Indo-Saracenic Revival Architecture

7/25/2019 Indo-Saracenic Revival Architecture

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28/01/2016 Indo- Sar acenic R evival ar chitectur e - W ikipedia, the fr ee encyclopedia

https://en.wikipedia.org/wiki/Indo-Saracenic_Revival_architecture 1/11

Madras High Court buildings are a prime example of Indo-Saracenic architecture, designed by J W Brassington under

the guidance of famous British architect Henry Irwin

The Victoria Terminus in Bombay.

North Block of the Secretariat Building, New Delhi,

designed by Herbert Baker

Examples of the 'Indo-Saracenic' style

Indo-Saracenic Revival architectureFrom Wikipedia, the free encyclopedia

The Indo-Saracenic Revival(also known as

Indo-Gothic, Hindooor Hindu-Gothic,

Mughal-Gothic, Neo-Mughal) was an

architectural style movement by Britisharchitects in the late 19th century in British

India. It drew elements from native Indo-

Islamic and Indian architecture, and

combined it with the Gothic revival and

Neo-Classical styles favoured in Victorian

Britain. The style gained momentum in the

westwith the publication of the various

views of India by William Hodges and the

Daniell duo, (William Daniell and his uncle

Thomas Daniell) fromabout 1795.Saracenic was a term used by the ancient

Romans to refer to a people who lived in

desert areasin and around the Roman

province of Arabia,and who were

distinguished from Arabs.[1]

The first Indo-Saracenicbuilding is said to

be the Chepauk palace, located in the

neighbourhood of Chepauk, in present-day

Chennai (Madras). Chennai is said topossess many buildings of this architecture,

some of which are the Victoria Public Hall,

Madras High Court, Senate House of the

University of Madras, Chennai Central

station, etc. Most of these buildings arenow

classified under the Heritage buildings

category as laid down by the Archaeological

Survey of India (ASI) owing to the need for

theirpreservation.

Contents

1 Indo-Saracenic

2 The Mughal Style

2.1 Decline and Revival

3 The Style outside India

4 Characteristics
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5 Examples

5.1 In Bangladesh

5.2 In India

5.3 In Pakistan

5.4 In the United Kingdom

5.5 In Malaysia

6 See also

7 References

Indo-Saracenic

Confluence of different architectural styles had been attempted before during the mainly Turkic, Delhi

Sultanate and Mughal periods. Turkic and Mughal conquest in the Indian subcontinent, introduced new

concepts in the already rich architecture of India. The prevailing style of architecture was trabeate,

employing pillars, beams and lintels. The Turkic invaders brought in the arcuate style of construction,

with its arches and beams, which flourished under Mughal patronage and by incorporating elements of

Indian architecture, especially Rajasthani Temple architecture

Local influences also lead to different 'orders' of the Indo-Islamic style. After the disintegration of theTurkic Delhi Sultanate, rulers of individual states established their own rule and hence their own

architectural styles, which was heavily influenced by local styles. Examples of these are the 'Bengal' and

the 'Gujarat' schools. Motifs such as chhajja (A sunshade or eave laid on cantilever brackets fixed into

and projecting from the walls), corbel brackets with richly carved pendentive decorations (described as

stalactite pedentives), balconies, kiosks or chhatris and minars (tall towers) were characteristic of the

Mughal architecture style, which was to become a lasting legacy of the nearly four hundred years of the

Mughal rule.

The Mughal Style

The Mughal style was conceived by Akbar the Great, the third Mughal emperor and also the architect of

the Mughal empire. This "Akbari" Style was an amalgam of earlier Timurid, Persian and indigenous

Indian styles. This style was further consolidated by his grandson and fellow architecture enthusiast,

Shah Jahan. Some of the significant architectural legacies of the Mughals are Humayun's Tomb, the Taj

Mahal, the Forts of Agra and Lahore, the city of Fatehpur Sikri, Akbar's Tomb.

Decline and Revival

Shah Jahan was succeeded by his puritanical son, Aurangzeb, who had no soft spot for art andarchitecture.[2]As a result, Mughal architecture suffered, with all artisans migrating to work under the

patronage of local rulers. With no major architectural projects undertaken, the Mughal style rapidly

declined. This decline was evident in buildings such as Bibi Ka Maqbara, built by Azam Shah, son of

Aurangzeb. However, local rulers embraced the style, as they had emulated it during the respective
http://-/?-https://en.wikipedia.org/wiki/Bibi_Ka_Maqbarahttps://en.wikipedia.org/wiki/Aurangzebhttps://en.wikipedia.org/wiki/Akbar%27s_Tombhttps://en.wikipedia.org/wiki/Fatehpur_Sikrihttps://en.wikipedia.org/wiki/Lahore_Forthttps://en.wikipedia.org/wiki/Agra_Forthttps://en.wikipedia.org/wiki/Taj_Mahalhttps://en.wikipedia.org/wiki/Humayun%27s_Tombhttps://en.wikipedia.org/wiki/Chhatrihttps://en.wikipedia.org/wiki/Pendentivehttps://en.wikipedia.org/wiki/Corbelhttps://en.wikipedia.org/wiki/Eavehttps://en.wikipedia.org/wiki/Chhajjahttps://en.wikipedia.org/wiki/Delhi_Sultanatehttps://en.wikipedia.org/wiki/Turkic_peopleshttps://en.wikipedia.org/wiki/Hindu_temple_architecturehttps://en.wikipedia.org/wiki/Mughal_Empirehttps://en.wikipedia.org/wiki/Archhttps://en.wikipedia.org/wiki/Lintelhttps://en.wikipedia.org/wiki/Beam_(structure)https://en.wikipedia.org/wiki/Trabeatedhttps://en.wikipedia.org/wiki/Mughal_Empirehttps://en.wikipedia.org/wiki/Delhi_Sultanatehttps://en.wikipedia.org/wiki/Turkic_peoples


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Features of the Confluence of

Indian and Persian styles

Mughal Design Terms : The Indo-

Persian style flourished in the

Mughal period, and culminated in

the Taj Mahal

Mughal Style soon became

individualistic, as the 'Akbari'

architecture was further developed

into the 'Shahjahani' style in

which the parent styles becameless visible.

Design Vocabulary and changing

trends of the Indo-Persian style

Mughal Interiors Racinet, c. 1876

reigns of Jahangir and Shah

Jahan.[3]The last

architectural marvel

produced during this waning

period of Mughal rule was

Safdarjung's Tomb,

mausoleum to the second

Nawab of Awadh.

By the early 19th century,

the British had made

themselves the virtual

masters of the Indian

Subcontinent. In 1803, their

control was further

strengthened with the defeat

of the Marathas under

Daulatrao Scindia. Theylegitimized their rule by

taking the then weak

Mughal Emperor, Shah

Alam II under their

protection, and ruling

through him. However, their power was yet again challenged when

in 1857, the Indian soldiers in their employ, together with rebellious

princes lashed out in open revolt, which came to be known as the

Revolt of 1857. However, this uprising was doomed from the start,

and was crushed by the British with ferocity, marking the end of the

Mughal Empire.[4]Soon after, they embarked on deliberate

vandalism, by demolishing significant amount of buildings in the

Red Fort (the residence of the recently extinct Mughal Empire) and

replacing them with towering and unimpressive barracks. It was the

first attempt towards erasing the architectural legacy of the

Mughals.[5]

However, to usher in a new era, the British "Raj", a new

architectural tradition had to be founded. Hence they contemplateda marriage between the existing styles of India with imported styles

from the West, such as Gothic (with its sub styles of French Gothic,

Venetian-Moorish etc.), Neoclassical and Art Deco, Gothic even

more so because their design philosophy was inclined towards

grand scale (as is evidenced by buildings such as the Taj hotel). By

doing this they kept elements of British and European architecture, while adding Indian characteristics

this, coupled with the British allowing some regional Indian princes to stay in power, made their

presence more "palatable" for the Indians. The British tried to encapsulate South Asia's past within their

own buildings and so represent Britain's Raj as legitimate, while at the same time constructing a modern

network of railways, colleges, and law courts.

The Style outside India
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The Rambagh Palace in Jaipur

The architectural style was exported to British Malaya (present day Peninsular Malaysia) via British

engineers and architects influenced by Indo-Saracenic stylings in British India. During the design of

government offices for the Selangor state government in Kuala Lumpur in the late 19th century, C. E.

Spooner, then State Engineer of the Public Works Department, favoured a "Mahometan style" over a

neoclassical one to reflect Islamic mores in the region, instructing architect Charles Norman, with

further assistance by R. A. J. Bidwell, to redesign the building.[6]Having previously served in northern

India, Norman and Bidwell incorporated various elements of Indo-Saracenic architecture into the

building. Upon completion in 1897, the government offices (now known as the Sultan Abdul SamadBuilding), which would later house the administration of the Federated Malay States and the various

post-independence governmental departments, became the one of the earliest examples of Indo-

Saracenic architecture in Malaya.[6]The building's construction inspired additional civic buildings in the

vicinity to be built in a similar style, while a handful of commercial buildings in Malaya have also been

known to adopt some of the style's elements. The style was also favoured as one of several adopted by

British architects with regards to Malayan mosques as they did not feel the need to adhere accurately to

the cultural heritage and the traditional culture of the Malays, who remain prominent in Malayan society

and are Muslims but lacked the means to design buildings of large scales both the Jamek Mosque and

Ubudiah Mosque are examples of mosques that resulted from this combination.[7]While its popularity

was limited to the 1890s to the 1910s, the style has inspired designs for newer governments buildings

from the late-20th century and 21st century, such as several public buildings in Putrajaya.

Characteristics

Indo-Saracenic designs were introduced by British

imperialist colonizers, promoting their own sense of

rightful self-glorification, which came to appeal to

the aesthetic sensibilities of continental Europeans

and Americans, whose architects came to astutelyincorporate telling indigenous "Asian Exoticism"

elements, whilst implementing their own

engineering innovations supporting such elaborate

construction, both in India and abroad, evidence for

which can be found to this day in public, private and government owned buildings. Public and

Government buildings were often rendered on an intentionally grand scale, reflecting and promoting a

notion of an unassailable and invincible British Empire.

Again, structures of this design sort, particularly those built in India and England, were built in

conformance to advanced British structural engineering standards of the 1800s, which came to include

infrastructures composed of iron, steel and poured concrete (the innovation of reinforced cement and

pre-cast cement elements, set with iron and/or steel rods, developed much later) the same can be said

for like structures built elsewhere, making use of the same design vocabulary, by local architects, that

would come to be constructed in continental Europe and the Americas: Indo-Saracenics popularity

flourished for a span of some 30-years.

Notable, too, is that the British, in fact Europeans generally, had long nurtured a taste for the aesthetic

exuberance of such Asian exoticism design, as displayed in innovative Indo-Saracenic style and also

in their taste for Chinoiserie and Japanned. Supported by the imagination of skilled artisans of various

disciplines, exoticism promulgated itself across a broad demographic of British, European and

Americas citizenry, Adaptation of such design innovations spilled over into and determined the

aesthetic direction of major architectural projects, expressing themselves in the Baroque, Regency and

design periods beyond.
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Today, that spread of elaborate Asian exoticism design fulfillment remains evidenced in many

residential and governmental edifices wrought of the masterpiece initiatives of the 16th, 17th and 18th

centuries much had initially been contributed by the stupendously rich and indulgent sea-merchant

Venetian Empire, whose existence spanned nearly a millennium, and whose Gothic architecture came to

incorporate a plethora of Asian exoticism elements, such as the Moorish Arch in its windows, related to

the latter "harem window"

Generally, the insatiable craze for Asian exoticism relished those earlier periods, testamentary in their

parallel Chinoiserie expression, likewise, ushered in this latter colonial British fascination with the

luxuriant exoticism found in the indigenous Indian design milieu, whose characteristics includes the

following vocabulary list of design elements and motifs (often paralleling and expanding upon the

already ornateness of the earlier Venetians unique Gothic-Moorish, also known as Venetian Gothic

architecture ad-mixture):

onion (bulbous) domesoverhanging eaves

pointed arches, cusped arches, or scalloped archesvaulted roofs

domed kiosksmany miniature domesdomed chhatris

pinnaclestowers or minaretsharem windowsopen pavilions or pavilions with Bangala roofs

pierced open arcading

Chief proponents of this style of architecture were these: Robert Fellowes Chisholm, Charles Mant,

Henry Irwin, William Emerson, George Wittet and Frederick Stevens, along with numerous other skilledprofessionals and artisans throughout Europe and the Americas.

Structures built in Indo-Saracenic style in India and in certain nearby countries were predominantly

grand public edifices, such as clock towers and courthouses. Likewise, civic as well as municipal and

governmental colleges along with town halls counted this style among its top-ranked and most-prized

structures to this day ironically, in Britain itself, for example, King George IV's Royal Pavilion at

Brighton, (which twice in its lifetime has been threatened with being torn-down, denigrated by some as a

carnival sideshow, and dismissed by others as an architectural folly of inferior design, no less) and

elsewhere, these rare and often diminutive (though sometimes, as mentioned, of grand-scale), residential

structures that exhibit this colonial style are highly valuable and prized by the communities in whichthey exist as being somehow "magical" in appearance.

Typically, in India, villages, towns and cites of some means would lavish significant sums on

construction of such "indigenous ethnic architecture" when plans were drawn up for construction of the

local railway stations, museums and art galleries.

The cost involved in the construction of buildings of this style was high, including all their inherent

customization, ornament and minutia decoration, the artisans' ingenuous skills (stone and wood carving,

as well as the exquisite lapidary/inlaid work) and usual accessibility to requisite raw materials, hence the

style was executed only on buildings of a grand scale. However the occasional residential structure ofthis sort, (its being built in part or whole with Indo-Saracenic design elements/motifs) did appear quite

often, and such buildings have grown ever more valuable and highly prized by local and foreign

populations for their exuberant beauty today.
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Either evidenced in a propertys primary unit or any of its outbuildings, such estate-caliber residential

properties lucky enough to boost the presence of an Indo-Saracenic structure, are still to be seen,

generally, where in instances urban sprawl has not yet overcome them often they are to be found in

exclusive neighborhoods' (or surrounded, as cherished survivors, by enormous sky-scarpers, in more

recently claimed urbanized areas throughout this techno driven, socio-economic revolutionary era

marking Indias recent decades history), and are often locally referred to as "mini-palaces". Usually,

their form-factors are these: townhouse, wings and/or porticoes. Additionally, more often seen are the

diminutive renditions of the Indo-Saracenic style, built originally for lesser budgets, finding theirnonetheless romantic expression in the occasional and serenely beautiful garden pavilion outbuildings,

throughout the world especially, in India and England.

Examples

In Bangladesh

Ahsan Manzil in

Dhaka

Curzon Hall in Dhaka

Tajhat Palace in

Rangpur

Shoshi Lodge in

Mymensingh

Natore Rajbari

Rose Garden Palace

Uttara Gonobhaban

In India
https://en.wikipedia.org/wiki/Uttara_Gonobhabanhttps://en.wikipedia.org/wiki/Rose_Garden_Palacehttps://en.wikipedia.org/wiki/Natore_Rajbarihttps://en.wikipedia.org/wiki/Mymensinghhttps://en.wikipedia.org/w/index.php?title=Shoshi_Lodge&action=edit&redlink=1https://en.wikipedia.org/wiki/Rangpur,_Bangladeshhttps://en.wikipedia.org/wiki/Tajhat_Palacehttps://en.wikipedia.org/wiki/Dhakahttps://en.wikipedia.org/wiki/Curzon_Hallhttps://en.wikipedia.org/wiki/Dhakahttps://en.wikipedia.org/wiki/Ahsan_Manzil


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The Gateway of India

The Taj Mahal Hotel in

Bombay

Mysore Palace

The National Art

Gallery (Chennai)

Victoria Public Hall in

Chennai

Senate House

(University of Madras)

Victoria Memorial in

Calcutta

Ripon Building part of

the Chennai

Corporation in Chennai

Bombay GPO

Khalsa College,

Amritsar

Daly College, Indore

by Samuel Swinton

Jacob

Central Secretariat,

headquarters of the

govt of India

In Pakistan
https://en.wikipedia.org/wiki/Central_Secretariathttps://en.wikipedia.org/wiki/Samuel_Swinton_Jacobhttps://en.wikipedia.org/wiki/Indorehttps://en.wikipedia.org/wiki/Daly_Collegehttps://en.wikipedia.org/wiki/Khalsa_College,_Amritsarhttps://en.wikipedia.org/wiki/General_Post_Office_(Mumbai)https://en.wikipedia.org/wiki/Chennaihttps://en.wikipedia.org/wiki/Chennai_Corporationhttps://en.wikipedia.org/wiki/Ripon_Buildinghttps://en.wikipedia.org/wiki/Calcuttahttps://en.wikipedia.org/wiki/Victoria_Memorial_(India)https://en.wikipedia.org/wiki/Senate_House_(University_of_Madras)https://en.wikipedia.org/wiki/Chennaihttps://en.wikipedia.org/wiki/Victoria_Public_Hallhttps://en.wikipedia.org/wiki/The_National_Art_Gallery_(Chennai)https://en.wikipedia.org/wiki/Mysore_Palacehttps://en.wikipedia.org/wiki/Taj_Mahal_Palace_and_Towerhttps://en.wikipedia.org/wiki/Gateway_of_India


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Aitchison College,

Lahore

Lahore Museum,

Lahore

Clock Tower,

Faisalabad

University of the

Punjab

Lahore Government

College University

Karachi Port Trust

Headquarters, Karachi

National Academy of

Performing Arts,

Karachi

Sacred Heart

Cathedral, Lahore

Rwp train1.jpg,

Rawalpindi

Darbar Mahal,

Bahawalpur

Sadiq Dane High

School, Bahawalpur

Noor Mahal,

Bahawalpur

Islamia College

University, Peshawar

Government Higher

Secondary School,

Peshawar

Ghanta Ghar (Multan)

Karachi Municipal

Corporation Building
https://en.wikipedia.org/wiki/Ghanta_Ghar_(Multan)https://en.wikipedia.org/wiki/Peshawarhttps://en.wikipedia.org/wiki/Peshawarhttps://en.wikipedia.org/wiki/Islamia_College_Universityhttps://en.wikipedia.org/wiki/Bahawalpurhttps://en.wikipedia.org/wiki/Noor_Mahalhttps://en.wikipedia.org/wiki/Bahawalpurhttps://en.wikipedia.org/wiki/Bahawalpurhttps://en.wikipedia.org/wiki/Rawalpindihttps://en.wikipedia.org/wiki/Lahorehttps://en.wikipedia.org/wiki/Karachihttps://en.wikipedia.org/wiki/National_Academy_of_Performing_Artshttps://en.wikipedia.org/wiki/Karachihttps://en.wikipedia.org/wiki/Karachi_Port_Trusthttps://en.wikipedia.org/wiki/Government_College_University,_Lahorehttps://en.wikipedia.org/wiki/University_of_the_Punjabhttps://en.wikipedia.org/wiki/Lahore_Museumhttps://en.wikipedia.org/wiki/Aitchison_College


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In the United Kingdom

Royal Pavilion in

Brighton

Elephant Tea Rooms in

Sunderland

Sassoon Mausoleum,

now a chic Brighton

supper club

Western Pavilion in

Brighton, designed by

Amon Henry Wilds as

his own home

Sezincote House

In Malaysia

Sultan Abdul Samad

Building in Kuala

Lumpur.

Jubilee Clock Tower in

George Town, Penang.

Textile Museum in

Kuala Lumpur.

The Old High Court

Building in Kuala

Lumpur
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Wikimedia Commons has

media related toIndo-

Saracenic Revival

architecture.

Old Kuala Lumpur

Town Hall.

Jamek Mosque in

Kuala Lumpur.

Kuala Lumpur Railway

Station.

Railway

Administration

Building, Kuala

Lumpur.

Ubudiah Mosque in

Kuala Kangsar, Perak.

Perdana Putra in

Putrajaya, an example

of modern Indo-

Saracenic Revival-

influenced architecturein Malaysia.

The Palace of Justice in

Putrajaya, another

modern example.

See also

Moorish Revival architecture

References

1. "Saracen." Encyclopdia Britannica. 2007

(http://concise.britannica.com/ebc/article-9377754/Saracens).

Britannica Concise Encyclopedia. 23 Sept. 2007.

2. He went as far as defacing many edifices built by his great-

grandfather Akbar, as they had animal motifs, something which

was forbidden in the Quran

3. The rulers of Rajputana would construct their palaces in Mughal style to impress their overlord, the Great

Mughal. Examples of such structures are the Amber Fort near the city of Jaipur, the Orchha palace in Madhya

Pradesh and most of the Mehrangarh Fort in Jodhpur

4. The last Mughal Emperor, Bahadur Shah II became a pawn of the mutineers and was arrested and exiled for

treason5. Other deliberate and demeaning actions include converting the Diwan-e-Khas (Private audience hall) into an

officer's mess, as well as converting the Diwan-e-Am (Public audience hall) at Agra fort into an arsenal

6. Gullick, John Michael (1998). "The British 'Raj' style ", The Encyclopedia of Malaysia (Architecture), p. 82

83.
https://en.wikipedia.org/wiki/The_Encyclopedia_of_Malaysiahttps://en.wikipedia.org/wiki/Bahadur_Shah_IIhttps://en.wikipedia.org/wiki/Jodhpurhttps://en.wikipedia.org/wiki/Mehrangarh_Forthttps://en.wikipedia.org/wiki/Madhya_Pradeshhttps://en.wikipedia.org/w/index.php?title=Orchha_palace&action=edit&redlink=1https://en.wikipedia.org/wiki/Amber_Forthttps://en.wikipedia.org/wiki/Mughal_Dynastyhttps://en.wikipedia.org/wiki/Rajasthanhttps://en.wikipedia.org/wiki/Quranhttp://concise.britannica.com/ebc/article-9377754/Saracenshttps://en.wikipedia.org/wiki/Moorish_Revivalhttps://en.wikipedia.org/wiki/Palace_of_Justice_(Malaysia)https://en.wikipedia.org/wiki/Putrajayahttps://en.wikipedia.org/wiki/Perdana_Putrahttps://en.wikipedia.org/wiki/Perakhttps://en.wikipedia.org/wiki/Kuala_Kangsarhttps://en.wikipedia.org/wiki/Ubudiah_Mosquehttps://en.wikipedia.org/wiki/Kuala_Lumpur_Railway_Stationhttps://en.wikipedia.org/wiki/Masjid_Jamekhttps://commons.wikimedia.org/wiki/Category:Indo-Saracenic_Revival_architecture


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7. Mizan Hashim, David (1998). "Indian and Mogul influences on Mosques", The Encyclopedia of Malaysia

(Architecture), p. 8485.

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Indo-Saracenic Revival Architecture

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