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Later Mughal Architecture
| Title: | Later Mughal Architecture | | Author: | Goetz, Hermann | | Publication: | Marg | | Enumeration: | Vol. 11 Issue no. 4; September 1958, p. 11-25 | | Abstract: | The mystic or divine interpretation of Mughal royalty first became evident in the art of the later years of Jahangir, and under Shah Jahan it became the central idea. This new spirit is also expressed in novel forms assimilated from architecture of the late Timurid empire of Turkistan, the Deccan Sultanates of Bijapur and Golconda, and France under Louis XIV. In Aurangzeb's period, the Deccani influence became dominant. The important monuments with these tendencies are the small Moti Masjid in Delhi Fort (1659), the Badshahi Masjid at Lahore (1673-74), and the Bibi-ka-Rauza at Aurangabad. Among the few surviving examples of Aurangzeb's secular architecture are the Badshahi Kila at Burhanpur, Mahal, and the garden palace of Zeb-un-Nissa (daughter of Aurangzeb). The reign of Muhammad Shah (1719-48) was the rococo age of Mughal art, represented by a painting of the Qudsia Bagh in Delhi. This practically marks the end of Mughal imperial architecture, but it developed several local styles in the places and amongst the peoples conquered by the Mughals: Rajasthan, the Punjab, Mysore, Oudh, Sikhs, and Marathas. The style of the palaces at these places was mainly of the classical Mughal type, with heavier forms, elaborate pillars, and (sometimes) high bangaldar roofs. The Hindu temple architecture of the time also shows an admixture of classical Mughal decorative details. Source of Abstract: Provided by Publisher | | Tools: |
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