Jali

Lattice of Divine Light in Mughal Architecture

JALI

Lattice of Divine Light in Mughal Architecture

A jali is a perforated stone or latticed screen, with ornamental patterns that draw on the compositional rhythms of calligraphy and geometry. In the parts of India, western Asia and the Mediterranean where solar rays are strongest and brightest, ustads (or master artisans) were able to evolve an aesthetic language of light, giving it form and shape through lattices of stone and other materials. Jalis share a common aim of bringing filtered light into enclosed spaces, while providing protection and privacy. Additionally, they shape the atmosphere of a sacred space, augment the grandeur of palaces and enhance the charm of domestic interiors.

This book explores the delicate beauty of more than two hundred jalis across India, from seventeenthcentury examples in Agra to those designed by global contemporary artists influenced by historical styles. The expansive volume covers the temple-inspired designs of the Gujarat Sultanate, imperial symbolism and Sufi allusions in Mughal jalis, the innovations and adaptations of jalis across Rajasthan and central India and, further south, calligraphy in pierced stone in the Deccan.

With contributions by American art historian Mitchell Abdul Karim Crites, George Michell, a scholar on South Asian architecture, and Ebba Koch, a leading authority on Mughal architecture and art, this lavishly illustrated publication reveals the poetry etched in these stone screens.

With 246 illustrations.

front and back cover

Upper storey at the tomb of Akbar, Sikandra, Agra

JALI

Lattice of Divine Light in Mughal Architecture

Navina Najat Haidar

With photography by Abhinav Goswami

Contributions by Mitchell Abdul Karim Crites, George Michell and Ebba Koch

First published in India in 2023 by Mapin Publishing Pvt. Ltd

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Text © Authors

Image © as listed in the captions and Image Credits on p. 265 constitute the copyrights for illustrations.

All rights reserved under international copyright conventions. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher.

The moral rights of Navina Najat Haidar, Mitchell Abdul Karim Crites, George Michell, Ebba Koch, Hussa Sabah al-Salem al-Sabah and James Ivory as the authors of this work are asserted.

We are grateful to Thomas Cary Welch and the Chatterjee Charitable Trust for their support of this volume.

ISBN: 978-93-85360-74-9

Copyediting: Neha Manke / Mapin Editorial

Proofreading: Mithila Rangarajan and Marilyn Gore / Mapin Editorial

Design: Gopal Limbad and Darshit Mori / Mapin Design Studio

Production: Mapin Design Studio

Printed in China

Captions

front endpapers:

Shah Jahan watching an elephant fight, folio (detail) from a Padshahnama, Bulaqi, Mughal, c. 1639

The Metropolitan Museum of Art, Harris Brisbane Dick, Louis V. Bell, Pfeiffer and Dodge Funds, 1989, 1989.135

Raja Kansa listens to the prophecy of an old duenna, folio (detail) from the Bhagavata Purana series (see p. 206)

back endpapers:

Raja Kansa listens to the prophecy of an old duenna, folio (detail) from the Bhagavata Purana series (see p. 206)

Maharana Ari Singh with His Courtiers Being Entertained at the Jagniwas Water Palace (detail), various artists, Udaipur, Mewar, 1767

The Metropolitan Museum of Art Purchase, Mr. and Mrs. Herbert Irving, Mr. and Mrs. Arthur Ochs Sulzberger, and Mr. and Mrs. Henry A. Grunwald Gifts, in honor of Mr. and Mrs. Gustavo Cisneros, 1994, 1994.116

page 2 A Jhajri at Bayana, Rajasthan, probably 16th century

pages 6–7 Arched jali with seven trees, Sidi Sayyid Mosque, Ahmedabad, Gujarat, 1572–73

page 8 Pierced marble window screen, Mughal, attributed to the Ana Sagar region, Ajmer, early 17th century

The Metropolitan Museum of Art, Edward Pearce Casey Fund, 1985, 1985.240.2

This volume is dedicated to the memory of Stuart Cary Welch.

“A great Mughal jali has the complexity of a Bach fugue,  the mystery of frozen ether and a level of master craftsmanship the world has seldom seen.”

As the first Islamic buildings of the late-seventh to early-eighth century in the eastern and western Mediterranean were beginning to establish new formulas of space, ornament and fenestration, distant India, as yet untouched by their influence, was also seeing important developments in its burgeoning styles of freestanding temple architecture. While cultures and inspirations profoundly differed, architects at both ends were simultaneously shaping light and views through pierced screens into the realm of the sacred space. We find remote echoes between the marble interlace windows in early mosques and the perforated stone screens of Indian temples, developing separately and locally. Each advanced the techniques, styles and understanding of materials for artisans. With the introduction of Islamic styles of architecture to India from the late twelfth century onwards, these traditions met and the pierced and carved jali screen came into a new visual vocabulary. Middle Eastern designs, which had expanded in scope over time, were interpreted and executed by Indian stone carvers experienced in the existing local styles. Like so much of Indo-Islamic architecture, jalis thus represent a marriage of traditions. Replete with symbolism, the Indian jali evolved to become both a technical and an aesthetic marvel in Mughal-period buildings, and eventually an international ‘Islamicate’ style of the modern age.

Celestial imagery in Mughal art exalted the power of the sun and the mysticism of the stars set in the heavenly sphere, which were evoked in the radiating sunbursts (shamsas), stellar (sitara) shapes and geometric knot patterns (girih) of jali windows and screens. The motifs of divine illumination were integral to Sufism as were allegories of light in Islam, such as the Verse of Light where God is likened to a light from a lamp in a niche (“God is the light of heavens and the earth. The symbol of His light is as a niche, wherein is a lamp…”, Qur’an, 24 35).2 In Mughal tombs, mosques and palaces, jalis mediated between heavenly light and the world of man through a sophisticated language of mathematical patterns, reflections and shadows.

“…that kind of glancing, slightly dematerialized quality of what one does actually see in reality…”

Howard Hodgkin, Ahmedabad, 1982 1

The skilful techniques of carving jalis are a testament to the abilities of Indian stonecutters and craftsmen, who remain largely anonymous, and the tastes of discerning patrons and builders (see essay by MAK Crites). Materials used include sandstone, marble, basalt, stucco, wood and even iron. Mughal jalis appear light and airy, emerging from large blocks of stone with the use of stencils, drills, and small chisels (although the original techniques are not well understood). Their sheer size, since often designed to act as entire walls, transformed the appearance of buildings.3 Such large jalis are often constructed from two or three separate pieces but almost seamlessly joined so as to appear as one continuous form. This monumentality can be seen in the marble screens that were made for the tomb of Sheikh Salim Chishti at Fatehpur Sikri and that of Itimad ud-Daula, probably by the same Agra workshop. In both these sites, the delicate marble screens, each over eight feet in height, create a filigree shroud that envelops the upper or lower structure of the building (see ‘Divine Order’, figs 18 and 21).

In terms of style, the Mughal jali evolved most immediately from precedents of the earlier Sultanate age. Sacred symbols and square-grid formats of jalis in shrines and mosques of Sultanate Gujarat themselves clearly display a debt to earlier Hindu and Jain temple traceries of the region (see ‘Sacred Symbols’ and essay by George Michell). Jalis of the Delhi Sultanate and central India on the other hand incorporated distinctive styles from the Islamic west, such as geometric star-and-hexagon patterns and arabesque scrollwork (see ‘Celestial Geometry’).

Early Mughal jalis in the buildings of Akbar and Jahangir combined these formulas with fresh inspiration and new materials. These jalis continued to stay true to the geometric patterns and stellate designs that had evolved in the wider Persianate world while also integrating auspicious Hindu and Jain motifs such as floral heads and swastika meanders (see ‘Divine Order’). Mughal jalis in Shah Jahani buildings took off in another stylistic direction, abandoning celestial order for paradisiacal floral trellises of organic form (see ‘Heavenly Gardens’ and essay by Ebba Koch). Meanwhile, contemporary Deccan sultanates in the south had their own distinctive styles of architecture, featuring fantastical and calligraphic jali designs and dazzling geometry in carved stucco (see ‘Fantasy and Formality’). Through the eighteenth and nineteenth centuries, the imperial Mughal style of cusped arches and floral screens became spectacularly elaborated at Rajput forts and palaces, especially in the secluded areas of courtly women (see ‘Jali Mania’). This ‘jali mania’ evolved into further stylistic variations in the buildings of the British Raj and the ‘IndoSaracenic’ style of monuments, such as the Gateway of India in Mumbai. Innovations of the jali within global architecture of the modern age and as a form of individual expression by contemporary artists continue to the present day (see ‘Jali in the Modern Age’).

Sacred Symbols

Jalis of the Gujarat Sultanate

“The naga-bandha (snake-band), the valli-bandha (leaf-band), the gavaksha (cow’s eye), the kunjaraksha (elephant’s eye) and resembling the svastika (meander), the sarvatobhadra , and the nandyavarta shapes, and the pushpabandha (flower-band),… : these are the shapes of the windows of which the naga and the valli should be employed in temples.”1

Manasara Silpasastra, fourth century

Temple Jalis and Their Auspicious Motifs

The elaborate adornment of Hindu and Jain temples involved many ornate features in stone carving. Stone was hewn and shaped into a wealth of relief designs, pendant forms, sculptural figures and miniaturized architectural motifs, all distinct elements in a temple’s rich iconography. These included perforated screens and windows, which incorporate auspicious motifs and symbols relating to the wider iconographic programme of the building. Many of these forms evolved from earlier examples in timber (see previous essay by George Michell), which were later realized by artisans working in stone. Carving and drilling techniques allowed for heavy walls to be pierced in order to allow light into the interior space through lattices, often close to the circumambulatory zone surrounding the central chamber. Openwork lattices can also be found in square or rectangular windows around an entrance porch. The term jali (a diminutive of the Sanskrit term jalaka) finds its origins in these developments, as do the stone piercing and carving techniques and designs that were later adapted for use in Sultanate and Mughal architecture. Solanki-period temple jalis (eleventh to twelfth centuries) of Gujarat and Rajasthan had a particularly strong impact on the styles of the Sultanate period of the same region, bestowing their auspicious grid designs on later Islamic structures.2

The classification of temple jali designs and their symbolism has been expounded in modern studies.3 A lexicon of Sanskrit terms for the individual designs implies that much of this nomenclature stayed unchanged over the centuries.4 This would suggest that when later building styles such as mosques were outfitted with jalis, the same

facing page

Celestial Geometry

Jalis of the Northern and Central Sultanates

“No ! I swear by the stars that recede, shifting and setting! By the night when it departs! By the morning when it breathes! ”

Qur’an, 81:15-18

Stars, Sun and Light in Islamic Architecture

Islamic architecture is replete with allusion to heavenly order and divinely inspired design. From this heritage come the stellate interior shape and decoration of domes and muqarnas (stalactite squinches) along with their association with the vault of heaven.1 Architectural decoration incorporates astral features and interlace patterns that evoke the emanation of light in a starry sky. Solar medallions spread their radiance from the interior ornament of domes to the shamsas (sunbursts) of manuscript illumination, carpet design and wood carving. While the meaning and styles of such features evolved in complex ways in relation to region, material, theological belief and the evolution of geometric patterns, nevertheless the motif of a star interwoven with polygonal forms became prominent over time. Varieties of stellar motifs appear in railings, grilles and window traceries in almost all parts of the Islamic world.2

The sophisticated treatment of light is also a hallmark of Islamic architectural spaces.3 Light is shaped, diffused, reflected and filtered in buildings with visual, practical and symbolic intent.4 Lustrous materials and shimmering pools of water act as mirrors from which images are reflected.5 The changing interplay of light and shadow on relief-carved surfaces constantly transforms an edifice throughout the day and through the seasons. Light is also directed through perforated screens into sharp beams and dappled patterns while windows filled with geometric tracery provide starry silhouettes. This metaphoric relationship between symbols of light and light itself is a powerful dimension of Islamic art. Mamluk glass lamps, for example, frequently bear the Light Verse ( surat an-nur); the clear letters written against a painted ground allow their message to be illuminated from within. Similarly, the outlines of stars in the domes of a bathhouse (hammam) or within interlace windows glow with the very light they seek to shape.

facing page

Divine Order Early Mughal Visions

“

In comparison to the light of your cheek, the solar disc is as dim as a candle in the sun.”1

With the establishment of Mughal rule in the early sixteenth century, a new era dawned in the development of art and architecture in the Indian subcontinent. As ambitious and creative patrons, Mughal rulers employed numerous talents and integrated regional and historical styles from around the burgeoning empire. The resulting idioms shaped the aesthetics of South Asia for many centuries. Much of the splendour of Mughal buildings lies in their elaborate decoration, harmonizing patterns and motifs in stone carving and inlay, wall painting, carved stucco, and perforated jali screens.2 The latter came into their own as a characteristic feature in Sufi shrines and also royal tombs, reflecting the close spiritual links between rulers and Sufi orders as key to the evolution of Mughal aesthetics. Jali screens and walls at Sufi shrines played an important role for pilgrims who came from all sections of society, Hindu and Muslim alike. Visitors performed the practice of tying niyat threads (prayer intentions) on jalis (fig. 3) as a way of seeking blessings and paying homage, a ritual that survives to the present day. In this shared practice, the jalis of Sufi shrines became meeting points of spiritual encounter between different communities. Royal tombs functioned in a related mode, memorializing the interred ruler or royal figures while inviting visitation, engagement and counterpart aesthetic experiences.

facing page & FIG. 1 (following pages) Floral trellis screen and detail, Moti Masjid, Agra, Uttar Pradesh, c. 1650

Heavenly Gardens

The Imperial

Mughal

Style

“

… latticed windows of white marble which are really very pleasing to the eye.”

Padshahnama of Waris, c. 1648

Shah Jahan, regarded as the greatest builder among the Mughal emperors, ushered in an age of spectacular achievement in architecture. His imperial vision gave rise to the majestic Taj Mahal tomb complex as well as mosques, palaces, royal fort enclosures and hunting lodges. Practically every ornamental detail of a Shah Jahani building is marked by its outstanding quality, and a number of fine techniques, including semi-precious stone inlay ( parchin kari), painting and gilding, and stone carving, reached their zenith in this era. Many of the buildings of the age are described in the royal history of the period, the Padshahnama by the courtier Muhammad Waris. Among the details he furnishes are glowing mentions of the marble lattice screens, appearing to reference the ‘Scales of Justice’ jali screen in the Red Fort, Delhi: “One of these [arches] is towards the female quarters (mashku-i mu ‘alia) and the other is towards the northern aiwãn and faces the Shah Mahal. In its front is fixed a white marble lattice-window, which, each night, had to be seen to be admired. The water of the Nahr-i Bihisht passes from beneath.”1

In the inspired buildings of Shah Jahan, the jali form took a leap towards a new lyricism, breaking away from the rigid lines and geometric designs of the previous age. The paradisiacal imagery that informs the larger conceptual frameworks of grand tombs and palaces is brought to bear on the jalis too, as seen in the floral trellises around the central tomb chamber of the Taj Mahal, installed in 1647 2 Flowers and trellises simulated a fantasy of nature, and jalis were set into facades forming larger decorative panels. The Moti Masjid at Agra built in 1653 has jalis of the floral trellis type at the focal end of its arcades (see p. 142 & fig. 1), making skilful play on the luminescent marble from which they are carved. No longer related to celestial mathematics alone, their organic forms have evolved towards the naturalism and wonder of nature, a hallmark of Mughal art. This formula was to hold sway for many subsequent centuries.

facing page

Zigzag diagonal pattern of polygons at Maqbara Shams

al-Umara, Paigah tomb complex, Hyderabad, Telangana, late 19th–20th century

Fantasy and Formality

The Deccan Jali

“I am searching for my beloved who has hidden herself behind the thin curtain of eyelashes.”

Sultan Ibrahim ‘Adil Shah II, 17th century

The Deccan sultanates, which flourished alongside the Mughal world, developed distinctive styles of art and architecture, often characterized as fantastical and visually opulent while also staying classically formal. The unique character of Deccan art was partly shaped by its connections to the outer world. The region was linked to Iran and the Middle East through dynastic lineages, Shi’a Islam and spiritual and courtly figures who traversed those worlds. A growing European presence in the coastal regions brought further artistic and cultural influences to the aesthetics that flourished in the Deccan.

Like much of the region’s art and architecture, the jalis of the Deccan display a variety of forms. Two jalis exemplify contrasting styles associated with Bijapur, one of the five sultanates that flourished in the sixteenth and seventeenth centuries. One of these two is an example carved in sandstone found in the finely finished tomb of ‘Adil Shahi governor Sidi ‘Abdul Malik ‘Aziz at Badami, in Karnataka. The jali window arch (fig. 1) contains circular and floral medallions surmounted by a pair of rampant felines flanking a lotus bud finial. The close proximity of the site to the ancient Badami caves is recalled in these sculptural elements. A contrasting arabesque style is seen in an iron jali lodged now in the All Saints Church at Bijapur (fig. 2). It has been attributed to the late sixteenth or early seventeenth century and admired for its Persianate ornamental foliates.1 The screen was found in excavations at the site of the so-called Chini Mahal at Bijapur and was perhaps part of a Persianate structure that housed imported Chinese ceramics.

Jali Mania

From Rajputs to the Raj

“I know the planets talk at night and tell secrets about You.”

Mirabai, 16th century

Once established, the formal Mughal jali, like so many other idioms of art and architecture, evolved into a delightful variety of themes and styles over the course of the eighteenth to twentieth centuries. The jali form was expanded and diversified, made of a range of materials and put to many decorative and functional uses. These are most clearly seen in the architecture of Rajasthan and central India, in palaces of the maharajas, and even in early twentieth-century Indo-British buildings such as Edwin Lutyens’s design for the Viceroy’s House—now the Rashtrapati Bhavan in New Delhi.

In the courtly setting, jalis served to screen off the zenana (women’s quarter) from public gaze and were employed in almost all the forts and palaces of princely Rajasthan. While they had the desired effect of segregating the sexes, in the artistic imagination jali screens also sparked a sense of mystery and allure for what lay beyond. Life behind the jali screen became a point of fascination partly because it was the most powerful and inaccessible women who were concealed from gaze. A painting from the Mandi Bhagavata reveals the social order of women at court, where those of less exalted status are prominent while the elite are glimpsed through pierced screens (fig. 1).1 Raja Kansa is shown at centre, listening to the prophecy communicated by an old duenna while other women attend on him and provide courtly entertainment.

previous pages

Master craftsman

Ramawtar carving white marble, Jaipur, Rajasthan (Frozen Music atelier)

facing page Panels in the Jali Pavilion at the Shangri La Museum of Islamic Art, Culture & Design, Honolulu

The Jali Tradition

Master Craftsmanship and Patronage

The twentieth century in India began with an architectural project of imperial scale that heralded a remarkable revival of the millennia-old Indian tradition of working with stone. Emperor George V laid the foundation plaque in 1911 for the construction of the new capital of British India on the Ridge, later moved to a small hillock in central Delhi, nestled among the imposing monuments of Sultanate and Mughal India. As the soaring Viceregal Palace, the two imposing Secretariats and the residential and commercial centres began to take form over the next two decades, it became clear that the formidable legacy of design and craftsmanship that could be traced back to the Hindu, Buddhist, Rajput, Sultanate and Mughal architectural traditions weighed heavily on the two chief architects of the project, Edwin Lutyens and Herbert Baker. It was, therefore, essential that New Delhi, the ninth in a series of royal capitals, had to present a symbolic and architectural statement that would stand the test of time.

The legendary quarries of Rajasthan, slumbering for centuries, were remobilized in order to finish the project on schedule and soon tonnes of mottled red sandstone from Tantpura and white marble from Makrana began arriving in Delhi, transported this time not by bullock and elephant, but by train and truck. These were the same quarries from which Emperor Akbar had ordered the sandstone for Fatehpur Sikri and his grandson, Shah Jahan, the marble for the Taj Mahal. Ustads, traditional master stone carvers, in their hundreds, were also recruited to Delhi from the northern Indian states of Uttar Pradesh and Rajasthan to work in situ on the acres of carved relief panels, jali screens, ornamental railings and floor and wall cladding needed to construct the new capital.

The syncretistic style of design and ornament developed by Lutyens and Baker was highly stylized and a little stiff, and it did not do justice to the incredible skill that still resided in the hands of the ustad master carvers. However, the very act of creating a completely new city on such a monumental scale clearly demonstrated that the quarries of the past could be brought back to life and that skilled labour remained abundantly available. It was, however, not until a few decades later

that a striking resurgence of the finest classical traditions of Mughal stone carving and hard stone inlay would take place, demonstrating conclusively that these precious skills were indeed alive and well and would continue till the present day (see pp. 224 –225).

Revival of Patronage

Doris Duke, an American heiress to a vast family fortune, married James Cromwell on February 13, 1935 and the couple immediately set off on a ten-month honeymoon tour, starting from Cairo and ending in Tokyo, motivated and guided by her abiding interest in Islamic and Mughal art and architecture. Soon after arriving in India in early March, the couple decided to make a trip by train to Wardha in central India to visit Mahatma Gandhi at his ashram, the All-India Village Industries Association. During a private interview, Gandhi shared his deeply felt conviction that by reviving and supporting the traditional arts and crafts of India, the rural and urban poor could become more prosperous and self-sustaining.

ARCHITECTURE

Jali

Lattice of Divine Light in Mughal Architecture

Navina Najat Haidar

With photography by Abhinav Goswami

Contributions by Mitchell Abdul Karim Crites, George Michell and Ebba Koch

268 pages, 246 photographs

9.5 x 11.6” (241 x 295 mm), hc

ISBN: 978-93-85360-74-9

₹2950 | $65 | £49

Fall 2023 • World rights

Navina Najat Haidar is Nasser Sabah al-Ahmad al-Sabah Curator-in-Charge of the Department of Islamic Art at The Metropolitan Museum of Art, New York. She was involved in the planning of the museum’s permanent galleries for Islamic art and has also organized a number of special exhibitions at The Met. Haidar is co-author of Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art (2011) and Sultans of Deccan India, 1500-1700: Opulence and Fantasy (2015).

Mitchell Abdul Karim Crites is an American art historian, who has lived and worked in India for more than fifty years. His primary focus has been the revival of traditional Indian and Islamic arts and crafts. Over the years, Crites has participated in a number of art and architectural projects ranging from Mexico to Malaysia.

George Michell, an authority on South Asian architecture, has made the study of Deccani architecture and archaeology his life’s work. He has spent over thirty years researching and cataloguing the enormous ruined city of Hampi Vijayanagara, among many other historical sites in the region. He is the author of Vijayanagara: Splendour in Ruins (Mapin, 2008).

Ebba Koch, art and architectural historian, is presently a professor at the Institute of Art History in Vienna, Austria and a senior researcher at the Austrian Academy of Sciences. Dr. Koch has spent much of her professional life studying the architecture, art, and culture of the Mughal Empire.

Abhinav Goswami, based in Vrindavan, is trained as an archaeologist, photographer and temple priest. For the last three decades, Goswami has dedicated himself to documenting people, places, architecture and festivals of the rich cultural region of Vraj and other parts of India.

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