a tear on the face of eternity", it is in

popular imagination a veritable "wonder of the world".

The white-splendored tomb was built by Emperor Shah Jahan in the memory of his favourite wife,

Arjumand Banu Begum, better known asMumtaz Mahal.


3/14


Page 3of 14

Figure 1: Southern View of Taj MahalRef:http:/ / en.wikipedia.org/ wiki/ File:Taj_Mahal_2012.jpg

Constructed by twenty thousand men, it represents the Islamic garden of paradise, and is widely

regarded as Mughal architecture's greatest achievement.

The mausoleum rests in the middle of a large square plinth and has four almost identical facades, each

with a large arch-shaped doorway. It is topped by a large double dome and a finial, combining both

the traditional Islamic motif of the crescent moon and the Hindu symbol of the trident, associated withthe god Shiva. The central dome is adorned with a lotus design and is surrounded by four

smaller chhatris, each of which also has the same lotus motif. Four tall minarets extend from the corners

of the plinth.

The exterior decorations of the Taj Mahal include calligraphy, abstract forms, verses from the Koran,

and vegetable motifs, executed in paint, stucco, carvings, and pietra durawork. The interior

decorations also feature inlay work featuring precious and semi-precious gemstones. Muslim tradition

forbids elaborate decoration of graves and the bodies of Shah Jahan and Mumtaz Mahal are interred

in a plain crypt underneath the mausoleum. However, the inner tomb features two cenotaphs or false

tombs that are richly decorated with inlays of semi-precious stones forming vines and flowers and

surrounded byjaliscreens.


4/14


Page 4of 14

Figure 2: Calligraphy of Persian poemsRef:http:/ / en.wikipedia.org/ wiki/ File:Agra_castle_India_persian_poem.jpg

Figure 3: Detail Of JaliRef:http:/ / en.wikipedia.org/ wiki/ File:Jali-inlay.jpg

HAZARDUARI, EUROPEAN INFLUENCE: In 1837, the very year of Victorias coronation, the situation of

Murshidabad is slightly different. During the time when nawabs of other cities like Oudh show

increasing uneasiness with European style dwellings, we find European influence in murshidabad.

Hazarduari, an enormous neo-classical palace by Humayun Jah was completed. The palace is a three

storied building, rectangular on plan. The building is an excellent example of Indo-European

architecture, strongly reminiscent of Italian style, as seen in its huge flight of stairs in front, in the


5/14


Page 5of 14

colossal pillars and also in the facet of the building, 37 steps of stone, the lowermost one of which is

108 feet long, lead up to the upper portico, 7 stately pillars. On either side, at the foot of the grand

staircase, is a Victorian masonry lion in sitting posture, at the back of which are stone slabs embedded

in the walls of the pedestals for triple lamp posts.

Figure 4: Hazarduari Palace of Nawab Humayun Jah, MurshidabadRef:London, Chrostopher W, [ed.]. 1994.Architecturein Victorian and Edwardian India. Mumbai: Marg, 1994. ISBN: 81-85026-26-2

Figure 5: Hazarduari, The grand staircase and the Victorian masonary LionRef: www.Murshidabad Heritage development society. In

DARGAH OF BAKHTIYARKAKI, REVIVAL OF MUGHAL STYLE: Situated in Mehrauli, Delhi, this residenceref lects the the mughal use of red sandstone facades whose arched openings are trimmed with white

marble. Its appearance recalls the entrances to contemporary havelis in Shahjahanabad, but it is even

more clearly modeled on Shah Jahans Naqqar khana. Its appearance has nothing I common with the

residential dwellings of either th nawabs in contemporary successor states or the british dwellings in

Delhi itself. The marble mosque is situated in a wall enclosure and is a single- aisled structure. It is


6/14


Page 6of 14

surmounted by three bulbous domes on constricted necks. On each corner of the east central bay is a

slender engaged baluster- like columns, a feature by now used as in religious architecture.

The later Mughals of Delhi, until the very end, eschewed European forms, even in the royal residences

then constructed. This is best seen at the residence of the last mughal, bahadur shah, built at the

dargah of Bakhtiyar Kaki, known as Zafar Mahal.

Figure 6: Bahadur Shah IIs Zafar Mahal, entrance. Dargah of Bakhtiyar Kaki, Mehrauli, New DelhiRef:London, Chrostopher W, [ed.]. 1994.Architecturein Victorian and Edwardian India. Mumbai: Marg, 1994. ISBN: 81-85026-26-2

BRITISH RULEIN INDIA:

Direct contact between British and India dates back to the beginning of the seventeenth century, when

the English merchants came to India for trade purposes. The East India Company was granted in 1600.

Surat became the first site of the first English factory or permanent trading post in India with the setup

of the first factory in 1612. The main purpose being trade, the British did not interfere in the internal

affairs of the trading cities, and were concentrated on the peripheries, where they lived in claves and

built more of factories, forts, towns, cathedrals, mausoleums with a blend of Indian style which includesthe styles of previous colonizers like mughals (Majorly) and European styles. For example, though in

1757 Murshidabad became a puppet state of the East India Company little evidence of European

influence on the architecture of Murshidabad could be seen before the Victorian era. The Chattar

Manzil, built in 1820-1827, reflects the influence of Martins, but to the European travelers as well as

the nawabs, it was a Perfect Islamic palace.


7/14


Page 7of 14

CHEPAUK PALACE: The Arcot Palace built in 17 th century in Fort St George built for the nawab of

carnatic was aquired by the british in 1855, was called the chepauk palace. The palace has a tall

tower, in typical saracenic style, built later to link the twopalace blocks. The indo- saracenic is what

was followed in the Chepauk palace of the 1760s, long before it became the favoured form of publicarchitecture in the Victorian age. Rounded arches and a small dome of Saracenic shape team with

Hindu battlements in the hUmayun Mahal, while Gothic arches and Corinthian pillar are combined with

faintly pointed Muslim arches and Hindu battlements in the Khalsa Mahal. Almost a century later,

Chisholm added the byzantine minarets, domes, and balconies of the connecting tower.

Figure 7: The Chapauk Palace, where Indo-Saracenic began in India, seen before new buildings hid Its beautyRef: Photograph: courtesy Somerset playne, southern India (London: The foreign and colonia l compiling Co., 1915)

POST 1857

In Roger Smiths view, the purpose of Raj was to impose British standards in all areas of life, and he

asked, Why should our architecture be an exception to this rule?

Architecture under later British rule in India was more of creating supremacy over the native country

and to demarcate their power. The buildings were more based on performance and created a social

disparity. As the purpose changed, so did the functions like colleges, hospitals, government buildings,


8/14


Page 8of 14

railway stations, etc. What had begun in the early days as utilitarian architecture like forts and

military buildings had germinated by the late nineteenth century into a full fledged search for solid

form and meaning. Bombay shows significant architectural developments during British rule in India,

standing tall in their regal and neoclassical look. Churches, town halls, and other structures. E.g. Victoria

rail terminus (Victorian and Edwardian architecture). Now they built more of palaces, road networks,

forts, post offices, colleges, and government buildings to impose their supremacy over the country. This

change of motive from trade to supremacy was because they felt that Indian trade was still a small

proportion of overseas trade as a whole. Changes were to come thick and fast from the middle of the

eighteenth century. The British quickly developed a spectacular political role. During nineteenth century,

architectural developments in India by British consisted of the rise of the bungalows. The classical, the

gothic look was heavily witnessed in every creation. Hill stations starting gaining momentum as admired

outings. E.g. Dalhousie.

For instance, George Wittet was appointed as an assistant to Begg, on his arrival in Bombay, he was

shocked to see the Indo-Saracenic appearance in Beggs buildings, he preferring renaissance style. Hethen designed the Royal Institute of Science.

ROYAL INSTITUTEOF DESIGN: This building was conceived in a severe renaissance style, withstrong simple lines emphasizing its horizontality with a series of string- courses on the faade.

The building commemorates four different donors, and is really three distinct units combined

into one continuous faade. All the interior rely upon the Classical language preferred by

wittet, and the quality of materials and finish make the spaces highly utilitarian, pleasing and

satisfactory, even today.


9/14


Page 9of 14

Figure 8: Top: Royal Institute of science, elevation at the time of completionRef: The British architectural Library, RIBA, London

Figure 9: Bottom: Royal institute of science, entrance to science institute, interior stairRef: Photograph: Bharath Ramamrutham

There were still many examples where Indo- saracenic style was still being used. One such architect

was George Begg. E.g.: The general post office, Muir College, etc.


10/14


Page 10of 14

THEGENERAL POST OFFICE: The general post office for Bombay is designed in the nascentindo-saracenic style, by George Wittet & John Begg and is an early and particularly fine

example of this sort of work in Bombay. It pays clear homage to Beggs enthusiasm for

Bijapur, and the Indo-Islamic mixed style of architecture peculiar to the subcontinent. Begg

combined the exterior appearance in the patrons preferred style, Islamic, with a European

floor plan. The low central dome of concrete, offset by two turreted domes, makes a distinct

reference to the Gol Gumbaz of Bijapur and Humayuns tomb in Delhi. On the ground floor,

Begg established a great interior space served by an annexe behind. The most remarkable

feature of the interior of the office is its central dome. The scale and finish of the handsome

interior are quite similar to public buildings found in Britain, in the style of wren revived.

Figure 10: The General Post Office, front elevation. The British Architectural Library, RIBA, London.Ref:London, Chrostopher W, [ed.]. 1994.Architecturein Victorian and Edwardian India. Mumbai: Marg, 1994. ISBN: 81-85026-26-2


11/14


Page 11of 14

Figure 11: General Post Office, interiors. The British Architectural Library, RIBA, London.Ref:London, Chrostopher W, [ed.]. 1994.Architecturein Victorian and Edwardian India. Mumbai: Marg, 1994. ISBN: 81-85026-26-2

Lucknow- A Perfect Example of showing the Transformation in British Architecture

Initially the traders lived and worked on the outskirts with no interference in the citys internal affairs.

They made European style country houses like the Dilkusha and Barowen, and pleasure gardens. The

majority of these buildings where architecturally uninspired and no different from the ones found in

northern India. A miserable little church, hardly bigger than a chapel, stood in the residency grounds,

as though unsure of its own shaky spiritual foundations in a non- Christian city.


12/14


Page 12of 14

Figure 12: The residency before the siege of 1857.Ref: Photog raph: courtesy Rosie Llewellyn Jones

In the 1857 mutiny, Lucknow was the particular foci of this dreadful event. All these buildings of where

Europeans besieged were sacked. All the British buildings were demolished before it was recaptured

by the British.

Figure 13: The ruins of the residency after the siege of 1857. Line engraving after Vincent Brooks.Ref: Photograph: courtesy Phillips Antiques, Bombay

Within a week of the recapture, a plan was drawn up by Colonel Robert Napier to ensure that the city

could never again be held against British troops by Indians. A number of military roads were driven

through the old, dense mohallas; breaking up communities. Nothing was allowed to stand in the way of


13/14


Page 13of 14

the new roads, houses, cemeteries and even mosques were swept away. Churches were erected,

Lucknow Municipality was founded, bungalows were rebuilt, schools and colleges came up (e.g.

Lucknow University and the King George Medical College). There was no attempt to rebuilt the

demolished instead new buildings were built.

CONCLUSION:

With their civilizing mission, the British brought with them to their new colonial subjects a new

architecture laden with its own imagery and symbolism as well as more technologically advanced

building methods and materials that the native Indians adapted to their own directly or modified to fit

their own social and cultural constructs. While the British held deep admiration for the ancient Indian

culture and its relics, including architecture, even to the point of maintaining much of its unique traditions

and aesthetics, they both inadvertently and intentionally introduced new philosophies, symbolisms,

technologies, materials, and building methods to the Indians. These new ideas and elements that the

British brought to Indian architecture fundamentally changed not only the general appearance, but

also the meaning, function, and how architecture was viewed by the Indians and British alike, both

while India was a part of the Empire and thereafter as a direct result of this interaction. Both the British

and the Indians had a profound impact on each others cultures, forever altering each peoples values,

morals, scientific, and spiritual understandings, histories, and the various physical elements that convey

these notions; specifically, their arts, and within that, architecture. Granted, the British felt a much less

poignant and quickly stinging transformation upon their lives from the Indians. However, there was a

profound alteration; although slight, it is indeed measurable.


14/14


Page 14of 14

Bibliography

1. London, Chrostopher W, [ed.]. 1994.Architecture in Victorian and Edwardian India. Mumbai: Marg,

1994. ISBN: 81-85026-26-2

2. Murti, Bhaskarla Surya Narayana. 1990 An Illustrated History of Modern India. Bombay : New

York : Oxford University Press, 1991, c1990.

3. Brown, Percy. 1942Indian Architecture (Islamic Period). Bombay : D B Taraporevala Sons & Co.

4. www.indianetzone.com

5. www.Scribd.com

6. www.boundless.com

7. http:/ / murshidabad.net/ history/ places-topic-hazarduari-palace.htm

FINAL TERM PAPER.pdf

Documents

Transcript of FINAL TERM PAPER.pdf