A CRITICAL ANALYSIS OF INLAY DESIGNS IN THE MUGHAL MONUMENTS OF AGRA

Abstract

Indian artisanship, one of the most creative and richest traditions in the world, blossomed rapidly during the reign of the Mughal dynasty (1526 to 1707 A.D.). Design concepts during this dynasty added a new chapter, known as inlay work to Indian architecture. The astonishing beauty of Mughal inlay is an evidence to the artistic capability, creativity and ceaseless efforts of artisans and patronage of the Mughal rulers. In the present thesis, a critical study of inlay designs in five well known Mughal monuments of Agra was examined in detail. Comparisons with contemporary inlay work were also presented. The study was divided into five chapters in which primary data (e.g., identification of inlay motifs, design functionality, purpose and placement of design) and secondary data (e.g., origin and development of inlay art, factors responsible for inlay designs, aesthetic philosophy, and influence of other arts) were utilized to accomplish the goal. In the first chapter, the study introduced the Mughal inlay art and its historical background. The early example of this art was found in the Chaumukhi Jain Temple (1438 A.D.) at Ranpur and Ashrafi Mahal and Tower of Victory at Mandu, respectively.. Investigations of facts relevant to this art indicated that the visit of Jahangir and his wife (Nur Jahan) to Mandu, was the turning point in the refinement of the style in inlay work that is evident in the tomb of Itmad-ud-Daulah. To sum up, in Jahangir period, a remarkable change was evident in the Mughal inlay art, and was developed rapidly in his period and not during the period of Shah Jahan. In the second chapter, a comprehensive review of literature on various aspects of the Mughal inlay art was documented. Outcome of this review established that many eminent scholars have made praise-worthy contributions regarding origin and development of Mughal Inlay art. However, critical analysis of inlay design elements with respect to their placement, Indian rasas and comparisons with contemporary inlay was hardly touched upon. Monuments built at Agra by three Mughal emperors- Akbar, Jehangir, and Shah Jahan were thoroughly reviewed in the third chapter. This period saw a more fruitful amalgamation of the Indian, Iranian, Persian and Chinese artistic, intellectual, and imaginative traditions. However, the preferences of designs were changed with respect to different emperor's social conditions, cultural inspirations, and aesthetics. The religious and secular qualities of Akbar; Jahangir's appreciation of nature and Persian traditions; Shah Jahan's love for flora and Islamic art - all were visualized through motifs depicted in their regime. Overall, the dynamic role of the medieval period in the Indian art and architecture as well as Hindu astrology inspired the Mughal rulers. Fourth chapter highlighted the intricacies of inlay designs. In Jahangir's buildings, more sober colours have been used whereas Shah Jahan's buildings a rich polychromatic colour scheme was evident. The artisans used a variety of design schemes with great perfection and efficiency. The artisans were conscious of colour symbolism. This chapter also identified predominant rasas (aesthetics pleasure or anandanubhuti) in the Mughal inlay designs, i.e., adbhuta, veera, shringar, shanta, karuna and raudra rasas. The importance of design elements with respect to their placement was also discussed in this chapter. In the fifth chapter, comparisons with contemporary inlay designs were presented. Contemporary designers are known for featuring bold modern colours, abstract shapes, and unique designs. But the demand for Mughal inlay designs is still visible. With the advent of various modes of communication, inlay designs have experienced a change from symbolic to decorative in contemporary buildings. In conclusion, the Mughal inlay art was developed indigenously and bloomed during the period of Jahangir with wide range of floral designs, arabesque, geometrical, and auspicious mofits. In summary, inlay designs demonstrated the Mughal emperors' personality, taste and interest, and iii incorporated the fusion of traditions and cultural aspects of Persian, Hindu, Islamic and Chinese in their respective era. Artistic presentation of inlay designs with unity, harmony and colour symbolism evoked rasas and bhavas -which had left a long-lasting impression on the present world of designers, artisans and viewers.