Madras High Court buildings are a prime example of Indo-Saracenic architecture, designed by J. W. Brassington under the guidance of British architect Henry Irwin, 1892.
The Victoria Memorial, Kolkata, has very discreet Indo-Saracenic touches, such as the corner chatris, in the Raj metropolis least touched by the style.
Indo-Saracenic architecture (also known as Indo-Gothic, Mughal-Gothic, Neo-Mughal, in the 19th century often Indo-Islamic style[1]) was a revivalist architectural style mostly used by British architects in India in the later 19th century, especially in public and government buildings in the British Raj, and the palaces of rulers of the princely states. It drew stylistic and decorative elements from native Indo-Islamic architecture, especially Mughal architecture, which the British regarded as the classic Indian style.[2] The basic layout and structure of the buildings tended to be close to that used in contemporary buildings in other revivalist styles, such as Gothic revival and Neo-Classical, with specific Indian features and decoration added.
The style drew from western exposure to depictions of Indian buildings from about 1795, such as those by William Hodges and the Daniell duo (William Daniell and his uncle Thomas Daniell). The first Indo-Saracenic building is often said to be the Chepauk Palace, completed in 1768, in present-day Chennai (Madras), for the Nawab of Arcot.[3]Bombay and Calcutta (as they then were), as the main centres of the Raj administration, saw many buildings constructed in the style, although Calcutta was also a bastion of European Neo-Classical architecture fused with Indic architectural elements. Most major buildings are now classified under the Heritage buildings category as laid down by the Archaeological Survey of India (ASI), and protected.[citation needed]
The style enjoyed a degree of popularity outside British India, where architects often mixed Islamic and European elements from various areas and periods with boldness, in the prevailing climate of eclecticism in architecture. Among other British colonies and protectorates in the region, it was adopted by architects and engineers in British Ceylon (present-day Sri Lanka) and the Federated Malay States (present-day Malaysia). The style was sometimes used, mostly for large houses, in the United Kingdom itself, for example at the royal Brighton Pavilion (1787–1823) and Sezincote House (1805) in Gloucestershire.
The wider European version, also popular in the Americas, is Moorish Revival architecture, which tends to use specific South Asian features less, and instead those characteristic of the Arabic-speaking countries; Neo-Mudéjar is the equivalent style in Spain. In India there had been an earlier inversion of the style in Lucknow before the British takeover in 1856, where Indian architects rather "randomly grafted European stylistic elements, as details and motifs, on to a skeleton derived from the Indo-Islamic school." This is known as the "Nawabi style."[4]Saracen was a term used in the Middle Ages in Europe for the Arabic-speaking Muslim people of the Middle East and North Africa, and the term "Indo-Saracenic" was first used by the British to describe the earlier Indo-Islamic architecture of the Mughals and their predecessors,[5] and often continued to be used in that sense. "Saracenic architecture" (without the "Indo-") was first used for the architecture of Muslim Spain, the most familiar Islamic architecture to most early 19th-century writers in English.
Characteristics
Features of the style.
Indian architecture commissioned by Mughals.
Examples of architecture of the Mughal era.
With a number of exceptions from earlier, most Indo-Saracenic public buildings were constructed by parts of the British Raj government of India, in place between 1858 and 1947, with the peak period beginning around 1880. They partly reflected the British aspiration for an "Imperial style" of their own, rendered on an intentionally grand scale, reflecting and promoting a notion of an unassailable and invincible British Empire,[6] The style has been described as "part of a 19th-century movement to project themselves as the natural successors of the Mughals".[7]
At the same time they were built for modern functions such as railway stations, government offices for an increasingly wide-reaching bureaucracy, and law courts. They often incorporated modern construction methods and facilities. While stone was typically used, at least as a facing, these included substructures composed of iron, steel and poured concrete, and later reinforced concrete and pre-cast concrete elements.
The style has been said, by a native of Kolkata,[who?] to be most common in "Southern and Western India", and of the three main cities of the 19th-century Raj, it was and is much more evident in Mumbai and Chennai rather than Kolkata, where both public government buildings, and the mansions of wealthy Indians tended to use versions of European Neoclassical architecture.[8] Madras (now Chennai) was a particular centre of the style, but still tended to use details from Mughal architecture, which had barely ever reached Tamil Nadu before. This was partly because English authorities such as James Fergusson especially deprecated Dravidian architecture,[9] which would also have been harder and more expensive to adapt to modern building functions.
The British-era Islamia College was built in an Indo-Saracenic Revival architectural style in Peshawar, Pakistan.The Rambagh Palace in Jaipur reflecting Imperial Rajasthani architecture. Early 20th-century.
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 threatened nationalists 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 which they exist as being somehow "magical" in appearance.[citation needed]
Typically, in India, villages, towns and cities of some means would lavish significant sums on construction of such architectural works 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' ingenious 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 of this 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 and elegance today.[citation needed]
Either evidenced in a property's 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 India's recent decade's 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 their nonetheless romantic expression in the occasional and serenely beautiful garden pavilion outbuildings, throughout the world, especially, in India and England.[citation needed]
Confluence of different architectural styles had been attempted before during the mainly Turkic, Delhi Sultanate and Mughal periods. Turkic and Mughal incursions in the Indian subcontinent, introduced new concepts in the architecture of India. The prevailing style of architecture was trabeate, employing pillars, beams and lintels, with less emphasis on arches and domes used during earlier Buddhist periods. The Turkic invaders brought in the arcuate style of construction, with more emphasis on arches and beams, which flourished with Mughal and Taluqdars by building and incorporating Indian architecture, especially Rajasthani temple architecture and Imperial Indian palace/fort/urban architecture as well.
Local influences also led to different 'orders' of the Indo-Islamic style. After the disintegration of the TurkicDelhi Sultanate, rulers of individual states established their own rule and hence their own architectural styles which were imitations of local/regional Indian architectural schools. 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 "stalactite"[citation needed]pendentive decorations, balconies, kiosks or chhatris, and minars (tall towers) were characteristic of the imitation-Mughal architecture style, which was to become a lasting legacy of the nearly four hundred years of the Mughal presence in these areas.
Shah Jahan was succeeded by his son, Aurangzeb, who had little interest in art and architecture. As a result, Mughal commissioned architecture suffered, with most engineers, architects and artisans migrating to work under the patronage of local rulers. By the early 19th century, the British East India Company (EIC) controlled large portions of the Indian subcontinent. In 1803, their control was further strengthened after defeating the Maratha Empire which was led by Daulat Rao Sindhia. The EIC legitimized their rule by taking Mughal emperor Shah Alam II under their protection, and ruling in conjunction with him. However, their power was yet again challenged when in 1857 Indian soldiers in their employ, together with rebellious princes including Rani of Jhansi, launched the Indian Rebellion of 1857. However, this uprising was suppressed within a year and marked the end of the Mughal Empire, which was formally dissolved by the British. After the rebellion, the EIC's territories in India were formally transferred by the British government to Crown rule; the EIC dissolved soon after. In 1861, the new British colonial administration established the Archaeological Survey of India, gradually restoring several important Indian monuments (such as the Taj Mahal) over the following decades.[citation needed]
To usher in a new era, the British "Raj", a new architectural tradition was sought, marrying the existing styles of India with imported styles from the West, such as Gothic (with its sub styles of French gothic, Venetian-Moorish), Neoclassical and, later, new styles such as Art Deco. This produced a number of buildings with mixed influences. By doing this they kept Indian architecture while adding elements of British and European architecture; this, coupled with the British allowing regional Indian princes to stay in power under various agreements, made their presence more "palatable" for the Indians. The British attempted to encapsulate South Asia's past within their new Indic buildings and so represent Britain's Raj as legitimate to the Indian public.[citation needed]
The main building of Mayo College, completed in 1885, was built in the Indo-Saracenic style. Examples in Chennai include the Victoria Public Hall, Madras High Court, Senate House of the University of Madras, and the Chennai Central railway station. The building of New Delhi as the new imperial capital, which mostly took place between 1918 and 1931, led by Sir Edwin Lutyens, brought the last flowering of the style, using a deeper understanding of Indian architecture. The Rashtrapati Bhavan (Viceroy's, then President's Palace) uses elements from Buddhist-era Indian architecture as well as those from later periods. This can be seen in the capitals of the columns and the screen around the drum below the main dome, drawing on the railings placed around ancient stupas.[citation needed]
According to Thomas R. Metcalf, a leading scholar of the style, "the Indo-Saracenic, with its imagined past turned to the purposes of British colonialism, took shape outside India [ie the subcontinent] most fully only in Malaya". British Malaya was a predominantly Muslim society, where there was hardly any recent tradition of building in brick or stone, with even mosques and the palaces of the local rulers built in the abundant local hardwoods. Kuala Lumpur was only a small settlement when in 1895 the British decided to make it the capital of their new Federated Malay States; it needed a number of large public buildings. The British decided to use the Islamic style they were used to from India, despite its having little relationship to existing local architectural styles.[11]
Unlike in India, the British also built some palaces for the sultans of the several states into which modern Malaysia remains divided, and in some places where the population was greatly expanded, mosques,[12] such as the Jamek Mosque and Ubudiah Mosque. These were both designed by Arthur Benison Hubback, the leading architect in the style between his arrival in 1895 and retirement in 1917, during which it experienced its peak in popularity.[13] The lack of local precedents allowed the English architects to create "an architecture defined purely by Orientalist fantasy", according to Metcalf, who says Hubback's Ubudiah Mosque (Kuala Kangsar, 1913) "conjures up nothing less than a Victorian illustrator's fantasy from the Arabian Nights".[14]
Contrary to what is sometimes claimed, the leading figures were English professional architects (whereas in India former soldiers or military engineers were often used) who had never worked in India. Usually they could design in both Indo-Saracenic and European styles. For example, the major buildings by Regent Alfred John Bidwell, who left his career in London at the age of 34 in 1893 to take a public appointment in Malaysia, include Kuala Lumpur's Sultan Abdul Samad Building (originally the "Government Offices", 1894), in a free Islamic style, perhaps more Egyptian than Mughal, and with many horseshoe arches. After moving to private practice in Singapore, Bidwell designed the thoroughly European Raffles Hotel (1899). In Singapore European styles had been the norm since the first British public building there in 1827, both copying Calcutta and reflecting a smaller proportion of Muslim Malays in the population, and the role of the city as a military and trade base. Metcalf notes that despite a large Chinese population, neither in Singapore nor in Hong Kong were public buildings with influences from Chinese architecture built in this period.[15]
The Government Offices were the first major British commission in Malaya, and Bidwell had proposed a European style, but was over-ruled by C. E. Spooner, then State Engineer of the Public Works Department, a military engineer with many years experience in Ceylon, who told those assembled for the opening ceremony "I then decided on the Mahametan style". He did not design buildings himself, but was a key figure in approving designs. The commission brought together Spooner, A.C. Norman, Bidwell, and the newly arrived Hubback (from 1895).[16][17] The building's construction inspired additional civic buildings in the vicinity to be built in a similar style, while the style's elements would see more limited adoption among private buildings in Malaya. However artificial a creation the Malayan British Islamic style is, it is noticeable that most major public buildings survive long after Malayan independence in 1957 and the formation of Malaysia in 1963, remaining well-cared for on their prime city sites, many re-purposed as their original functions are now carried out in more modern buildings elsewhere.
Indian architecture is rooted in the history, culture, and religion of India. Among several architectural styles and traditions, the best-known include the many varieties of Hindu temple architecture and Indo-Islamic architecture, especially Rajput architecture, Mughal architecture, South Indian architecture, and Indo-Saracenic architecture. Early Indian architecture was made from wood, which did not survive due to rotting and instability in the structures. Instead, the earliest existing architecture are made with Indian rock-cut architecture, including many Buddhist, Hindu, and Jain temples.
The Architecture of Lahore reflects the history of Lahore and is remarkable for its variety and uniqueness. There are buildings left from the centuries of rule of the Mughal Empire, the Sikh Empire, as well as from the era of the British Raj, whose style is a mixture of Victorian and Islamic architecture often referred to as Indo-Saracenic. In addition, there are newer buildings which are very modern in their design. Unlike the emphasis on functional architecture in the west, much of Lahore's architecture has always been about making a statement as much as anything else.
Mughal architecture is the type of Indo-Islamic architecture developed by the Mughals in the 16th, 17th and 18th centuries throughout the ever-changing extent of their empire in the Indian subcontinent. It developed from the architectural styles of earlier Muslim dynasties in India and from Iranian and Central Asian architectural traditions, particularly Timurid architecture. It also further incorporated and syncretized influences from wider Indian architecture, especially during the reign of Akbar. Mughal buildings have a uniform pattern of structure and character, including large bulbous domes, slender minarets at the corners, massive halls, large vaulted gateways, and delicate ornamentation; examples of the style can be found in modern-day Afghanistan, Bangladesh, India and Pakistan.
The Sultan Abdul Samad Building is a late-19th century building located along Jalan Raja in front of Dataran Merdeka and the Royal Selangor Club in Kuala Lumpur, Malaysia. The building originally housed the offices of the British colonial administration, and was known simply as Government Offices in its early years. In 1974, it was renamed after Sultan Abdul Samad, the reigning sultan of Selangor at the time when construction began.
The Kuala Lumpur railway station is a railway station located in Kuala Lumpur, Malaysia. Construction began in 1910 and was fully completed in 1917. It replaced an older station on the same site, the station was Kuala Lumpur's railway hub in the city for the Federated Malay States Railways and its successor Keretapi Tanah Melayu, before Kuala Lumpur Sentral assumed much of its role in 2001. The station is notable for its architecture, adopting a mixture of Eastern and Western designs.
Chennai architecture is a confluence of many architectural styles. From ancient Tamil temples built by the Pallavas, to the Indo-Saracenic style of the colonial era, to 20th-century steel and chrome of skyscrapers. Chennai has a colonial core in the port area, surrounded by progressively newer areas as one travels away from the port, punctuated with old temples, churches and mosques.
Indo-Islamic architecture is the architecture of the Indian subcontinent produced by and for Islamic patrons and purposes. Despite an initial Arab presence in Sindh, the development of Indo-Islamic architecture began in earnest with the establishment of Delhi as the capital of the Ghurid dynasty in 1193. Succeeding the Ghurids was the Delhi Sultanate, a series of Central Asian dynasties that consolidated much of North, East, and Central India, and later by the Mughal Empire during the early 16th century. Both of these dynasties introduced Islamic architecture and art styles from West Asia into the Indian subcontinent.
The Ubudiah Mosque is a small mosque located in the royal town of Kuala Kangsar, Perak, Malaysia.
The Architecture of Bengal, which comprises the modern country of Bangladesh and the Indian states of West Bengal, Tripura and Assam's Barak Valley, has a long and rich history, blending indigenous elements from the Indian subcontinent, with influences from different parts of the world. Bengali architecture includes ancient urban architecture, religious architecture, rural vernacular architecture, colonial townhouses and country houses and modern urban styles. The bungalow style is a notable architectural export of Bengal. The corner towers of Bengali religious buildings were replicated in medieval Southeast Asia. Bengali curved roofs, suitable for the very heavy rains, were adopted into a distinct local style of Indo-Islamic architecture, and used decoratively elsewhere in north India in Mughal architecture.
Pakistani architecture is intertwined with the architecture of the broader Indian subcontinent. The major architectural styles popular in the past were Temple, Indo-Islamic, Mughal and Indo-Saracenic architecture, all of which have many regional varieties. With the beginning of the Indus civilization around the middle of the 3rd millennium BC, for the first time in the area which encompasses today's Pakistan an advanced urban culture developed with large structural facilities, some of which survive to this day. This was followed by the Gandhara style of Buddhist architecture that borrowed elements from Ancient Greece. These remnants are visible in the Gandhara capital of Taxila.
Charles Edwin Spooner (1853–1909) was a British engineer who worked in Malaya. He oversaw the construction of many important buildings in Kuala Lumpur, and he reorganised and expanded the railway system in the Federated Malay States.
The Ipoh railway station is a Malaysian train station located on the southwestern side of and named after the capital city of Ipoh, Perak. It serves as the main railway terminal for the state under Keretapi Tanah Melayu offering KTM ETS services, as well as handling freight trains. Although there are nine tracks, only four are electrified and three of the electrified tracks are used for the ETS service. The remaining six other tracks are used for freight trains.
The architecture of Dhaka is a confluence of many architectural styles. From the Sena temples built by Ballal Sen, to the Mughal architecture of the Mughals, to the Indo-Saracenic style of the colonial era, to 20th century steel and chrome of skyscrapers. Dhaka has a colonial core in the river port area, surrounded by progressively newer areas as one travels away from the Buriganga, punctuated with old temples, churches and mosques.
Arthur Benison Hubback was a British Army officer and architect who designed several important buildings in British Malaya, in both Indo-Saracenic architecture and European "Wrenaissance" styles. Major works credited to him include Kuala Lumpur railway station, Ubudiah Mosque, Jamek Mosque, National Textile Museum, Panggung Bandaraya DBKL, Ipoh railway station, and Kowloon railway station.
Dato’ Seri Nik Mohamed bin Nik Mahmood is a Director of Kumpulan Senireka Sdn Bhd., a large commercial architecture firm in Kuala Lumpur, Malaysia. Mahmood founded the firm in 1973 after he left the Public Works Department. The firm specializes in commercial highrise buildings, and they have done some significant religious buildings. In the 1970s they were operating in the Brutalist idiom, but they turned to Postmodernism at the end of the century and were responsible for some prominent postmodern buildings in Malaysia, including the Menara Axis, 2002, Istana Negara Baru and the Kompleks Dewan Bahasa & Pustaka.
Arthur Charles Alfred Norman (1858-1944), often referred to as A. C. Norman, was a British architect who was active in Malaya at the end of the 19th century and the beginning of 20th century. Some of the most important colonial era buildings of Kuala Lumpur built in that period were credited to him, although many of these also involved other architects of the period.
Regent Alfred John Bidwell, also known as R. A. J. Bidwell, was an English-born architect noted for his colonial era buildings in Singapore. His best-known works include the Raffles Hotel and the Victoria Theatre and Concert Hall in Singapore and Sultan Abdul Samad Building in Kuala Lumpur.
Jamek Mosque, officially Sultan Abdul Samad Jamek Mosque is one of the oldest mosques in Kuala Lumpur, Malaysia. It is located at the confluence of the Klang and Gombak rivers and may be accessed via Jalan Tun Perak. The mosque was designed by British architect and soldier Arthur Benison Hubback, and built in 1909. It was the principal mosque of Kuala Lumpur until the construction of the national mosque Masjid Negara in 1965.
A distinct Indo-Islamic architecture style with local contribution is reflected in the historical buildings of Hyderabad, making it the first and "Best Heritage City of India" as of March 2012. The city houses many famous historical sites constructed during Qutb Shahi and Asaf Jahi period, including various mosques and palaces.
The Architecture of Gujarat consists of architecture in the Indian state of Gujarat.
References
Das, Pradip Kumar, Henry Irwin and the Indo Saracenic Movement Reconsidered, 2014, ISBN1482822695, 9781482822694, google books
Jayewardene-Pillai, Shanti, Imperial Conversations: Indo-Britons and the Architecture of South India, 2007, ISBN8190363425, 9788190363426, google books
Mann, Michael, "Art, Artefacts and Architecture" Chapter 2 in Civilizing Missions in Colonial and Postcolonial South Asia: From Improvement to Development, Editors: Carey Anthony Watt, Michael Mann, 2011, Anthem Press, ISBN1843318644, 9781843318644, google books
Metcalf, Thomas R., Imperial Connections: India in the Indian Ocean Arena, 1860–1920, 2007, University of California Press, ISBN0520933338, 9780520933330, google books
Further reading
Metcalf, Thomas R., An Imperial Vision: Indian Architecture and Britain's Raj, 1989, University of California Press, ISBN0520062353, 9780520062351
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