Philosophy of Interior Design in Mughal Era Mosques of Lahore
A Case Study of Maryam Zamani and Wazir Khan Mosques
Abstract
Abstract Views: 896A great reflection and convergence of Persian, Turkish and Indian architecture is observed in Mughal architecture, which is known as a remarkably symmetrical and decorative amalgamation of these architectures. Muslim and non-Muslim scholars of history have appreciated, identified and recognized the extremely attractive Mughal signs, decorations and beautifications. It has been observed that Mughal architecture is not limited and specified to mosques only but has been used in all other Islamic buildings including their gardens. These signs and decorations have combined different features, elements and components of Islamic architecture and art together. Mughal era has been known as the greatest era which defined the splendid and extravagant phase of Islamic architecture. Therefore, the basic purpose of this paper is to find out how these features and decorations of Mughal architecture used in mosques stem from Islamic principles. The basic aim is to conduct the semiotic analysis of two mosques of Mughal era which have been selected for examination and identification. Hence, this study outlines the importance and scope of Mughal mosque architecture. It examines the decorative style used in this architecture by scrutinizing the basic characteristics of its structure. Moreover, it discovers the real purpose and spiritual meaning of these mosques. The spiritual values are considered significant as they influence the spirit that brings harmony in life. Throughout the Islamic world, this spiritual aspect has been observed as the most dominant factor and element which gives an important underlying message to all Islamic art. Mughals have played a significant role in Islamic art which cannot be ignored and avoided. The findings indicate that the typical Mughal mosques are not just mere representation of religious buildings or places for worship, instead they are something more than that. These mosques have their spiritual connection with art and architecture which cannot be ignored. Their color, shape, volume, texture, and designs all offer the fundamental message of Islam, the incarnation of “peace” and “submission” from which Mughal mosques derive their uniqueness in architecture.
Downloads
References
Akkach, S. (2005). Cosmology and architecture in premodern Islam: An architectural reading of mystical ideas. Albany: State University of New York Press.
Allen, T. (1988). Five essays in Islamic architecture: Arabesque and the bevelled style. Sebastopol, California: Solipsist Press.
Arnold, T., Guillaume, A. (Eds.). (1931). The legacy of Islam. Oxford: Oxford University Press.
Bhabha, H. (2007). Architecture and thought, intervention architecture: Building for change. New York: I.B. Tauris.
Blair, S. S., & Bloom, J. M. (2003). The mirage of Islamic art: Reflections on the study of an unwieldy field. The Art Bulletin, 85(1), 152–84.
Blair, S., & Bloom, J. M. (1995). The art and architecture of Islam 1250-1800. New Haven, USA: Yale University Press.
Burton-Page, J., & Michell, G. (2008). Indian Islamic architecture: Forms and typologies, sites and monuments. Journal of Islamic Studies, 20(3), 461–462.
Coombes, A., (1998). Inventing the Postcolonial: Hybridity and constituency in contemporary curating. In Donald Preziosi (Ed.), The art of art history: A critical anthology. New York, NY: Oxford University Press.
Creswell, K. A. C. (1958). A short account of early Muslim architecture. London: Penguin Books.
Erzen, J. N. (2002). The aesthetics of space in Ottoman architecture in understanding Islamic
architecture. London: Curzon.
Fletcher, B. (1961). A history of architecture: On the comparative method (17th ed.). London: The Athlone Press.
Flood, B. F. (2007). From the Prophet to postmodernism? New world orders and the end of Islamic art. In Elizabeth Mansfield, Ed. Making art history: A changing discipline and its institutions. London: Routledge.
Gardner, M. (1989). Penrose tiles to trapdoor Ciphers: And return of the Dr. Matrix. New York: W. H. Freeman and Company.
Jones, D. (1995). The elements of decoration: Ssurface, pattern and light. In George Michell (Ed.), Architecture of the Islamic world: Its history and social meaning (pp. 144–157). London: Thames & Hudson.
Makovicky, E. (2007). Decagonal and Quasi-Crystalline tilings in Medieval Islamic architecture. Science. 318, 1383a.
Mohamed, M. (2000). Great Muslim mathematicians. Skudai, Malaysia: Universiti Teknologi Malaysia.
Nasr, S. H. (1987). The principle of unity and the sacred architecture of Islam: Islamic art and spirituality. Albany: State University of New York Press.
Omer, S. (2009). The philosophy of decoration in Islamic architecture. Kuala Lumpur: Kulliyyah of Architecture and Environmental Design, IIUM.
Paret, R. (Stuttgart 1958). Symbolik des Islam. Journal of the American Oriental Society, 80, 147.
Rabbat, N. (2003). The dialogic dimension in Umayyad art. Res:Anthropolgy and Aesthetics, 43, 78–94.
Richmond, E. T. (1926). Moslem architecture 623–1516: Some causes and consequences. London: The Royal Asiatic Society.
Rivoira, G. T. (1914). Moslem architecture: Its origins and development. London- Oxford/New York: Oxford University Press/H. Milford.
Rusmir, M. (2006). The Mosque: The heart of submission. New York: Fordham University Press.
Saeed. K. M. (2011). Islamic art and its spiritual message. International Journal of Humanities and Social Science, 1(2), 227–234.
Turner, H. R. (1997). Science in medieval Islam: An illustrated introduction. Texas, USA: University of Texas Press.
JAABE follows an open-access publishing policy and full text of all published articles is available free, immediately upon publication of an issue. The journal’s contents are published and distributed under the terms of the Creative Commons Attribution 4.0 International (CC-BY 4.0) license. Thus, the work submitted to the journal implies that it is original, unpublished work of the authors (neither published previously nor accepted/under consideration for publication elsewhere). On acceptance of a manuscript for publication, a corresponding author on the behalf of all co-authors of the manuscript will sign and submit a completed Copyright and Author Consent Form.
Copyright (c) The Authors