Percy Brown Islamic Architecture Pdf 14
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Percy Brown Islamic Architecture Pdf 14
Hoag’s commentary is quite different. He does not look at the Persian and Mughal period in terms of architectural features, but as a means of discussing the role and importance of different art forms from what he considers the start and with a rather cursory look at the social and economic issues. He argues that the Mughals were not particularly innovative architects but, because they built so much, they contributed to a whole range of architecture styles. Hoag states that the earlier Mughal imperial buildings and palaces were not built with any understanding of the principles of balancing and contrast. Hoag’s arguments are interesting, particularly because they relate to the Taj Mahal and the remains in Fatehpur Sikri. However, given that his focus is on making sense of the Mughal elements, rather than understanding the history and art of architecture, his observations on the pre-Mughal architecture and art are more than usually reductive. Interestingly, he does have a few things to say about the cultural characteristics of the Mughal emperor who had a great interest in court ceremonial and architecture. The Red Fort in Delhi, perhaps the greatest expression of Mughal architecture, proves Hoag’s case.
Marshall’s monograph is a very specific kind of guide to the decorative aspects of Mughal architecture. His interests lie in ornamental detail, and in an understanding of how ‘India’ has influenced European art. Like Hoag, he concentrates on practical rather than theoretical issues and the results show. Marshall argues that the Mughal style had a great influence on architecture in Europe. He shows that while the plan of the Taj Mahal is based on a Euclidean grid, the design of the Mughal period is an expansion of Persian precedents.
while the design of the taj mahal was influenced by hindu, islamic, and european architectural traditions, it was also influenced by the mughal court culture. when the mughals took over the throne of india in the 16th century, they were influenced by their predecessors, including the use of the tulip and lotus flower. the placement of the central lotus flower in the dome was an innovation that was influenced by the earlier hindu practice of placing a lotus flower at the top of a temple. this innovation, however, led to a new and more beautiful lotus flower that was viewed by many as a symbol of the mughal empire.
the art historian, john marshall, wrote in the journal of the society of architectural historians in 1955 that bhadra’s architectural survey at the ajanta caves was the «most comprehensive and detailed» of its kind ever published. marshall added that the project «marks a new era in the study of indian architecture» and «places a premium on systematic and scientific methods of research.» [11] it is often said that the ajanta survey is the first comprehensive historical study of indian architecture ever attempted.
the ajanta survey has since become the most widely used authority on the history of indian architecture. while it has inspired countless scholars, it has also been critiqued by some as being both too comprehensive and schematic. the book does not make any attempt to establish a linear, historical, narrative. instead, it is more of a «census of architectural styles» in the subcontinent. consequently, it is not always easy to interpret the historic period represented, much less the dates on the labels. it is also not always clear whether the labels correspond to distinct architectural styles or merely to a stylistic movement.
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